Eine kleine neue Fanfic (or Part 5)

 I was working on the Songs Of Proof list for the Class Of 2024 when cohost of the now defunct podcast "Playlist Wars," one Brian Colburn by name, announced that he would be returning to the microphone to start up a new "season" of his current podcast "My Weekly Mixtape."  This is relevant to this post for two reasons: one, "Playlist Wars" was the podcast that these fanfic entries are patterned after: making a ten-song playlist to compete against other people's ten-song playlists to see who put together the best one, celebrating music in a competitive manner; two, Brian is modifying the format of "My Weekly Mixtape" to accommodate the changes he is making in his personal life after life threw a few kitchen sinks at him.  Instead of twenty-song playlists built collaboratively with a guest, he will randomly be selecting an idea from a pool that others have submitted, and putting together a ten-song playlist on the fly for that topic, by himself.  That's an oversimplification, which will eventually include guests, interviews, and many of the things from the first season; but it's the basic blueprint going forward as well as I understand it.  No new episodes have emerged, as currently, playlist topics are being solicited, to have a big enough pool to make it fun and diverse.  So, since the new episodes will be ten-song lists, much like the individual efforts of "Playlist Wars," it is with that spirit that I wish to encourage Brian and wish him luck for this new season by dedicating this fanfic entry to be a tribute to what he'll be bringing us.

And I've chosen to use this new crop of inductees for the Rock And Roll Hall Of Fame to support Brian and help baptize this new season of "My Weekly Mixtape."  However, similar to the previous fanfic lists that I've shared here, the Performer inductees are the prerequisites, and the other categories are the electives.  So, no spinning the wheel, we have our topic, and in keeping with the spirit of the new approach, I thought of this list this morning while sorting my mail load, somewhat on the spot.  Time to playlist.

EDIT:  Since first publishing, I've also switched two songs around into something that works better, in my opinion.

Track 01:  "Werewolves Of London" by Warren Zevon

We're kicking things off with a song guaranteed to get the party started.  A familiar song to perk up people's ears.  It's a goofy and fun song that everybody loves.  It's an upbeat track, the subject matter really isn't all that serious, and everybody loves to do the howl during the chorus.  It's not brash or loud in any real sense that most playlist starters are, nor does it really build up to that point.  This is purely about recognizability to kick off the playlist and grab the listeners, bringing them along on this musical journey.  

Track 02:  "Maybe He'll Know" by Cyndi Lauper

Keeping the bouncy vibe going, we're getting to our first prerequisite, an inductee who got in via the ballot.  This is one of my absolute favorite tracks from Cyndi, and one that isn't as well-known as the Zevon track, but this does sound vaguely familiar, or at the very least has the bones of Cyndi's overall gestalt of the '80s in it.  This song evokes the mental image of Cyndi kind of skipping or flitting down the road, thinking of the boy she has a major crush on, hoping that he'll be able to intuit her feelings for him.  The bounciness is the way he makes her feel, nearly walking on air.    It keeps the party going, and c'mon, it's Cyndi Lauper!

Track 03:  "Shout It Out" by Nicky Hopkins

Finding a way to weasel in ten different artists even in this situation, we're going to the album Nicky Hopkins released as a solo artist, The Tin Man Was A Dreamer.  I was originally thinking of using "Banana Anna" for the second slot, because the piano stylings are somewhat similar and it just seemed to fit.  However, I didn't think it was all that wise to have a super deep cut so early in the playlist.  Putting something deeper in the third position seems to be not much more logical, but coming out of "Maybe He'll Know," it works better than other songs.  With this track, the piano line still has a bit of movement to it, but the overall feel of the song is softer, slightly less frenetic.  It does get a little lathered in parts, but the fade out at the end helps it lead into the fourth track.  Either way, I'm pretty proud to include this curveball to keep this playlist interesting and not get repetitive.

Track 04:  "Shoop" by Salt-N-Pepa

There's another fanfic playlist that uses this song, but it's more of a "play along at home" playlist of an episode of "Playlist Wars" that actually exists.  On that one, it's also track four, but that's really neither here nor there.  This is still a bouncy song, but it's not as spritely as the first two songs thus, or as fast as the third.  This will open the door to go elsewhere in this playlist.  One of the better known songs by this rap outfit, it saw a slight resurgence due to its use in the first "Deadpool" movie.  While slower and less bouncy, this is still every bit of fun, keeping the party going.  

Track 05:  "In The Cold, Cold Night" by the White Stripes

Since Performer inductees are prerequisites, the rest of this playlist consists of artists that got in through the ballot.  And since this is "My Weekly Mixtape" and not "Playlist Wars," the idea of finishing Side A is much more a thing to take into account when forging these playlists.  Even though a playlist is a continuous play, "My Weekly Mixtape" likes to take the idea of ending a side and starting fresh on the flip side, like a Memorex blank tape that we spent money on at the grocery stores, or at least I certainly did.  But I knew I wanted to end Side A with this song because I think it's highly underrated in the White Stripes' catalog.  Meg's voice is sultry, sexy, and seductive.  She's a siren on this cut, and Jack plays his guitar to fit the song and her voice perfectly.  And the ethereal mist that surrounds this song lingers even as the tape hits a hard stop, when it needs to be flipped.  I love this song as much, if not more, than the usual suspects like "Seven Nation Army," "Doorbell," and "We're Going To Be Friends."

