Delayed Reaction 2023

 It's been over two weeks already, so most of what's been needed to be said has been.  So, we'll try to keep most of this short (famous last words).  The Class Of 2023 has been announced, and it's loaded. Good.  

First off, I went 5/7, so I feel pretty good.  I don't know how many did better, but I feel that's the modal average among those of us in the watching community.  Maybe not.  Either way, it's not bad.  Remember when I first reacted to the ballot and said to pay attention to Kate Bush and Rage Against The Machine?  I said at least one of those two was getting in, and I was right.  And it turns out both got in.  It's been a common thing lately with artists that are on the ballot three consecutive years.  Perhaps it's a matter of gaining momentum that they finally break through, but three consecutive ballots seems to be the magic number lately.  It's why I picked Todd Rundgren for 2021.  And it also resets the counter back to zero for acts like Dionne Warwick and Fela Kuti who weren't nominated for their third consecutive years.  

Aside from Rage, the Spinners were my other bracket buster and one of the two names that comes off the list I made almost twenty years ago.  And I'm so happy to be wrong about their chances.  This is big, and I'm here for it.

Sheryl Crow gets in, confirming the LinkedIn nature of the Hall and how relatively effortlessly a popular act can get in sometimes.  A lot of disgruntlement over her getting in, simply because she's such a "safe" pick, but you can't deny her ubiquity and how many songs of hers you know once you sit down and think about it.  Congratulations to her.

Not a lot of surprise about George Michael getting the votes either, though his name being announced just further stirs the pot regarding the fan vote, as he was the only one from the fan ballot to make it.  It's an annual heartbreak for us hobbyists who know how it works to see the disappointed fan bases, who think sheer numbers win the day and that they can love their favorite artists hard enough to get them inducted, like a Care Bear stare of clicks, only to see them find out that all those millions add up to one.  That's why it was kind of funny when the people from Africa on Twitter told the Hall to go sit on it and rotate last year after being duped about the importance of the fan vote for Fela Kuti, but I digress.

And congrats to Willie Nelson making it too.  There's been some discussion about who in the country world could be next for the Hall, but I'm going with a hot take here: no one.  I think the Old Town Road stops here for a spell, and I'll tell you why.  Dolly got inducted, and Willie is getting in for basically the same reason, and it's only partially about their music.  Willie was especially innovative with outlaw country, so it's defensible, but the real reason for those two names is their names.  Dolly and Willie are national treasures, and the Hall needs them for their cache.  After those two, there are no more country artists who are universally beloved who aren't already in the Rock And Roll Hall Of Fame.  Not Waylon, not Merle, not Kris, maaayybbeee Loretta or Patsy, but certainly not Garth.  In fact, Garth Brooks is almost considered a benchmark of country music truly losing its authenticity and becoming "Nashville pop."  Maybe his sales numbers get him some chatter, but if I'm trying to think like the Hall, they're gonna say "Amen" on country for awhile, congratulate themselves, and take a bite out of the hoagie.  

But big huzzah for Missy Elliott getting in.  She is truly deserving, and it is great that we finally have a female rapper getting inducted, hopefully not the last.  And it's so great that we finally have an African-American woman getting in on her first year of eligibility, as well, though I'm still really sad we couldn't have more in the form of Destiny's Child.  I said it then, and I'll say it again: if Beyonce is not good enough to be a double FYE, then who is?  Apparently Dave Grohl (not gonna argue against Lennon, obviously).

And that segues into the first point on the other categories.  Chaka Khan is getting in for Musical Excellence (the other name from the aforementioned list), and it's bittersweet for me.  If getting more women inducted is important, and it is, then having more women as double inductees should also be considered important, and I do not see any possibility of Rufus getting acknowledged now that this is happening.  I actually have a flicker of renewed hope for Chic getting in under the newly renamed Musical Influence moniker (more coming), but I genuinely do not see Rufus being nominated for the ballot now that Chaka is getting her laurels, nor do I see any special committee having any impetus to acknowledge Rufus in this way, not even to give Khan the second induction she absolutely deserves.

Al Kooper getting in is pretty cool, but I'm not especially thrilled.  Undoubtedly deserving, but growing up and listening to Oldies radio, he was always and exclusively referred to as the guy who was in Blood, Sweat, And Tears before they got popular.  I've enjoyed going down the rabbit hole of his career on Spotify, and I really hope the video package and induction speech do him justice.

There are two inductees that really make me tilt my head, but not because they're being inducted, but where.  The first is Bernie Taupin.  If there's any quibble with his merits, it's that as a songwriter, he had a client list of one, Elton John.  That's still a huge asset for him though, but when it comes to songwriters and producers, unless your name is George Martin, being famously linked to one name only is a roadblock to the Hall usually.  Even so, I have no qualm with Bernie getting in, but Musical Excellence is a bit of a headscratcher.  Songwriters traditionally get in under the Non-Performer category, so why Bernie here? But then again, I'm a Logical; I like structure, accuracy, consistency, and all that.  But I've also been following the Hall long enough to know that Hall gonna Hall.  So I just roll my eyes cynically, but still happy for Mr. Taupin.

But the Non-Performer we do get is a big one. Don Cornelius has been chosen, and it's a major form of representation that we thought if we would get, it'd be in the form of Thom Bell.  But this is huge.  Sadly, it also continues the trend of the Hall being a rogues gallery.  I admit, I knew nothing about the domestic violence until Joe Kwaczala brought them up on the reaction episode of "Who Cares About The Rock Hall."  But '70s soul getting a second representative this year is gladdening.  But I will add that between Taupin and Cornelius, the new line seems to be about what they did.  Songwriting is a part of the creative and creation process for music, which seems to justify Musical Excellence, whereas Cornelius was involved in the exhibition, the promotion of the music, so Non-Performer.  In short, the operative phrase is "music business," and if the former word applies to you more, you get Musical Excellence, whereas if the latter applies to you more, you're a Non-Performer.  But I'm sure that line will be erased next year so let's move on.  At least we didn't get any lawyers this time, to quote Michelle Bourg.

Moving onto the renamed Musical Excellence category... at least it's honest-ish.  I hope it doesn't preclude pre-rock acts from getting in anymore, and I really don't want the category to be a Veterans Committee category, though it seems that ship has sailed.  First though, Link Wray is going in, and a big hell yeah to that.  The completist in me wants the Ray-Men included, but I'd be lying if I said I thought that had a snowball's chance of happening.  But the big uptick to this is that it starts dismantling the sham that is the Singles "category."  In a way, it's giving Little Steven what he wants, but it's also what we'd rather have than that.  I really really really really really hope Chubby Checker is next.  The man deserves it.  Shut up; yes he does.  I really hope they do more than focus on "Rumble" too.  "Copenhagen Boogie" may not be as revolutionary, but it is a jam!

Speaking of revisitations, what one Podcaster said with irony, I'll say with conviction: let's talk about a band called Chic.  Think about it.  This is a band that has been sampled so many times in hip-hop that Musical Influence would absolutely befit them.  Their eleven nominations were always about Nile Rodgers, much to the Hall's detriment, but the rest of the group deserves the acknowledgment as well.  And hey, I'm sure his buddies would love to induct him a second time too.  Those eleven nominations will not have been completely in vain if we can induct this outfit into the Hall, and since categories are meaningless anyway, this would at least make sense under the new and tortuous parameters.

Speaking of tortuous parameters, that brings us to the last name, and an important one, but another one that shows the seeming meaninglessness of category distinctions.  DJ Kool Herc is a seminal figure in hip-hop and rightly belongs in.  Under the old guidelines, though, he couldn't have been in this category, even while they inducted Kraftwerk and Gil Scott-Heron as Early Influences, because he didn't release any records. Caveat: I've heard he has released an album, back in '15.  Is that correct?  Seems no one can find it.  Best I've been able to find is the collaborative album with Mr. Green, narrated by DJ Kool Herc, "The Last Of The 'Classic Beats'."  It's a short album and a good listen, but the music comes from Mr. Green, with spoken bits from Herc.  I would have put him under Musical Excellence for the energy of his live work at parties and such, and insisted that the Musical Influence category requires an actual discography, however brief.  But here we are.  And while it wouldn't be unwarranted, this induction actually does make it possible to induct ragtime pioneer Scott Joplin as a Musical Influence, even though there are no wax or vinyl recordings of the man playing his own compositions, as he created barrel rolls for player pianos to play his compositions in an automated fashion.  Again, not unwarranted, but seemingly previously impossible, given the Hall's previous methods of operation.  Heck, this makes it possible to induct classical composers now, who predated the recording technology, for the influence their works had on progressive rock outfits.  All things that were probably previously possible, but now have a precedent of sorts with Kool Herc's induction.

So that's the Class and those are my thoughts.  It's good to get another perspective after the news has settled and simmered a bit (though I wouldn't object to being on a reaction episode sometime), and I hope you've enjoyed it.  And yes, Brian Colburn, with a class this size, I already have a Playlist Wars-style playilst made for this class, and I'd enjoy knowing what your theoretical list would be too.  

Doubt I'll be able to attend the ceremony, but I still look forward to it.  Not ready to think about 2024 yet.  Just enjoying this moment.  Let's all do that: take some time and just enjoy the music.

Predictions For 2023

 As I previously said, I don't have the spare time for the full treatment that I normally put into my predictions.  I'll still list them by seeds, but I'll just cut to what is usually just the "In The End" part.  No percentages either.  I'll just say I think that there will be six.  I just can't see the Hall inducting half the ballot, even though they've inducted 55% when they had nine nominees.  I think six will be the limit.  My seeds:

1. Willie Nelson He's a national treasure and the voters as a body won't pass up the chance.  

2. Sheryl Crow The Hall can be very LinkedIn-like sometimes, and I have to believe the connections are too many for her to miss.

3. Missy Elliott In recent years, the Hall has been on the ball about getting the titans of hip-hop inducted immediately, and I expect that to continue.

4. Warren Zevon I originally had him sitting on the outside, but those handling his affairs tweeted about the inductees being announced Wednesday, so I have to imagine they got the phone call.

5. George Michael I don't get it personally. His music is alright, but it doesn't move me. But I'm clearly in the minority.

6. Kate Bush If any of my predicted inductees were to be inducted in one of the other categories, it's her.  The astonishment of the "Stranger Things" rennaissance may have lost its luster, but the Hall will still want her in. And if not now, when?  So, I think she's getting in one way or another, but I'm betting she'll just have the votes this time.

7. The White Stripes The upset special.  May sneak in, especially if there is a seventh, but may just end up being the Radiohead this time, as in, "How the hell did they miss the first time around?".

8. Iron Maiden The other nominee that could get the Musical Excellence laurels, especially if Kate Bush does get the votes.  Just still not seeing them make it.

9. The Spinners Their nomination wasn't so much about them, in a way, as it was about Thom Bell, and it'll be him getting the Non-Performer induction instead of this group getting in as Performer or Early Influence. But boy would I love to be wrong.

10. Cyndi Lauper My intuition is telling me she was just the painful last cut for too many voters.

11. Joy Division/New Order This group could easily make a fool of me too, but I think it will take just a couple more tries to get them in.

12. Soundgarden I just see them splitting the vote against Rage Against The Machine, but they've got the support of musicians and writers.

13. Rage Against The Machine I just see them splitting the vote against Soundgarden, but they've got the support of the insiders at the Foundation.

14. A Tribe Called Quest With Missy Elliott on the ballot, no chance.  

Voila.  My predictions.  As for the other categories, I think Thom Bell could be a Non-Performer, and either Kate Bush or Iron Maiden for Musical Excellence.  Not sure if they'll actually have an Early Influence inductee or not. I think with the lack of inductors for three inductees last year, they'll want a smaller class to keep things tight, especially for HBO.  But boy would I love to be wrong.  We'll find out in a couple days.

Personal Preferences Of The 2023 Slate

 Moving quickly to personal preferences of this year's nominees, it's been a bit of a roller coaster.  Since I listen to these artists while working, it's tough to not allow the stress of the daily workload or the amount or quality of sleep I got the night before, or if I wake up with a migraine affect my appreciation.  In other words, I'm human. Worse, I'm an adult who doesn't have the free time I once had.  Other than taking sick leave one day and a week FMLA, I've been working six days a week (minus weeks with holidays) since the week after Labor Day, and once, I got mandated on a Sunday.  Enough complaining though.  The reason why ranking by personal tastes matters is because it is an influential force in a voter's decisions.  And since a voter can only vote for five, sometimes the reason to choose an artist and not another is that a voter just likes them more.  So I give two ranks and try to average them out, and see how that works out.  And I'll be including favorite songs by each artist.  Onto the list.

1. The Spinners

I did not like this group when I first heard them, but they have grown on me, and now this is a group I really want to see make it just for the sake of my ears.  I love soul, many kinds of soul, many soul artists.  Especially vocal groups.  

Favorite song: "One Of A Kind (Love Affair)"

Merits Rank: 10

Average Of Ranks: 5.5

2. Sheryl Crow

I really enjoyed a lot of her duets and side projects in addition to her albums and singles.  And that's why "safe" music has a fighting chance.  You can just jam out to her.

Favorite song: "Soak Up The Sun"

Merits Rank: 13

Average Of Ranks: 7.5

3. Willie Nelson

The man of many nicknames, I find it simpler to just call him The Friendly Red-Headed Stranger Outlaw.  Whatever.  His music is fun to listen to, even if you're not a big country fan.  

Favorite song: "Roll Me Up"

Merits Rank: 1

Average Of Ranks: 2

4. Cyndi Lauper

Admittedly, my ability to appreciate her songbook interpretations are a bit more mood dependent than might be fair.  That said, when listening to just enjoy it, it's pretty fabulous overall.  If she's a K-Mart Madonna, point me to the blue light.

Favorite song: "She Bop"

Merits Rank: 14

Average Of Ranks: 9

5. The White Stripes

It's a Michigan thing.  Or it's just a matter of great music and great production.  And while all the iconic songs have Jack singing, can we just give some love to Meg's vocals too?  "In The Cold, Cold Night" is just plain sexy.  Not quite my favorite, but up there.  My favorite here has a pretty clear Kinks' influence, which I love.

Favorite song: "Apple Blossom"

Merits Rank: 4

Average Of Ranks: 4.5

6. Missy Elliott

My rule is that the favorite song must be one where she is the primary artist, but listening while doing other things and not always having time to glance and see who got top billing nearly makes it a matter of guesswork.  That said, there are some great songs where she is a featured artist too.  "Tempo" is awesome, as is "Told Ya," and "One, Two Step," to name a few.  "Whatcha Think About That" is probably my favorite feature of hers.

Favorite song: "Hot Boyz"

Merits Rank: 3

Average Of Ranks: 4.5

7. Kate Bush

Some of her higher register performances are a little difficult to me when sleep-deprived.  The fact that listening to performance art while doing blue-collar work is itself an odd juxtaposition, to a degree, but she still makes the upper half for taste.  

Favorite song: "Rubberband Girl"

Merits Rank: 11

Average Of Ranks: 9

8. A Tribe Called Quest

I still can't audiate a full song or remember much of what is expressed in the verses, but I can recall a bit more of the choruses' hooks, and they were catchy.

Favorite song: "I Left My Wallet In El Segundo"

Merits Rank: 5

Average Of Ranks: 6.5

9. Warren Zevon

My first listen through was a bit of a slog because it took me time to acclimate to his voice again.  He's an acquired taste to some extent, but he does have some fine arrangements.