Track 06:  "She Wants T'Swim" by Chubby Checker

Getting to the first song on the second side, we once again want to grab the listeners' collective attention, but because it's the second side, it doesn't have to be as bombastic or recognizable as the first song of Side A.  From 1964, this song only reached #50 on the Hot 100, but this is one of my two all-time favorites from Chubby Checker.  Part of this is because of the background singers, and once more, I'm going to remind the Hall of the importance of background singers.  They should be inducted under Award For Musical Excellence, and that should begin with the Jordanaires, but I digress.  This song also has a lot of the same arrangement style of Bobby Freeman's "C'mon And Swim," which first introduced that particular dance to the world.  But this is a really fun track, and Chubby's vocals suit it really well, going with the surf-ish style that accompanies the dance that mimics the motion of swimming.  And going from underrated song to another underrated song, just on the other side, is still fitting, even though everything else is a radical shift following the White Stripes.  Enjoy.

Track 07:  "Hey Ya!" by Outkast

We go from a few relatively obscure and underrated tracks to one of the premiere examples of monoculture in the United States during the twenty-first century.  And let's face it, if you got sick of this song in its heyday, no you didn't, and you definitely don't object to hearing this song again, now that it's off the charts.  And coming out of the Chubby Checker track, this is an upbeat track that is all about wanting to dance, from the lyric of "Y'all don't wanna hear me; you just wanna dance," to the music video that is a pastiche of "American Bandstand"  or the "Ed Sullivan Show."   But essentially, this can't be all deep cuts.  This is fun song, and it was enough to get Bob Merliss to vote for them.  And it's the best song from the remaining inductees to serve as the lynchpin for this whole mixtape in the seventh slot.  It's no secret weapon, but sometimes subtlety isn't necessary when hitting with the big guns.  And who didn't love the overdubs with the footage from the Charlie Brown Christmas special, too?  Please don't sue us.

Track 08:  "Outshined" by Soundgarden

Of the three remaining prerequisite, Performer inductees, Soundgarden probably seems like the oddest choice to follow Outkast, but this song still has a high voltage amount of energy.  And grunge in general would be a bit of downer, vibe-wise, to end the mixtape on, so we gotta fit it in prior to that.  This track definitely has a bit of the groove of the track prior, and that's why I feel it follows up the Outkast selection surprisingly well.  It's not as fast or joyful, but I feel it's a song that could keep the kids out on the dance floor, even if they had to switch up their moves a bit, to gyrations that are slower, more sludgy and intentional.  And being a little slower, it gives permission to do a stylistic left turn later on, which we don't really have yet on this side of the mixtape.  Slowing it down, but still grooving.  I'm not a huge Soundgarden fan, but I love how well this one fits into the pocket with this mixtape.  

Track 09:  "Love Me Somebody" by Bad Company

If this were still a "Playlist Wars" fanfic entry, I would argue that this is a song that is probably pretty well-known to the diehard fans of Paul Rodgers, but not as well-known to the general masses, but in both cases, this is a rare flex of versatility in a band whose songs rarely deviated from the axiom of "Sex, drugs, and rock and roll."  A surprisingly beautiful song that borders on soulful, this isn't a plea to get laid, but an entreaty for actual intimacy, for genuine connection on a level that runs deeper than Mammoth Cave.  And we needed a stylistic hard left turn from what we've had so far.  It's not completely a hard left turn, as the Soundgarden selection has a certain plodding pathos to it that carries through into this song.  Additionally, we need something soft and heartfelt on this side of the playlist just to mix it up a little bit.  This isn't a "leg day" playlist or something that requires a relative sameness across the board.  We're celebrating excellence in rock and roll, and it can reveal itself in even the most heartfelt moments.  Let's savor that here, shall we?

Track 10:  "Cry Me A River" by Joe Cocker

I'm gonna level with you: the reason that Joe Cocker is closing out this playlist is because he's the last Performer inductee that I remembered.  I told you I formulated this playlist over the course of the morning's office time, before I hit the road to start delivering.  But coming out of the Bad Company selection, it's a bit of a left turn.  That said, I don't care.  I feel that the rest of the "mixtape" hangs together relatively coherently, and I feel we need to end the playlist on a party vibe once again.  That requires a hard turn out of the soulful versatility of the track above.  And the album Mad Dogs And Englishmen, being a live album, gives us the greatest opportunity to close with a party (even though it's early on the actual album).  Between the call and response between Joe and the background singers, this is a great selection to usher the audience out of the building and out of the mixtape, telling everyone goodnight, and that it's time to go home, but we've really enjoyed your company.  And so have I.  I've enjoyed sharing this playlist with you, celebrating the Class of 2025 in this format.

And there we have it.  Our "Weekly Mixtape" celebrating the Class Of 2025.  No hidden bonus tracks this time, and no honorable mentions, as there's no one really leftover who had a recording career as a credited artist.  Finding the Nicky Hopkins album felt like a shoestring catch, in a way, just to make sure I had ten.  As I said at the top, I'm currently working on typing up my explanations for the Class Of 2024's Songs Of Proof.  I do apologize if this feels out of turn, doing a list for 2025 before putting the final bow on 2024's Class.  But I really wanted to get this typed up quickly, at least as a rough draft.  This whole entry is dedicated to Brian Colburn as he once again finds his motivation to share his love of music with all of us.  This is my tribute to what is yet to come.  Godspeed to you, Brian, and if you feel you need to step away from the mic to deal with real life, we understand and we're there for you, and hopefully this playlist/mixtape will remind you of that.  For everyone else, I hope you enjoyed the ride.  I made this list in a couple hours' time of cogitating while working on Tuesday (minus one song change I made on Wednesday) .  And I've typed up this rough draft the same night.  I wanted to get it done quickly.  Let's hope it's an entertaining read.  And as always, enjoy the tunes.