Favorite song: "Excitable Boy"

Merits Rank: 12

Average Of Ranks: 10.5

10. Rage Against The Machine

Even though they're meant to be listened to studiously, the funky beats and rhythmic delivery by De La Rocha makes them good for grunt work too.

Favorite song: "Testify"

Merits Rank: 9

Average Of Ranks: 9.5

11. George Michael

Some of the more popular and well-known slow songs didn't do it for me.  "One More Try" bores me, as does "Father Figure," and they always did, even when I worked in radio.  There were some pretty cool and interesting finds though.

Favorite song: "Monkey"

Merits Rank: 6

Average Of Ranks: 8.5

12. Iron Maiden

This is the act that really suffers from listening to while working.  Prog rock and prog metal like Iron Maiden really requires time to sit and bask and savor the movements within a single song.  That said, I didn't hate them, and the riffs were pretty cool.

Favorite song: "Run To The Hills"

Merits Rank: 2

Average Of Ranks: 7

13. Soundgarden

Last time they were nominated, they really tanked on this list.  This time, I didn't find myself dreading the thought of listening to them again, but the favorite song is a Beatles cover from my least favorite Beatles album, so that's kind of telling.

Favorite song: "Everybody's Got Something To Hide Except Me And My Monkey"

Merits Rank: 8

Average Of Ranks: 10.5

14. Joy Division/New Order

The nice thing about the joint nomination is that I don't have to decide which incarnation I liked less.  If they're your thing, more power to you, but neither do anything for me.

Favorite song: "Love Will Tear Us Apart"

Merits Rank: 7

Average Of Ranks: 10.5

So, when looking at the averages, it appears my votes should go to Willie Nelson, Missy Elliott, the White Stripes, the Spinners, and A Tribe Called Quest.  And that's pretty close, actually.  I probably have voted fewer than five times (I'm a slacker), but when I have, Kate Bush has been in the five spot instead of Tribe, mainly because I just want to see her get cleared off the board. Rage, being insider and all, can go another round.  Announcements will be soon, and I'll probably have a last second prediction up that will look nothing like my usual format. Sorry.

Merits Of The 2023 Nominees

After much longer delay than anticipated, I have the merit rankings up.  Short and sweet, the delay is because my laptop is on the fritz, so I'm putting this together on my phone, which is much more difficult. Forgive the typos and sloppy proofreading. If anything is unclear, ask in the Comments and I'll try to clarify.  As always, I'm using my I-5 system: Innovation, Influence, Impact, Intangibles, and Issues.  My apologies to those who wanted mentions of biggest singles and albums artists.  My research books are all in storage, and I don't have time to retrieve them.  And again, two brief reminders: one, I intentionally had issues for all nominees, simply because no one nominee is going to be unanimous on every ballot turned in.  However, the Issues stated are not my issues specifically.  They're more often than not ones I have already seen having been stated previously, or if not, ones that could conceivably be made, even if I don't agree with them.  Second, this is a ballot with fourteen incredible names on it, so being ranked low on this list is not a slight against the artist's overall worthiness of induction.  You know I want bigger classes and just putting in all fourteen would be fine with me.  The difference between any two spots is usually razor thin, and I made a lot of swaps and switches, so please don't take anything to mean so-and-so is unworthy. Not what I'm saying at all.  Onto the hopefully objective Merits rankings.

1. WILLIE NELSON

Innovation: One of the pioneers of outlaw country, which not only changed country music, but along with southern rock, helped bring country closer in spheres of influence with the post-British Invasion rock scape.

Influence: Massively influential in country music, but also influential in rock, as especially evidenced by the variety of duets he's done.

Impact: The man could pretty much do no wrong on the country charts. Much less successful on the pop singles charts, but still a handful of showings. Additionally, his work with Farm Aid has helped make him a national treasure.

Intangibles: He's also renowned as a songwriter, and an overall heavily awarded artist. He also had a Ben & Jerry's ice cream flavor: Willie Nelson's Peach Cobbler.  

Issues: Along with the argument of country being in the Rock And Roll Hall Of Fame, there's also the question of whether it was his music that was influential or his lifelong love affair with marijuana. Those who believe it was the latter may skip him to vote for an artist whose music changed the world, and not their tour bus. 

2. IRON MAIDEN

Innovation: They didn't invent heavy metal, but they elevated it with political themes and really helped cement the imagery of heavy metal that is often remembered.

Influence: Easily one of the most influential bands in heavy metal and hard rock.

Impact: A band of mostly middling album sales and nearly non-existent singles recognition in the U.S, they were much bigger in the U.K. Plus, their tours historically sold well, resulting in incredible name recognition.

Intangibles: Though not really a band member, their mascot Eddie just seems to be an X-factor for them. Additionally, they have something of an underdog legacy, overcoming a limited airplay handicap to still be considered a major player in the pantheons of rock, even in the U.S.

Issues: They're a band many know the name of, but not a band casual listeners would instantly recognize if one of their songs came on the radio or streaming service. You've heard of them and know something about them because somebody you can tolerate in small doses is emphatic about them.  

3. MISSY ELLIOTT

Innovation: Not too sure about this one. Admittedly, I'm not knowledgeable enough about hip-hop to state what makes her sound unique.

Influence: Very much yes. Via her commercial success, she opened up doors that myriads of female rappers have stormed through, and many have taken after her style, as evidenced by her many, many features.

Impact: Her lowest charting studio album peaked at #13, and between her lead and featured singles, she has charted over 40 times on the Hot 100, and that's not even getting into the R&B/rap charts.

Intangibles: While not the first female rapper to become famous to mainstream audiences, the level to which she became famous, particularly on the strength of Supa Dupa Fly, makes her a force to be reckoned with.

Issues: The "features" aspect of rap culture makes it murky to determine any given participant's strength as an artist, and she has more charted credits as a featured artist than as lead artist.

4. THE WHITE STRIPES

Innovation: While rock and roll is itself most predominantly based in the blues, they upped the bluesy level into a distortion-driven alternative rock style.

Influence: Their credit as one of the last great rock bands is partially due to the number of alternative-rock bands that took cues from them.

Impact: Three Top Ten albums and eleven charted singles on the Alternative Rock Charts (in the States)

Intangibles: Jack's continued career as a producer and solo artist has only heightened the production values and musicianship of the duo's catalog.

Issues: Relatively limited catalog, due to breaking up near the height of their powers, so not a lot of longevity.

5. A TRIBE CALLED QUEST

Innovation: When you talk about about formative acts of the sound of '90s hip-hop, this outfit is near the top of the list.

Influence: Their influence on hip-hop and rappers to come, as well as on their contemporaries was massive. Widely influential.

Impact: A handful or two of charted singles. Albums charts, four top ten albums with a fifth that is critically well-regarded.

Intangibles: With their level of artistry, and renown of the individual members, they're a synergy, so much more than the sum of the parts.

Issues: You've heard of them if you're a music lover, especially of hip-hop. If you're a casual pop music fan, the name "A Tribe Called Quest" probably sounds like the name of a video game.

6. GEORGE MICHAEL

Innovation: Seemingly little, though his British take on new jack swing in a few of his records was novel.

Influence: Larger than expected, even namechecked by inductees in the past couple of induction ceremonies.

Impact: Possibly the biggest pop singles act on this ballot, with multiple #1 hits, and even bigger in his home country of the United Kingdom.

Intangibles: Incredible versatility, he could go from new jack swing to ballads to dance songs. His voice could adapt incredibly well to what the song required.

Issues: Big Hall versus Small Hall debates might involve debates about why there isn't a joint nomination for the Wham era, and an exclusion of Andrew Ridgeley.  If Joy Division and New Order can be combined, why not Wham and George Michael solo? This may cause a detraction of votes.

7. JOY DIVISION / NEW ORDER

Innovation: Early post-punk band that helped define the style and on the ground floor for a lot of the synth-pop dance sounds of the '80s.

Influence: Both incarnations were influential in their respective styles that they helped pioneer, often namechecked as influences.

Impact: Two major albums from Joy Division, more from New Order, whereas New Order had more albums and a few charted singles on the pop charts, and much more a force to be reckoned with on the dance charts.

Intangibles: The ubiquity of the album cover for Unknown Pleasures gives them a cultural presence outside of the music itself.  

Issues: They've got a few. The infamy of Ian Curtis's death almost outstrips the legacy of Joy Division's music. The stylistic differences between Joy Division's catalog and New Order's are pretty significant, and New Order formed too quickly, relatively speaking, for that difference in styles to be a natural evolution of Joy Division's sound--when put together, it speaks to argue against the joint nomination. Additionally, the fact that both band names have had to be repeatedly defended against allegations of ties to white nationalism doesn't help all that much.

8. SOUNDGARDEN

Innovation: Despite spending more years paying their dues, they were one of the first on the scene to help define the sound of grunge.

Influence: While not as big as a few of the major grunge bands, they were an incredibly influential band, due in part to their being among the first grunge acts.

Impact: They had a serious string of hits on the Album/Mainstream Rock and Modern/Alternative Rock charts.

Intangibles: As another band with a mythos surrounding their lead singer, it helps elevate their legacy.

Issues: They're not Nirvana. Or Pearl Jam. They will always pale in comparison to those two, and maybe even next to Alice In Chains, and that will make them look less worthy, perhaps unfairly.

9. RAGE AGAINST THE MACHINE

Innovation: Among the pioneers of nu metal, combining punk, rap, metal, and even elements of reggae, and brought it as close to the mainstream as can reasonably be expected.

Influence: Because their scene was more underground, it's a little harder to measure, but a lot of the nu metal bands took their lead from this band.

Impact: A few charted songs on the Album and Modern Rock charts, and a couple charted albums.

Intangibles: There is a sense of authenticity to them, and congruity with their name, their music, and their image offstage.

Issues: Their lyrics are often incomprehensible, so you don't know what they're saying, only that they're angry. Additionally, not big on longevity.

10. THE SPINNERS

Innovation: Despite not really inventing Philly soul, their style was more rhythmically driven, funkier even, than several of their contemporaries, making it something unique that they brought to the table.

Influence: The genre of soul greatly shifted while they were at the height of their powers, but there is some influence upon the likes of Daryl Hall And John Oates, as well as subsequent musicians.

Impact: They paid their dues and still had some chart action in the '60s, then became huge in the '70s and continued into the early '80s with the hits.

Intangibles: Though not their biggest success, they were on Motown, which the Hall has a great respect for; then they were one of the biggest acts in the style of Philly soul, which appears to need more representation in the Hall.

Issues: Phil Spector famously fought against the inductions of the Ronettes and Darlene Love, believing that he was the real artist, and the singers were essentially as much session musicians as the Wrecking Crew. Some feel that way about Philly soul, that producer Thom Bell deserves all the accolades, and the artists were inconsequential.

11. KATE BUSH

Innovation: Her sound is incredibly unique to her that it cannot be called anything but groundbreaking. Her infusion of Celtic, Bohemian, and so many other influences is just staggering.

Influence: Big Boi from Outkast is a noted fan who took songwriting cues from her, as do a lot of singers and songwriters. The most direct descendants of her sounds would be artists like Tori Amos, Dido, and Annie Lennox.

Impact: She's much more commercially successful in her native United Kingdom, but even in the States, she had several charted albums and songs on the Mainstream Rock charts. And the resurgence she's had because of "Stranger Things" has caused her music to be rediscovered.

Intangibles: Her performances pioneered the usage of headset microphones. More importantly, her overall level of artistry, particularly by Western standards, is extremely high.

Issues: Her self-imposed decisions regarding her output and public appearances in general, let alone touring, have diminished her ability to reach larger audiences and reach superstar level.

12. WARREN ZEVON

Innovation:  Even though he's one of several singer/songwriters from the '70s, his style is a little different, in a way that isn't quite "coffeehouse," but has a little more infusion of different styles, making something a bit different.

Influence:  His strongest category, he has been a very influential figure, especially among other singer/songwriters.

Impact: A smattering of charted albums, only two Hot 100 hits, but thanks to David Letterman, and a ubiquity for the one big hit, his is a name whose name has traveled a little further than may have been expected.

Intangibles: An artist's artist, a songwriter's songwriter, a critic's wet dream.  

Issues:  From a technical standpoint, he's not that great of a singer, and many would be hard-pressed to know him for anything beyond the familiar "Ah-ooooo!" song.

13. SHERYL CROW

Innovation: I give her credit for bringing an updated and maybe even alternative feel to a pop sound that has a very "beach music" feel.

Influence: Not a particularly strong category for her. Probably some artists that are just not coming to mind right now.

Impact: A fairly respectable run of charting singles, and her albums do well.  

Intangibles: An in-demand duet partner, indicating some level of musical versatility.

Issues: "Picture." Also, her music has a tendency to be labeled "safe" which hurts her rock cred.

14. CYNDI LAUPER

Innovation:  Not a strong category for her.

Influence:  More so for her style than the music, perhaps, but her brand of pop has had ripples that still continue to reach.

Impact:  Several Top Ten hits, with some additional hits on top of that.  Plus, she's a name that keeps coming up, whether it's her songwriting or her part in Cosentyx commercials, she keeps resurfacing.

Intangibles:  Her songs have aged better than a lot of songs from the '80s, she is a heavily awarded artist, and some may have even forgotten that she duetted with none other than Frank Sinatra.  Even if it is a Christmas song, that's not a gig one could have landed without being incredibly talented.

Issues:  Those less prone to carefully compare and contrast might dismiss her as a K-Mart brand Madonna. Additionally, there's a difference between being a song interpreter and being a songbook interpreter, and some may feel she became the latter after having too short-lived a prime period.

So there it is.  My rankings.  Break out the tar and feathers.  Or just write your thoughts in the Comments below.  Enjoy!

Yikes And Away: The Ballot Of 2023

On Wednesday, the Rock And Roll Hall Of Fame announced the nominees for their Class Of 2023.  It's a name so full of good names, that it leaves one feeling underwhelmed.  Maybe it's because most of the names should have been inducted awhile ago, or maybe it's just a short-circuiting from inability to decide whom we'd vote for.  In my case, it's also because except for one, none of them are acts I listened to in my teens or twenties.  But I always enjoy brushing up on the nominees, so I'll be enjoying the process.  Ranking them in future lists may be extremely difficult.  Woe is me.  

Running down the nominees, we begin by running up a hill, because Kate Bush has been nominated again.  And Rage Against The Machine has also been nominated for the third consecutive time.  Keep an eye on these two.  They are names we are starting to get tired of seeing, but there's a good chance one or both of these two will get in.  

Among the widely predicted, Missy Elliott appears as a newly eligible (more on that to come).  The first female rapper nominated, and the only Black woman on the ballot, it's possible the Hall was just trying to keep the lane relatively clear, but it ends up not being a good look.  It'll end up looking even worse if she doesn't make it.  Looking at who else I predicted, George Michael has finally been nominated.  I'll just say right now that my rankings for both merits and personal taste will exclude Wham, which could be good or bad for him.  I love "Freedom" and "Wake Me Up Before You Go-Go," but I loathe "Careless Whisper" and "Last Christmas."  So, none of those songs will be factored in, though probably three of those will be included when I binge his material to get a fuller understanding and appreciation of his catalog.  And the last name that I got right was Sheryl Crow, which was pretty much just about reading the cues and seeing how much she'd been playing ball with the Hall.