Son of a... CHIPMUNK! The Class Of 2025

 The Rock And Roll Hall Of Fame's Class Of 2025 has been announced.  I didn't watch "American Idol," opting instead to hear it on "Who Cares About The Rock Hall?", the podcast hosted by Joe Kwaczala and Kristen Studard.  So, as promised, this is a quick rundown of my thoughts about the inductees this year.

So, first of all, I was correct in there being only seven Performer inductees this year.  So, that's a minor victory.  Let's get the embarrassing part out of the way: Billy Idol, my number one seed, fell short. This is not the first time my top seed didn't make it, but it looks bad whenever it happens.  I will admit, over the past few days, I kind of debated bumping him down as low as number four.  Either way, though, I think almost everybody had him predicted to make it.  And that turned out to not be the case.  So, we'll all take the L on that one, holding hands and singing Beck's "Loser" in unison.  

Other than that, the other six of my top seven seeds all made it.  I'll start on the personal note and breathe a humongous sigh of relief that Chubby Checker is in via the ballot.  To me, it proves that the singles category was a sham and that these are artists who should remain in the conversation.  He also extends my streak of names coming off my list of one hundred to twenty-one years.  I'm enthusiastic for this, but I'm also dreading for how self-aggrandizing his speech will be.  I'd love to see a twist medley be the jam, just as a fun way to work in all the Performers, and maybe the presenters and side category inductees taking part.  If Mana had made it, they could sing part of "La Paloma Twist."  This is a huge win for my heart.  I feel the era of rock and roll between the "day the music died" and the arrival of the Beatles is so unfairly maligned.  Yes, there was a softening to some degree, but it was also a new, different wave of teenagers and young adults defining the youth culture during the Camelot years.  But as I believe I said on the "Rock In Retrospect" episode I was a guest on, how many songs actually become a franchise?  Like, a franchise with more than two parts to it.  Yes, there are plenty of answer songs, but going beyond two, the only other one I can think of is "Snoopy Vs. The Red Baron" by the Royal Guardsmen, which in turn spawned "The Return Of The Red Baron," "Snoopy For President," "The Smallest Astronaut," and of course, the biggest hit on Billboard's Christmas charts during the twentieth century, "Snoopy's Christmas", all by the Royal Guardsmen.  The twist franchise spanned across several artists including Hall Of Famers like Sam Cooke and Chuck Berry.   And I'll also say this thought, which I think I forgot to verbalize, or maybe it got edited, "The Twist" was the initial blastoff at Cape Canaveral that the whole nation paid attention to.  But that first blast couldn't have taken the twist as a craze, or the dance craze culture of that era through the stratosphere and into orbit.  Chubby kept up a prodigious dance output, maintaining the propulsion to keep it going.  The death of the dance craze was really ushered in by three things.  One of which was the Beatles, but the first one, in my opinion, was the assassination of John F. Kennedy.  The youthful-looking president who gave off cool older brother vibes, along with his Camelot idealism, also set a national tone that gave the kids of that time an optimism that let them dance.  His assassination was a seismic disruption in the culture.  The third, in my opinion, and probably also in reaction to the British Invasion, was a shift in vision and location of "American Bandstand."  But anyway, for that time period, Chubby was massive and massively important.  This is long overdue, and now the Marvelettes are, in my opinion, the biggest potential Performer inductee snub, though Mariah Carey is getting into that territory too, now that she's been passed up again.

Mariah didn't make it, and she'd been my most deserving artist on the ballot, but the second-most deserving act, Outkast, is in.  Not much surprise here.  I wanted this one too, I predicted it, and I was super-confident about it happening.  In spirit, I'm jumpin' 'round like a kangaroo about this.  I hope they perform.

From the second-most deserving, to my second favorite artist on the Personal Tastes List.  Cyndi Lauper is an inductee.  Not surprised, and not upset.  I'm pretty happy with this.  This is great.  

Soundgarden made it, and this is a huge win for harder rock.  Yes, grunge has gotten in before, but lately, some of the harder-edged acts haven't been able to get in.  Classic rock hasn't though, not recently, as evidenced by the inclusion of Bad Company in this class.  This was one where no one was surprised, but there was a lot of eye-rolling and sighing that "Hall gonna Hall."  At the same time, everyone can name at least one song by them that they like.  So, few truly love it, but no one really hates it, a net win overall.

We can't always get what we want, and for me, that's Joe Cocker getting in.  But hey, it's not about me, and a lot of my friends in the Hall watching community are over the moon for this.  I'm happy for them, and let's face it, even I liked him a bit more than I thought I would.  I'm happy for my friends and Cocker's widow and family.  

The only name I didn't predict as making it, but did have them as very likely to bust my predictions, was the White Stripes, but this is one I'm happy about.  As a native Great Lake Stater, I root, root, root for the home bands.  But I was in earnest and honest about rating them in the upper half of both merits and personal enjoyment, even lowering them below Soundgarden and Joy Division / New Order this time after having them ranked above them on the previous merits list last time all three were on the ballot together.  

So, just by the stats of my lists: only four of the top seven on my Merits List made it, five of the top seven of my Personal Tastes List, six of the seven that I voted for in the Fan Vote, and six of my top seven seeds.  So, for my voting and my prognostications, I feel I'm doing pretty well.

The Performer category was overall pretty predictable, the other categories were anything but.  Admittedly, when I saw a tweet from the Nicky Hopkins account about the upcoming inductee announcement, I had a strong suspicion that he was getting inducted in the Award For Musical Excellence category.  And that was correct.  And I've no objection.  This was a pretty logical successor to Al Kooper, so I'm pretty happy with this one.  I knew who he was, but didn't quite know the scope of his resume, and probably still don't, but I did know that was very extensive and probably warranted induction.  Being a solo Beatles fan, I know he was all over Ringo's big album "Ringo."  