Onto the names I didn't predict, congrats to those who correctly picked Cyndi Lauper to find her way onto the ballot.  I don't have the same level of fandom for her yet, and maybe won't, but I'm certainly intrigued by the rise in popularity and will be curious to see how she comes out.  I'm not sure how many picked some of the other nominees either, but I understand there'd been at least one prediction for Willie Nelson, which is pretty cool.  It'll be interesting to see how much of his cache and clout leading up to his nomination is really about his music, or if it is, as Kristen Studard hinted, all about the weed.  Returning to the ballot, as some predicted, is Iron Maiden, taking the apparent metal slot, with Judas Priest being in now.  Pretty cool as well.  We need more metal in the Hall.  I'm not sure how many predicted A Tribe Called Quest to return.  I sure didn't.  I figured them for a one-and-done like other important, but not widely popular hip-hop acts like Eric B. And Rakim or Afrika Bambaataa.  This could be a new turning point for the Hall.  Stay tuned folks.  The return of Soundgarden isn't too huge a surprise, as it's pretty in line with what Sykes has been trying to accomplish.  In contrast, the return of the Spinners to the ballot is a bit of a surprise, but a very welcome one, as my years of listening to Oldies radio while doing homework are being revisited by this nomination.  It's nice to get nostalgic.  But the Spinners aren't the only callback to the '70s, as Warren Zevon is on the ballot.  I have his album My Ride's Here, but I haven't listened to it in years.  It'll be nice to acquaint myself with that again, as well as his other songs that aren't "Werewolves Of London."

Moving on to the final two, it's pretty cool to see Joy Division/New Order nominated jointly together.  At least, it's cool as long as the Hall doesn't bungle the PR on it like they did with the Small Faces/Faces situation.  That was truly embarrassing, as the people at the Hall made it clear they didn't even believe what they were saying in defense of it.  With this grouping, it's defensible, and I'm not opposed to it.  Admittedly, there is a bit of a stylistic difference between the two eras, but that's true about groups that didn't change their name when personnel changed, like with Genesis, or Van Halen.  Just because Joy Division sounded more akin to the Cure and New Order to the Pet Shop Boys doesn't mean it wasn't a natural evolution that happened to coincide with the personnel and name changes.  Like I said, as long as the Hall doesn't screw it up, it's good.

The last nominee, and the one that's getting the attention, is the White Stripes, a band that I somehow missed during my college radio days.  By all previous measures, they weren't eligible until next year, but because the Rock Hall's calendar got jostled off-cycle by the pandemic in 2020, the Nominating Committee is now meeting in the same year as the induction ceremony.  It certainly simplifies the math of it all.  The only problem I really have with this nomination and tweaking of our understanding of the 25-year rule is that it signifies the Hall's definite and indefinite commitment to a schedule cycle that no one really seems to like very much, if at all.  At least, we in the fan and watching community don't like it (and I haven't heard anyone in the Foundation speak positively about it either).  Joe and Kristen got exhausted with the extra work and lack of downtime, or at least the time to do lighter episodes about artists that aren't in and have never been on the ballot, like Pixies, to allude to an early episode.  Eric and Mary have also expressed disgruntlement about the schedule, though their "except the Mondays we're not" caveat hopefully gives them a little buffer to help them keep their sanity.  I really haven't heard anyone say they like this schedule, and that includes me.  With this schedule, I'm almost certainly never going to be able to attend an induction ceremony, as I'm never able to roll over vacation time because I'm always under scrutiny for too many hours during the fiscal year, unless I'm able to owe vacation time and earn it later in the fiscal year.  But even then, our busy season really begins after Columbus Day, so being able to get approved for vacation in late October or early November is incredibly difficult.  And with Cleveland in the cycle for the ceremony, it'll be even worse with the volatile autumnal weather.  Take it from a native Midwesterner: no one wants to visit Cleveland in early November.  This new schedule is apparently here to stay, much to our chagrin.

There's really no issue with the nominees individually.  There's a lot of concern about diversity not being the greatest, especially racial diversity, but when you consider each nominee, it's a pretty solid ballot.  And that's kind of what is to be expected with a collaborative effort.  Compromises made resulting in only big names getting through instead of more dangerous and offbeat possibilities.  The extremely experimental artists are omitted, as are the dangerous ladies for whom it'd be on-brand to set literal fire to things during their performance instead of having only have blazing and incendiary lyrics.  But for me, the biggest disappointment and biggest letdown for diversity is that Destiny's Child didn't get nominated.  With no nomination of Destiny's Child, we will not be having Beyonce as a double-FYE (first-year eligible) inductee.  If Beyonce wasn't good enough to be a double-FYE, then what woman is?  Make that "would have been," because I honestly don't know of any other woman from this point forward who might possibly be a double-FYE.  Admittedly, I'm not up on modern music, so I genuinely don't know.  Destiny's Child was a huge part of the late '90s and early '00s soundtrack; just because Beyonce's solo career has surpassed the group's efforts doesn't mean the group should have been ignored.  I'm not even a member of the Beyhive, and I'm dismayed about this.  This absolutely should have happened, and with this small a ballot with this little representation of racial minorities and women, it's inexcusable that it didn't.  

So yes, there are fourteen great nominees on this ballot.  Only a couple actual surprises, and to parrot Michelle Bourg, Kate Bush being the consensus pick is wild.  But here we are, and soon there we will be: evaluating, predicting, commenting, critiquing, awaiting the category picks, and hopefully even attending.  Except for me on that last one, unless a miracle happens.  This new calendar sucks.

Quick Predict: Ballot 2023

Taking a moment to quickly throw out some predictions for the 2023 ballot for the Rock And Roll Hall Of Fame.  Hopefully not as lengthy as the usual post, so here are some thoughts on who might make the ballot.

First off, while there is no sure thing to predict, I'm going to predict three newly eligibles for the ballot.  First, is Missy Elliott.  Regarded as the most worthy newly eligible act, as well as the most likely first female rapper to be inducted, this is someone that the community has been talking about and keeping an eye on, hoping to manifest this one into happening.  Second is going to be Destiny's Child.  The induction of Dolly Parton this past year is evidence of what I call the Hall's "relevance through reactionism.  Dolly's status as a national treasure got too big for the Hall not to try and induct her (not that she wasn't deserving, though), and even though Beyonce's solo career is much, much bigger and more legendary, the Hall almost certainly is not going to pass on the opportunity to make Queen Bey a double first year eligible inductee.  They want names to pack the house, and hers is a lock to do so.  The Hall loves big names like hers, and I have to believe they'll want to make that happen.  But whom do they love even more?  Their own people, such as Dave Grohl.  It might be too big of a stretch to imagine he'd be included, but if they want a second three-time inductee, they might just go for Queens Of The Stone Age. It's a stretch, but what the hell?  The Hall does crazy things sometimes.

Next up will be the return nominees.  With a new chair of the NomComm, it's possible last year's nominees including so many repeats may have been a last ditch attempt by the old guard.  Then again, maybe not.  Stranger Things have happened, which is why everyone including me is predicting Kate Bush to return to the ballot.  But I also think Dionne Warwick and Devo have a chance to return.  Crazy as it may sound, I think a third consecutive nomination may also be in the cards for Fela Kuti..  And of course, loving their own means it'll probably spell a return for Rage Against The Machine too.

Who's been eligible but will just be appearing for the first time?  Well, keeping in a somewhat traditional rock vein, look for INXS to possibly be a priority.  If the Hall's feeling particularly populist, it could finally be good news for Motley Crue as well.  And if they want to go with names of the nineties, then No Doubt is a name that might come up as well.  Of course, it's also only a matter of time before Outkast bursts onto the ballot.  And when it comes to playing ball with the Hall, you need to keep Sheryl Crow in the conversation as well.  If the Hall is not done with classic rock though, it could be time for Bad Company to be nominated.  And if Rick Krim joined the NomComm to push for more prog, Jethro Tull seems to be the currently priority in that column.  I'll go for a ballot of seventeen as well, and say George Michael is due up as well, mainly because he's been namechecked in some acceptance speeches recently.  And from the video packages, let's go ahead and grab Mariah Carey.  

So that's a quickly whipped up batch of nominees.  Sadly, it is largely mainstream, but after what we saw with this year's class, that's the way to skew.  Am I right?  Am I wrong?  We'll know very soon.

 

Songs Of Proof: The Class Of 2022

 It's time now to officially add songs to the great playlist: the Songs Of Proof.  We're about to canonize another fourteen songs to the list.  I do say canonize a bit ironically, though, as some Songs Of Proof have changed, or at least changed as appearing on Spotify.  There's no single medley track of "We Will Rock You/We Are The Champions" on Spotify, so to keep it a single song, on Spotify it's "Bicycle Race."  Neil Young's catalog has largely been pulled from Spotify, as has Joni Mitchell's, so I can't play the ones I want.  Until those issues are resolved, I'm using "Journey Through The Past" for Neil Young and a live performance of "Hejira" for Joni Mitchell.  I hope I don't have to have a caveat that I have to be able to find the song on Spotify or YouTube.  That's kind of a dickish way to have to operate, that you can't have a well-known song available for a huge artist.  So, let's hope that issue is so infrequent that I can largely ignore it.  They don't have Holland-Dozier featuring Brian Holland's version of "Don't Leave Me Starving For Your Love," which is an admittedly obscure song, so finding a faithful cover by a group called the Jagged Edges was good enough for me.  Nesuhi Ertegun's has officially been changed to "Beyond The Sea" by Bobby Darin, and Grandmaster Flash And The Furious Five's has been changed to "The Adventures Of Grandmaster Flash On The Wheels Of Steel."  And Pete Seeger's is now "Talking Atom (Old Man Atom)."  

Looking to this class, there were only a few that really seemed to come to me easily.  I wouldn't call them obvious, but some of the choices I knew had to be them when I heard them.  Some of them I'm still grappling with, trying to decide which is the song that satisfies me best, because they have so many that could do the job.  But that's also where I hope to facilitate discussion either in the Comments below, or on the Future Rock Legends site, or on social media.  So let's celebrate this class.  As I said in my previous post, the fanfic Playlist Wars playlist, I'm going to include some thoughts about the ceremony, as I viewed it on HBO, because what I saw helped me choose some songs.  Let's get into the list.

Harry Belafonte:  A lot of dismay has been conveyed about the lack of a presenter for three of the inductees, and I think of those three, the disservice was greatest to Harry Belafonte.  There was a lot of skepticism about the inclusion of Harry Belafonte as one of the inductees.  I remember years ago, listening to Oldies radio, when they would do the Top 5 at 5 from that date in rock and roll history from a certain year.  Along with including the songs, the deejay would include tidbits of trivia, such as news of the world or trivia about the songs, or whatnot.  One particular date, when they were focusing on the Top 5 from a date in the late '50s, there had been a trivia tidbit that around that time, so-called experts of pop culture predicted that rock and roll music would disappear into the annals of history as a footnote, and that calypso music would rise victorious over the raucous rock and roll.  Harry Belafonte's star was heavily on the rise at the time, so he was especially touted as the one leading the charge.  So, his induction into this institution is a bit puzzling based on the music, even though he really explored many types of world music and not just calypso.  But the adversarial marketing of calypso initially seemed to make this induction almost akin to inducting Mitch Miller or Perry Como.  There was also a lot of talk that the primary reason Harry was being inducted was because of his political and humanitarian efforts in the world, and the Hall definitely loves to enshrine artists who are heavily political in their music, and also exhibit at the museum moments when rock music helped change or shape the political landscape.  The video package for Harry Belafonte's induction touched on both aspects but ultimately failed on both parts, and a presenter or inductor would have helped clarify the vision.  His video package did do one thing right: they showed Harry Belafonte as a well-rounded interpreter and creator of songs, embracing various styles.  They just didn't show how all that music was influential.  Nor did the video sufficiently convince me that his social activism was of paramount importance to this inclusion.  The overall impression I was given is that Harry Belafonte was inducted for the same reason Dolly Parton was.  He wasn't inducted because of his music, nor because of all the good he's done in the world; they inducted him because he's a national treasure, because he's Harry fucking Belafonte.  But I care about the music more.  So, because Gary U.S. Bonds did an interpretive cover called "Twist Twist Senora," and because Mary of the Hall Watchers podcast mentioned how people cheered and got on their feet when they heard this song playing in the package, the song chosen is "Jump In The Line."

Pat Benatar:  I'm gonna be that guy.  The purist who sticks to what the label says.  I'm not listing Neil Giraldo.  Nothing personal.  Neil is of course a huge part of shaping their sound, but promoting her as a soloist was the correct call.  To credit them as a duo would give potential listeners and radio programmers the preconceived notion that they should expect a fun and different interpretation of "Muskrat Love" or something like that.  So, promoting Pat as a solo act was pretty prudent, unless you wanted to give the band behind her a name a la the Blackhearts.  That would have been cool, but that didn't happen.  And why not fight for the rest of the long-time members of her band to be inducted too?  The whole ordeal is messy, and I'm just gonna refer to this induction by the credited artist on the legendary recordings.  That said, hearing his point of view was pretty cool, because nothing happens in a vacuum.  And as an olive branch, I'm going to make sure the song used is also one that has kick-ass riffs.  After all, his shredding is a big part of the reason why those who think inside the Trunk agree that Pat absolutely belongs.  But I also wanted to include a song that showcases her vocal range, even if only momentarily.  So that's why I didn't use "Hit Me With Your Best Shot."  It has nothing to do with her protest against gun violence; it just doesn't do justice to her ability to soar and hit high notes so beautifully.  There were a couple really strong contenders.  "We Live For Love" very nearly was the choice, as was "Treat Me Right."  In the end though, I think I'm going to default to the other obvious selection, the one that actually does show her voice in the high range for a few bars.  "Heartbreaker" is the choice.

Elizabeth Cotten:  The second of the three inductees who didn't get an inductor, but luckily the case for Cotten isn't marred as badly as Belafonte's.  The video package for Libba focused on her style of playing that was hugely influential and the songs that have become part of the fabric of folk lore (but not folklore).  Her selection as an Early Influence was, as a I said in a previous post, "out of the blue, out of the park."  Unsurprisingly, her Song Of Proof is "Freight Train."  There are so many other amazing songs of hers, and I particularly love "When I Get Home," a song that shows undeterred faith in the midst of hardships.  I think "Freight Train" shows a little bit of that too, but also a sense that to really leave this world behind for the next, it shouldn't be easy to make a pilgrimage to where one made that transition.  I think there's an interesting theological discussion there, which includes not being certain where the tomb of Jesus was, nor the stable where he was born, so that those locations don't become sites of idolatry.  But I digress.  This is one induction where I'm willing to be flexible on calendar timelines.  Her songs sound much older than the recordings, because they were written decades before being recorded.  Definitely have to go with the obvious on this one.

Duran Duran:  So many songs to choose from.  Which one would you select?  I have to admit I prefer picking songs where the single version is the same as the album version, though as we get further into the MTV era, that is going to be less feasible, since the big hit records were many times pared down from the album cuts.  I guess I'm just going to have to deal with that, just like I will with the abuse of categories.  As I said in my personal preferences list for the nominees, Duran Duran is a band that I haven't been able to appreciate fully because of other people ruining their music for me.  Admittedly though, their legato songs like "Rio" and "Hungry Like The Wolf" and even "Ordinary World" are the ones I'm drawn to more, whereas the songs with pronounced, almost staccato enunciation, particularly on the choruses, like "Wild Boys" or "Girls On Film" don't do much for me.  I'm not sure I'm making a great differentiation between those kinds of songs, but I will say that "A View To A Kill" is a pretty good bridge between the songs I really enjoy and the ones I might change the station because of.  I don't love it, but I don't hate it.  It's a little annoying, but not enough to change the station.  It's pretty good, and it has a lot of the synthesized sound that is pretty emblematic of the band and the era.  When I think of the music of the 1980s, the synth-pop sound is what I think of first and foremost, and Duran Duran is the banner band for that sound.  It may not be the apex of the James Bond franchise, but this theme will be the Song Of Proof for the band that played Robert Downey Jr.'s fiftieth birthday party.