Somewhat surprising is the induction of Thom Bell in this category.  What made it surprising is that this is one that many of us in the hobbyist community badly wanted, but had lost hope of happening after he passed away, and certainly lost hope of happening after the Spinners got inducted.  I love Philly soul, and would love to see the Delfonics, Stylistics, and other 70s soul vocal groups get inducted.  Sadly, this may be the final representation of that era of soul music.  That's tragic, but getting this man inducted is deeply satisfying.

What really feels satisfying though, is getting Carol Kaye inducted.  This is a victory lap that all of us should take.  Joe, Kristen, Eric, Mary, Nick, Tom, Michelle, Mark, Charles, Jason, Neil, Greg, Donnie, Rick, Darren, Darin, Kyle, and anyone else I forgot... we should all take credit for this one.  And I will objectively include myself in that list, as I tried to perpetuate the EveryDayWithCarolKaye hashtag on Twitter to show how ridiculous it is to exclude a woman who was the most in-demand session bassist during the '60s and whose discography is likely in quintuple digits.  We did it, gang.  We didn't get Estelle Axton, yet, but we got Carol, and that is huge.

Perhaps the biggest surprise was the New York Dolls not getting induction after the final member passing away.  The Musical Influence category choices, though, that were chosen were even wilder.  Listening to Joe and Kristen, there was desperate cry of "Make it make sense!" from them as well as their guest, Joey Devine.  What was so nonsensical?  Try Warren Zevon being inducted as an Influence.  Traditionally, even with the redefining of this category, there was always a sense that this was for artists whose music was progenitive of subgenres or styles that came later.  That really can't be said of Zevon, I don't think.  I could be wrong, but I'm not familiar with subgenres that Warren Zevon's music spawned.  And it's ludicrous how this is happening after he'd only been on the ballot once before.  They gave up after one try and a couple failed attempts to re-nominate him?  I can only imagine the frustration of the NomComm member who figured the only hope was to get him in through whichever side category committee they were on, but it still feeds odd.  And not the same kind of odd that Zevon himself could be in his music, but odd as in the house is leaning a little too much for my liking kind of way.   Even wilder in this category is Salt-N-Pepa.  This is even crazier than Jimmy Buffett last year.  They could be on the ballot.  Would they make it?  Maybe?  Maybe not?  Yes they were influential for women in hip-hop, but to never even nominate them and see if the voting body would go for them?  I couldn't call myself a diehard fan of them, but even I am flabbergasted.

Which brings me to a point that I have harped on repeatedly in the past and have been criticized for.  And I'm kind of hoping these two inductions will allow my critics to see my point of view a little more clearly now.  As I type this, reaction episodes from "Hall Watchers" and "Rock In Retrospect" haven't dropped, but Joe, Kristen, and Joey all seemed quite upset at these two Musical Influence inductees, for not trying them (again) on the ballot, and how recent they are for this category.  And the upset from Jimmy Buffett just going in as a reactionary measure when he'd have run away with the voting through the ballot last year.  But I've been harping for years now on how it is not the same honor, just because your obituary will still say "Rock And Roll Hall Of Famer."  Well, it'll say that for all three ladies in Salt-N-Pepa, but that doesn't seem to make anyone happy.  I guess if you care about an artist enough and their legacy, it's not the same honor when they could have been voted in.  That layer of validation from the voting body matters when it's an artist you care so much about.  For me, it's about the institution and its integrity to operate within their parameters and not just change the rules as it suits them, but this year, it was also about caring so much about Chubby Checker's contributions as a rock and roller.  This year, I won on that gamble, and others lost.  Again, maybe the other podcasts will just be happy they're in, regardless of category, but if Joe K. and J-Kidding are predictive, no they won't.  Or at the very least, increased dismay and incredulity from the panels.  But it just won't feel like the same honor.

Turning to the last inductee, the least exciting name for any of us, is that of Lenny Waronker getting the Non-Performer induction, officially called the Ahmet Ertegun award.  The reason I saved this for last, is because when Joe called him a nepo-kid, a light bulb in my head went off.  I'd known the name Waronker before, I had to check, and sure enough, I was right:  Lenny is the son of Simon Waronker, an executive at Liberty Records back in the late '50s and early '60s.  You may not know of Daddy Waronker's accomplishments, but his name lives on because, and this is absolutely true, the blue-clad, brainy brother in Alvin And The Chipmunks is named after Simon Waronker.  Simon, the smart chipmunk and beau of Jeanette of the Chipettes, is named after the dad of this year's Non-Performer inductee.  I won't go so far as to call it hilarious, but it's definitely amusing to find a link to what for many about my age was the first musical group they loved, because they were part of our Saturday morning viewing habits.  It's such a weird piece of trivia, and I am here for it!

So that's my reaction to the class, hastily assembled as foretold.  A lot of the things we said about the ballot apply to the class, just with a few more women and a few more people of color.  The stats still ain't great, but it's what we have now.  So, with that, I'll bid you a happy time of sitting with this class and maybe digging deep into each of these inductee's legacies.  I know I definitely need to brush up on a few of them a bit more.  I still have the previous class's Songs Of Proof to publish, and hopefully I get to that over the summer.  But that's where I am right now.  Take care everybody.