Eminem:  As much as I enjoy the graduate level child psychology class you could make out of his Slim Shady songs, it'd be pretty disingenuous to make "My Name Is" or "We Made You" the song to use.  I think the fact that he eschewed his iconic "Lose Yourself" during his induction performance speaks to how he'd like to be known for more than that one song.  Nevertheless, whether he's being Slim, Em, or Marshall, the song to use for this inductee should have some feel of anger in its delivery.  Sadly, this also knocked out "Not Afraid," another song I truly love.  And as long as possible, I do intend to keep Songs Of Proof ones where the inductee is the only artist of credit (save Charlie Christian, cherry-picked out of the group he was in).  So, that ruled out of a few other songs.  "The Way I Am" wasn't a big enough hit, or it would have been that.  "Berzerk" nearly made the cut, as did "Rap God," but it was fellow album track "Survival" that I feel best encapsulates what makes the man tick and drives his music.  Whether it's a catharsis of childishness that has yet to be confronted, a fury at the world for what it is, or the need to rip into one's self; survival is a basic sentiment that we don't question as an end to itself, and perhaps everything we do, say, or think is because we've processed it as being necessary for survival, whether our own physical selves, our legacies, our ideologies, our society, or even our species.  The song itself isn't quite that profound, but it does push the listener in that direction, and I've chosen it to represent Eminem.

Eurythmics:  Even though I loathe the song, the choice has to be "Sweet Dreams (Are Made Of This)."  As much as I dig so heavily on "When Tomorrow Comes" and to a lesser extent "Would I Lie To You," I feel those songs are peace and friendship gestures to cishet White guys like me, and not what makes them a truly revolutionary and artistic band that is worthy of induction into the Rock And Roll Hall Of Fame.  And those aren't the only two songs I like, either. (Plus, the former didn't even make the Hot 100!)  But "Sisters Are Doin' It For Themselves" is also credited to Aretha Franklin and is disqualified under my guidelines.  "Missionary Man" is a fun one, but isn't as iconic or emblematic of their sound.  When it comes to the overall image, the sound, and the Britishness of Eurythmics, "Here Comes The Rain Again" also falls short.  "Sweet Dreams (Are Made Of This)" is deceptive in how simple it sounds and also makes Annie Lennox seem more imitable than she actually is.  Not my favorite track, but it's the clear choice to represent her and Dave.

Allen Grubman:  Allen Grubman's induction is part of a disturbing and growing trend that is hopefully stemmed by the retirement of Jon Landau from the Nominating Committee.  Whatever else you have to say about Jann S. Wenner, his vision of this category as he wanted it seemed to be something most of us agree on: industry people who either create quality or know it when they hear it and take an active part in facilitating its permeation into our culture.  That understanding maybe got challenged a mite by the induction of Paul Ackerman, though writing favorably about it can fit within those parameters, and maybe even be said about Jann S. Wenner.  Brian Epstein and Andrew Loog Oldham as managers definitely slid under the radar because their stories are known in how they actually helped shaped a band's sound, by first reshaping their image, to make them successful.  It got really fuzzy with Landau, who produced a fair amount but may not have an extensive enough resume to warrant induction; and Irving Azoff who appears to do nothing directly with the creative aspects.  Some could argue that's what Clarence Avant's induction continues too, though he did run a couple record labels as well.  Allen's induction is of course the new height of cronyism in the Hall.  But if we're looking for the positive, let's reflect on the testimonies in the video package and of John Mellencamp.  Grubman's role is indirect, removing the obstacles that can hinder the creative processes of artists, the legal obstacles in his case.  When an artist can't receive the revenues they should because they don't own their masters or other rights, it makes it more difficult, impossible sometimes, for an artist to invest in their future and flourish.  I think of TLC, who had to file for bankruptcy at the height of their popularity because they weren't being taken care of properly.  And even the doo-wop groups of the '50s who were taken advantage of, not least because they were Black.  If Mellencamp's testimony is to be believed, and if people like Grubman can stem the tide of tragedy that befalls creative talents who aren't prepared for the business side of things, and help bolster their future and legacy, then maybe it is worth enshrining lawyers, agents, publicists, and the like.  That said, that entire spiel is the mental gymnastics I have to do to justify this, whereas the people at the Hall are content to just honor him simply because he's one of them.  His portion of the ceremony and induction as was shown left me lukewarm.  You might even say it left me... "Numb."  And since U2 was one his clients, let's go with it.  That's not a total insult on my part either.  I love the Zooropa album, including that song, and the lyrics are a legalistic, almost pharisaic laundry list of thou-shalt-nots, so to use this song for a lawyer actually fits pretty darn well.

Jimmy Iovine:  Jimmy Iovine suffers from being inducted the same year as Allen Grubman.  If he had been inducted before Jon Landau, there wouldn't have been one ounce of skepticism over his induction, I'm guessing.  It is a little surprising though, that he hadn't been inducted sooner.  Perhaps the door truly got opened to that possibility with the rise of John Sykes at the helm for the Hall.  Being more focused on the MTV era probably makes it more possible to shine the light on the non-performing movers and shakers of that era.  A producer extraordinaire, he is also a problematic figure.  However, the Rock And Roll Hall Of Fame has zero issues with courting controversy.  Admittedly, his heyday is a little outside of my comfort zone, though as a huge U2 fan, the founding of Interscope Records is important to me.  But I just used U2 for Allen Grubman, and he's much more known and legendary for his work earlier than working with those Irish lads.  Thanks to Stevie Nicks' induction as a soloist in 2019, we got a to learn a lot more about Jimmy Iovine, possibly more than we wanted to, but we're probably all a little better off knowing about it.  Maybe not.  And if you're a classic rock freak, there's probably a good deal of reverence for his work with Tom Petty And The Heartbreakers.  Since Songs Of Proof for Non-Performers and Sidemen inductees don't have to be by a single artist, standout collaborative efforts are an excellent opportunity to honor such inductees.  And for that, we're saluting this defiant man with "Stop Draggin' My Heart Around."

Jimmy Jam And Terry Lewis:  Oh, that problematic word "and."  I actually spent way more time than anyone else would dare wondering if the Mort Shuman rule should apply here, and give one song to Jimmy Jam and another to Terry Lewis.  I decided not to for a couple reasons: one, they're in the Award For Musical Excellence category, and not the Non-Performer (Ahmet Ertegun Award) category; two, I only gave one song to the E Street Band and only one for the next entry; three, their induction really shows them as two people with a common mind.  Not in an "all orange cats share one brain cell" kind of way, but in a synergistic way of great minds thinking alike.  Even though they have had disagreements, they always have the same goal and can agree when its right.  And it was a charming moment when Jimmy Jam led the crowd in an abridged alphabet song, to the tune of "Twinkle, Twinkle Little Star" to focus on music education.  And even though the Song Of Proof doesn't have to be by Janet Jackson, it has to be by Janet Jackson.  There were actually two strong contenders, and to show how strong the field was, the one that lost out was the album title track, "Rhythm Nation," considered for them having an iconic sound and touch.  But Janet and the video package really showcased that the true magic of their process was listening to their artists and getting their input.  They asked the soil what type of crops it wanted to produce.  In a business where artistic agency and trajectory can be manufactured and molded and frequently is, Jimmy and Terry helped facilitate a more organic method of creation, essentially giving the artists control of that.  So, a title track got beaten out by another album title cut.  It's "Control" by Janet Jackson.