But in the end: Seeds for 2025

 And now the post that I'm dreading.  Making the predictions is agonizing for me, but it's part of the game.  How many of the fourteen nominees will be Performer inductees?  I have a feeling it'll be seven, exactly half of the ballot.  Last year they did the bare majority, but I think with an even number, they'll keep it at half.  I could be wrong about that; it wouldn't be the first time.  So, this is not about who I want to make it, but who will make it, in my opinion.  Also, odds are completely arbitrary:  the math will almost certainly not math like math should math.  The math is irrelevant.  Time to cut the stalling and make predictions for the Rock And Roll Hall Of Fame's Class Of 2025, in the Performer category. 

1. BILLY IDOL

Rock and pop soloist from the 1980s, previously in the band Generation X.  First-time nominee.

Why he might make it:  He's got a rock and roll image, with the leather, the sneer, and the hair, and a pretty reliable catalog of traditional-sounding rock music.  Additionally, he seems to be pretty beloved among fellow people in the music industry.  Just a huge upswing in reputation overall.

Why he might not:  Not a particularly lengthy run at the top.  Decimated by grunge, and he may be considered too crossover to maintain the punk cred he had from Generation X.

Whom he'd pave the way for:  I could see him kicking down the door for some actual punk from the '80s like the Dead Kennedys, but also for some other rockers with mainstream success like Bryan Adams or INXS.  And possibly even the Runaways, or if Tommy James is part of the induction ceremony, maybe Tommy James And The Shondells.

Biggest threats:  Cyndi Lauper is a fellow highly visible figure of the MTV formative years that is also on the ballot.  In terms of pure rockers, I think Joe Cocker is a competing soloist, while the Black Crowes and Bad Company are fellow meat-and-potatoes rockers.  I'd also call Joy Division / New Order a threat with the synthy sensibilities.

In the end:  It's easy to forget that the Rock And Roll Hall Of Fame is an industry award, and with whom you have unburnt bridges sometimes means more than actual accomplishments.  Idol has just enough of both of those to be the top seed.  Odds of induction:  90%

2. OUTKAST

Hip-hop duo from the '90s and '00s.  First-time nominee.

Why they might make it:  The lane for hip-hop is cleared for them.  Also, they made hip-hop that was accessible to White people over the age of 30.  A lot of hits, well-known.  Well-respected.

Why they might not:  Because despite its defeat, the purist sentiment that hip-hop is not rock and roll still simmers and slides among some official voters.

Whom they'd pave the way for:  Outkast is a pressing, urgent insistence by fans and music lovers in general.  Once they're in, I see the NomComm going back and finally going after De La Soul, Queen Latifah, and Salt-N-Pepa.

Biggest threats:  Marian Carey is really the only other act on the ballot that has any hip-hop cred.

In the end:  I just about had them as the #1 seed.  I really don't see them failing.  They're in.  Odds of induction:  85%

3. BAD COMPANY

Classic, arena, post-British Invasion rock guitar band.  First-time nominee.

Why they might make it:  Classic rock is a safe bet for induction.  The bands from that era tend to sail right into the Hall.  Also, Paul Rodgers is such a noted and respected figure, honoring him in some capacity is virtually an end unto itself.

Why they might not:  The classic rock bands still not in are generally considered at least a full tier below the acts that got in twenty to thirty years ago.  The worthiness of these acts is a little more questionable.  

Whom they'd pave the way for:  Styx, Kansas, Boston, Jethro Tull, Bryan Adams, to name a few.

Biggest threats:  Joe Cocker can be considered classic rock, the Black Crowes are a band influenced by those kinds of bands and could snare some votes.  Same for the White Stripes.  And if Bad Company is considered a good live act, Phish could pull votes away.

In the end:  The appetite for "classic rock" will never be satiated until every act that played on a classic rock station during the '90s and '00s is inducted, all the way down to Malo and the Pat Travers Band.  The only way there is saturation of "rock bands" on a ballot is if there are more nominated than can be voted for.  Odds of induction:  80%

4. CYNDI LAUPER

Pop songstress from the 1980s.  Second nomination, seeded #10 in 2023.

Why she might make it:  Her songs are super catchy, memorable, and enduring.  Her image is unmistakable, and her reputation has only risen in the past few years.

Why she might not:  Another act that lost mainstream clout by the early '90s, she didn't have the kind of longevity that conquered adversity.  Also, she was often compared to Madonna at the time, and may be seen to pale in comparison.

Whom she'd pave the way for:  She could possibly open doors for other pop acts that were big on MTV during the '80s, such as Huey Lewis And The News or even Paula Abdul.

Biggest threats:  Mariah Carey is the other female superstar, Billy Idol is another MTV staple with an iconic style that grunge demolished when Nirvana broke big, Joy Division/New Order could gnaw away from her dance club cache, and Chubby Checker is another festive artist who appeals to the poptimists.  

In the end:  The lane's not completely clear for her, but I do think she has something for everyone, which will make her a popular choice to vote for.  She's so unusual, in a good way.  Odds of induction:  75%

5. JOE COCKER

British solo artist known for his interpretations.  First-time nominee.

Why he might make it:  He's got the Paul McCartney seal of approval, as well as the Billy Joel approval.  Plus, he was at Woodstock.  And nearly everyone likes his version better than Ringo's.

Why he might not:  He was a song interpreter, and originality tends to be more highly valued.  Plus, his output was kinda sporadic, and his two biggest hits were schmaltzy ballads.

Whom he'd pave the way for:  Michael Bolton?  Okay, probably not.  But maybe they'll revisit Warren Zevon for people respected by fellow musicians, or maybe a soul singer from the '70s like Teddy Pendergrass.

Biggest threats:  Chubby Checker is the other nominee who had hits in the '60.  Bad Company is a fellow classic rock act.  Oasis sounded like the Beatles, and Joe covered the Beatles, so there's a lateral connection there.

In the end:  Again, classic rock is a safe bet, and Cocker's music embraces and embodies a spirit or a vibe of an era, and voters will have no issue enshrining it.  But I'm not as confident here.  Odds of induction:  60%

6. SOUNDGARDEN

Grunge pioneer band.  Third nomination, seeded #9 for 2020 and #12 in 2023.

Why they might make it:  The Hall reveres the name and legacy of Chris Cornell.  Plus, they're a highly innovative band, near the start of the grunge revolution.

Why they might not:   They didn't have a ton of crossover appeal, and this being their third nomination, it's getting harder for them to cross the line.

Whom they'd pave the way for:  Alice In Chains would be the last of the Big Four of grunge, but other bands like Smashing Pumpkins and Stone Temple Pilots seem to be intentionally held up until this band gets in.

Biggest threats:  The White Stripes and the Black Crowes are the two '90s bands with the edgy guitar sounds, and in terms of alternative cred, Phish could be a disruptive influence.

In the end:  Being the band with the most nominations as well as a pioneer in a subgenre, I'm betting the impetus to get them in is a little heavier than with some of the other bands.  Odds of induction:  55%

7. CHUBBY CHECKER

Solo artist credited with helping kick off the dance craze in the early 1960s.  First-time nominee.

Why he might make it:  Arguably has the most name recognition of any of the nominees.  He's a pre-Beatles rock and roller who was a catalyst for a major, yet short-lived movement with a song that everybody knows, and any inductee from the first ten to fifteen years who is still with us and has a ballot will not hesitate to check his name.

Why he might not:  In addition to arguments some make about him being an unoriginal one-trick pony, he also has a reputation for being off-putting to even fans who aren't completely sycophantic.  Basically, the opposite of Billy Idol.  That, and his contentious relationship with the Hall that I previously referred to as "thirsty," they may be hesitant to reward that with their vote.  Lastly, being from the early '60s, some may figure they'll just induct him in a side category and not waste their vote on him.

Whom he'd pave the way for:  Hard to say, as the Oldies acts that are viable candidates to be nominated is shrinking.  But we thought the same thing about him, so... the Marvelettes could get another nomination, the Monkees could finally make the ballot, or possibly Tommy James And The Shondells or Paul Revere And The Raiders.  Other soloists from that era, such as Freddy Cannon or Gary U.S. Bonds could also benefit.

Biggest threats:  Joe Cocker is the only other one that might get played on Oldies radio, and Bad Company is a nostalgia act too.  Mariah Carey is the only one whose name recognition rivals his.

In the end:  Even the pundit community is split on this one.  Some saying it's obvious, others saying not a chance, and one or two think it'll be a side category.  As I type this, the episode of "Rock In Retrospect" where Nick and I discuss Chubby Checker just dropped.  Nick strongly believes that the surprise of Chubby not being in the Hall already will carry him in immediately.  I'm cautiously optimistic.  With trepidation...  Odds of induction:  50%

8. PHISH

Jam band from the '90s, first-time nominee.

Why they might make it:  They're running away with the fan ballot, and with the Hall's lack of transparency and the induction ceremony being such a huge fundraising event for the Foundation, they could be that surprise eighth inductee needed to sell tickets and pack the venue.  Additionally, they have pretty high name recognition.

Why they might not:  If this is supposed to be about the music, they're in trouble.  They're a band you know the name of but can't name a song of theirs.  And when it comes to the music, even the fans can get dismissive of the studio albums, which can be a deterrent to newcomers from getting into them, as the studio albums were the traditional gate from being a casual listener to a fan.

Whom they'd pave the way for:  With the Dave Matthews Band already in, Phish is really the only other jam band that the Hall may deem pertinent: I don't seem them going for Moe, for example.  I think this will simply see them turn towards other '90s bands such as No Doubt.

Biggest threats:  The White Stripes, the Black Crowes, and Soundgarden would all be considered as possibly crowding the lane for Phish.  Sonically, Oasis and Mana are the closest to Phish.

In the end:  It really all depends on how much the tail wags the dog.  There are other bands that could be the headliner for the ceremony, but none of them are as sure a bet to show up and be willing to perform as Phish would be.  If Meg White had said she'd show up and play, or if Oasis were a little less stiff in their upper lip about accepting American accolades, I'd say no way.  As it is, I think they might still miss, but if there's an eighth inductee again, I'd bet on them to nab the final seat on the bus.  Odds of induction:  49%

9. THE WHITE STRIPES

Garage-rock duo, most popular in the '00s.  Second nomination, seeded #7 for 2023

Why they might make it:  They're a newer rock band whose brand resonates with the old guard, and they're the "rock" nominee on the ballot that has the most recent cultural relevance.

Why they might not:  There hasn't been nearly as much buzz surrounding their nomination this time around as there has been for other nominees or for their last nomination, even.

Whom they'd pave the way for:  It seems Coldplay's nomination is contingent upon the White Stripes getting in, but it could also be a prelude for eventual nominations of acts from the new millennium, like My Bloody Valentine.

Biggest threats:  The Black Crowes, Oasis, and Soundgarden are probably the closest alternatives.