Judas Priest:  The Hall doesn't want you to know they're not a Performer inductee, and many among us don't care.  So, I'm not going to change my selection of their Song Of Proof based on the category that they're in.  They're a Performer inductee in my book, for what little that means, and I hope the Hall seriously considers my suggestion regarding propositions as a way of making things less confusing without resorting to the "obit just gonna say 'inductee'" line.  That dog doesn't hunt.  But getting back to Judas Priest, I loved Alice Cooper's speech, and I'd love to see him play a man who's hired to be a contract killer only to have him turn out to be an undercover cop who puts someone behind bars.  Maybe that's just me, but his speech makes a really good case for making "Hellbent For Leather" to be the selection.  And the broadcast that shows "Breaking The Law" and "Living After Midnight" was fantastic.  The fact that Rob can still hit those notes is just marvelous.  It shows dedication and discipline to what he does that many stars simply lack.  Ultimately, though, I think the elevation of heavy metal music and spirit of rebellion and defiance is best depicted in "You've Got Another Thing Coming."  It's about celebrating life and not letting other people quell that.  It's about shutting people out of your life who bring you down.  It rebels in a way that has purpose, which places it in very good company with less-metal inductees.  Maybe not the most beloved song, but it is the one that crossed over, and with good reason.  Same song I wanted to use all along.

Dolly Parton:  When I said "Whole Lotta Shakin' Goin' On" would make an ideal all-star jam, we were all still under the assumption that Dolly would open the ceremony, not close it.  "Jolene" made a great song to end on (even if only in broadcast), even if it's not one of my favorite Dolly songs.  Pink's speech was phenomenal, too.  Dolly really is the epitome of being as gentle as a dove, but crafty as a serpent.  And it doesn't have to have a White Stripes sound for "Rockin'" to be a rock and roll song.  It's as rocking a song as a Jerry Lee Lewis or Bill Haley song.  Country is after all one of the parent genres that help comprise rock and roll music, and her influences on rock musicians, especially women rockers, is inescapable.  That said, I'm still following my general guideline that when an inductee is firmly a part of one of the parent genres, to the point where they don't feel any part of them is rock and roll, choose a song that maybe shows otherwise, even if only slightly.  In many instances, that means a song with enough pop sensibilities to have some commonalities with rock and roll music.  For Dolly, that actually means "Baby I'm Burnin'" is being used to justify her induction into the Rock And Roll Hall Of Fame.  Part of it is the preference to occasionally use a less obvious song, but it's also important to remind folks that her contribution to the rock scape is more than just "9 To 5," though I absolutely love that song too.

Lionel Richie:  Lionel had a really great acceptance speech.  I think his comment about creative artists versus created artists cuts to the heart of why some artists make the Rock And Roll Hall Of Fame and why some don't.  Or at least what the Rock Hall tries to be about.  I very easily see the Rock Hall apologists and insiders using that excerpt from Lionel's speech to justify why some extremely popular favorites are still on the outside looking in.  His performances were okay, and of course, like many others in the community, my heart sank when I found out he performed a Commodores song as part of his set.  The Hall has been erratic and unfavorable to R&B, especially the voting bloc.  So while the Singles category wasn't supposed to be a mortuary for the artists of the listed songs, it absolutely has been.  The induction of Nile Rodgers in the Award For Musical Excellence was the death knell for the rest of Chic, not that the NomComm cared one iota about any of the other members of that group, though.  Likewise, it sadly is most likely that the induction of Lionel Richie will be the excuse to never discuss the Commodores again.  Boo.  Meanwhile, for Lionel's solo work, I've decided that the rhythmically driven, yet accessible "Running With The Night" is going to be his selected song.  It has a very '80s vibe, yet isn't cheesy, and isn't one of the songs that gets played to death.  It's the quiet song that remains timeless.  

Sylvia Robinson:  Welp, ope, and uffda, I gave away the store on this inductee in my previous post.  I flat out said that Sylvia Robinson's Song Of Proof was going to be "It's Good To Be The Queen," and that has not changed.  There were a few good reasons to induct her.  "Love Is Strange" is iconic enough during the foundational years that inducting Mickey And Sylvia, even as an Early Influence, might be justifiable.  And even if I don't personally care for her '70s soul that much, it was certainly very different, innovative even, so that would be justifiable as well.  But as with Lionel Richie, it's likely that this will be the only time she will be inducted, and of the three reasons, founding Sugarhill Records is the clear, obvious winner.  Even if the heyday of the label was short lived, the cultural impact and ripples created have been impossible to overstate.  And as everyone else has said, not having an inductor for her was an absolute travesty.  If you want us to swallow the bilge of all categories being equal, then make some frigging effort to treat them equally.  Leave the worrying about time to the editors of the broadcast version.  You just do the inductees right for the the actual induction.  It's good to be the queen, and you disrespected the queen.  But yeah, that's the clear and obvious song to use for her.

Carly Simon:  Carly Simon's path to the Hall has been a strange one.  She was long touted as a big, missing piece, especially for both women in rock and roll and as a part of the singer/songwriter scape of the '70s.  Yet, when she was nominated, the response was initially enthusiastic, but dropped off quickly.  Or so it seemed to me.  And when she was announced as an inductee, the sense of being underwhelmed was palpable because so many of us had picked this class either completely correctly or nearly so, as well as the fact it was so heavily mainstream.  That was really no one person's fault, and certainly not Carly's, but there was a feeling I got that if we could have swapped out one of the inductees for a less mainstream and more "dangerous" nominee, many would have dropped Carly (or Dolly, because she tried to have her nomination rescinded).  And then there was the jagged little fiasco with the tribute performance. For the record, I believe Alanis was treated badly.  In addition to the entertainment industry just having misogyny in its DNA, there were probably people behind the scenes who had worked with her in the past and figured she was still as easy to usurp and abuse as she was when she first became popular.  And boy howdy, were they wrong.  Either way, when an artist like Carly Simon is recognized, the temptation to naysay stems from the way her legacy has been poorly preserved.  She has long been treated as a one-trick pony by Oldies radio, or if they remembered a second song, it was her duet with James Taylor, covering "Mockingbird."  And I'd seen internet message boards calling "Nobody Does It Better" the worst James Bond theme, with the possible exception of "Die Another Day."  Yet, the reality and introspection she offered in songs like "Anticipation," "That's The Way I've Always Heard It Should Be," and "Haven't Got Time For The Pain" are every bit as profound as songs by the male singer/songwriters of that era, arranged and styled similarly, and hold up just as well.  That said, "You're So Vain" is still a step above all those other songs, in terms of empowerment, catchiness, mythology, and overall impact.  Maybe that's a little anticlimactic, but at the end of the day, it's the correct choice.  That song isn't the entire reason she's in the Rock And Roll Hall Of Fame; it just best demonstrates why she belongs.

And with that, we put the bow on celebrating the Class of 2022.  It's a fun class and a fun mental exercise to pick a song to celebrate each inductee.  Where did I nail it?  Where did I miss?  Feel free to add your thoughts in the Comments below.  And of course, to recap:

Harry Belafonte: "Jump In The Line"
Pat Benatar: "Heartbreaker"
Elizabeth Cotten:  "Freight Train"
Duran Duran: "A View To A Kill"
Eminem: "Survival"
Eurythmics: "Sweet Dreams (Are Made Of This)"
Allen Grubman:  "Numb" by U2
Jimmy Iovine: "Stop Draggin' My Heart Around" by Stevie Nicks (with Tom Petty And The Heartbreakers)
Jimmy Jam And Terry Lewis:  "Control" by Janet Jackson
Judas Priest:  "You've Got Another Thing Coming"
Dolly Parton:  "Baby I'm Burnin'"
Lionel Richie:  "Running With The Night"
Sylvia Robinson:  "It's Good To Be The Queen" by Sylvia
Carly Simon:  "You're So Vain"