In the end:  The buzz around the White Stripes this time has been pretty low to non-existent.  That said, never rule out the quiet ones.  This could be a good sign.  Good enough to place them as the "If 8 upset special."  But I think the Hall is on a current kick of playing catch-up, and the White Stripes are the most recent act on the ballot.  Odds of induction:  45%

10. OASIS

Britpop band fronted by the Gallagher brothers.  Second nomination, seeded #11 in 2024

Why they might make it:  They were the biggest Britpop band, at least here in America, and with influences that draw so heavily from the Beatles, their sound is one that will go over well with older voters.  Plus, with the reunion in the works right now, this could be a heavily anticipated event to cap off with an induction.

Why they might not:  Even with the reunion in the works, it's still no guarantee that Liam and Noel will still be on speaking terms by the boreal autumn, and even if they are, that's still no guarantee that they'll care enough about the Hall to show up for their induction.  And even as the biggest Britpop act in the States, they still didn't have a ton of crossover to mainstream success.

Whom they'd pave the way for:  Blur, maybe. and other acts from England that were bigger there than here.  For some reason, Muse comes to mind.

Biggest threats:  Phish is similarly melodic.  The Black Crowes and White Stripes could steal votes.  And let's include Mana, because why not.

In the end:  It's rare to say this about the guitar band contingency, as it is a lane that does not crowd easily, but the lane is crowded for Oasis this year.  They could pull off an upset, but I think they're left out for the second year in a row.  Odds of induction:  40%

11. JOY DIVISION / NEW ORDER

Post-punk band that evolved into a dance music band.  Second nomination, seeded #11 in 2023

Why they might make it:  They're a highly innovative and influential outfit, where both incarnations have been highly influential and innovative.

Why they might not:   Post-punk and the different styles that it spawned have not had an easy time getting enshrined into the Rock And Roll Hall Of Fame.  And a lot of people are not hearing a natural evolution from one era to the other, and thus aren't onboard with this joint nomination.

Whom they'd pave the way for:  I think an induction here would help open the door for revisiting the Smiths or the Replacements, or maybe dance acts such as the Pet Shop Boys.

Biggest threats:  Billy Idol and Cyndi Lauper are the sonically closest to Joy Division / New Order, and Soundgarden and Phish have similar underground cred.

In the end:  The Smiths failed twice, the Replacements missed once.  This is a part of the rock and roll diaspora that has a very tough time getting in.  The Cure did it, but the Cure had more hits than New Order.  They have a sneaky chance, but I don't have a lot of hope on this one.  Odds of induction:  35%

12. MARIAH CAREY

R&B-pop songstress and songwriter.  Second nomination, seeded #9 in 2024

Why she might make it:  She's the single-most commercially successful artist on the ballot.  She's a name everyone knows with a multiple songs that they know.  A true superstar, and additionally, she's received an iHeart award recently, which is a connection to chairman John Sykes.  Plus, with fewer women on the ballot this year, it seems like there's an effort to clear the lane for her.

Why she might not:  So. Much. Industry. Hate.  Even this cycle, in chatting with people, I had someone telling me they could never vote for her because of what she did to Tommy Mottola, that she only dated him so she could use him and advance her career, and because she dumped him, it must be that she didn't love him and was only using him--completely ignoring the possibilities that he also used her, or that maybe the relationship simply ran its course and was genuine, or any number of other plausible realities.  People hate her for this.  There's also the conspiracy theory that during the '90s, her sales were inflated by her record company buying up large amounts of the releases to artificially increase her numbers and make her chart higher than she deserved.  Additionally, any member of the general public who has worked in retail during the holiday season hates her for "All I Want For Christmas Is You."

Whom she'd pave the way for:  I think it's very plausible they held up a Pink nomination to get Mariah in first; there's also a slim to middling chance that Britney Spears or Christina Aguilera could eventually follow through after Mariah.

Biggest threats:  Chubby Checker is a huge name as well.  Cyndi Lauper is the other female star on the ballot, and Outkast has a versatile style that includes R&B and hip-hop.

In the end:  By all appearances, the Hall is trying to clear the path for Mariah to get in.  But there were also a couple ballots where they tried to do that for LL Cool J, and look what ended up happening.  Still, getting nominated twice in a row isn't all bad news.  If she can make it three in a row next year, her odds will improve immensely.  This year, however... Odds of induction:  30%

13. THE BLACK CROWES

Rock band from the '90s.  First nomination.

Why they might make it:  They're a traditional rock band in the mold and tradition of a lot of classic rock bands, to the point where Jimmy Page has performed with them.  That's some respect from the old guard.

Why they might not:  Being in a similar mold and tradition is sometimes a polite way of calling a band "unoriginal."  Also, they didn't maintain mainstream popularity for terribly long, having only a handful of songs that the general populace remembers.

Whom they'd pave the way for:  It sounds like a joke, but I could see the Black Crowes opening the door for Counting Crows.  The Jayhawks are on the Previously Considered list, and could be next.  Knowing who nominated them at the Feast Of The Hoagie, though, I'll also include Television and possibly X.

Biggest threats:  Bad Company is the classic rock band that spawned acts like the Black Crowes, Phish is the '90s band in the lead in the fan vote, and the White Stripes and Soundgarden are other rock bands that some might consider more original and thereby more interesting.

In the end:  When they were first announced as nominees, I was unimpressed.  I have respect for their ability to continue to put out music and just rock out, but it's just not for me.  And I think enough voters think they can wait for their turn.  A long time for their turn.  Odds of induction:  20%

14. MANÁ

Rock en Espannol heavyweights, first-time nominee.

Why they might make it:  They represent something new and interesting.  Their nomination shows a cultural awareness and a broadening of horizons that is easily spun as showcasing the worldwide effects of what is arguably the United States Of America's greatest export.

Why they might not:  Most of the voting body is not fluent in Spanish and does not know their songs  Many of them have never even heard of this band.

Whom they'd pave the way for:  This was such a huge leap, they'd have to backpedal to get to some of the links along the way, including Los Lobos, Selena, and Gloria Estefan And The Miami Sound Machine.

Biggest threats:  Their own obscurity in America (I was literally chatting tonight with a half-Hispanic friend who lives in SoCal, and he'd never heard of them).  If we're looking for competitors on the ballot, Phish has a good time feel, as does Cyndi Lauper, Chubby Checker, and Oasis.

In the end:  Lol, no.  It's symbolic of the kind of vision the Hall needs to embrace more.  The Foundation to some degree thinks so, at least when they nominate acts like this one and Fela Kuti.  The Museum seems to embrace that vision, too.  But the voting body clearly does not.  Odds of induction:  1%

So there are my seeds.  My predictions.  My fate that I cast to the wind.  How well will I have done?  We will know soon.  As a piece of housekeeping, I don't know if I'll be able to get a ballot reaction post up when the news comes out.  I've got some personal matters to attend to that will require a lot of my time, energy, and concentration.  If I do post a reaction, it'll be very pell-mell, hastily edited, and maybe not very coherent.  Just a heads-up to you, my readers, that there are other forces in my life coming, converging on these next couple months.  See you on the other side.

When Listens The Heart: The 2025 Nominees

 Slight apology for the appropriation of that Hallmark series' title for this, but in a vacuum, it's a charming little title.  I think it suits a lot of us about how music reaches out to us, sneaks past our defenses, and gets in us, infecting us with emotions or articulations about emotions.  Like memes, we can just link to a song on a streaming service and add the comment, "Mood", and that's all that needs to be said.  So, after looking at (allegedly) objective analyses, we come to the point where we also have to admit that none of that matters if we don't like the music.  Unless an artist is the objectively most deserving act on the ballot by a country mile, the degree to which we find an artist's discography pleasurable is going to factor in, and in some cases, factor in heavily.  So this time around, I'm going to rank the artists by how much I simply enjoy their music.  I'll give my favorite song by them, review their Merits rank, and average them out.  Theoretically, the seven acts with the highest averages of combined ranks should be the seven that I am voting for everyday in the fan vote.  Even as I type this paragraph, I don't know that that's the case.  I'm ranking them as I go, possibly cutting and pasting as my mind goes back and forth, and I don't know what the averages will be.  So, really, I'm a passenger on this ride even while I drive the bus.  And I never ever ever lose my way.  Oh I may be a minute late, or two or ten or fifty-eig-- sorry, couldn't resist.  On with the show.

1.  Chubby Checker

I don't think this should be a surprise to anyone who knows me.  This is an artist that I was collecting CD compilations and CD album reissues of even before ABKCO officially remastered and released his CDs domestically.  I was buying Chubby Checker and Cameo-Parkway CDs from Belgium, the Netherlands, Germany, Switzerland, and who knows where else from before you could buy them domestically.  Gotta love eBay.  And I think what really separates his from the vast majority of other dance records of that time is that Chubby kept up the energy in his vocal delivery.  Even when it came to "Let's Do The Freddie," there seems to be a genuine enthusiasm to it that can't be shaken, compared to others.  And with my love of the rock and roll of the '60s, there's no way Chubby doesn't top this list.

Favorite song:  "Lovely, Lovely (Loverly, Loverly)"

Merits rank:  5

Average of ranks:  3

2.  Cyndi Lauper

This is why she really stands a chance of getting in.  Her music is so infectious, she's a diverse talent that has something for everyone, and when you think you only enjoy a couple songs, that rabbit hole lasts a few hours of listening pleasure.  It's a little known personal rule of mine, mainly because I seldom have to actually enforce it, that on this list, the official favorite song has to be one where the nominee is the primary artist of credit.  This matters because Jean-Michel Carre's song featuring Cyndi, "Swipe To The Right" is an absolute dance bop that should not be overlooked during your deep diving.  And even though it's not my favorite track, "Taffy Butt" is reason enough to rank her this high.

Favorite song:  "Maybe He'll Know"

Merits rank:  11

Average of ranks:  6.5

3. Mariah Carey

As much as I have always been oblivious to the current trends, even in the '90s, even I was enjoying some of Mariah's songs.  "Hero," "Anytime You Need A Friend," "Fantasy," and so on.  She's really an incredible talent that thankfully is having a second revision that is treating her favorably.  Her music's incredible.  

Favorite song:  "All I Want For Christmas Is You"

Merits rank: 1

Average of ranks:  2

4.  Phish

I don't know why I can enjoy their music much more than I can the Dave Matthews Band.  I think it once again goes to the voice of the singer.  Trey Anastasio's voice is much more palatable to my ears than Matthews'.  But overall, I think this band is a lot smoother and melodic than last year's jam band inductee.  I'm not saying I want to go to a Phish show, but if someone had an extra ticket and wanted to bring a friend along, I'd be inclined to go.  Then again, I hate the smell of marijuana, so maybe I wouldn't enjoy myself.  Or maybe I might.  I don't know.  And while Phish draws from a variety of influences, my favorite song from them is one where I hear the influence of Paul Simon, or maybe Simon And Garfunkel.  Paul Simon's songwriting style, at least, is present in my favorite track.  

Favorite song:  "Water In The Sky"

Merits rank:  13

Average of ranks:  8.5

5.  Outkast

I'm surprised I'm ranking them this low, to be honest.  I love "Bombs Over Baghdad," "I Like The Way You Move," and "Hey Ya", but the crossover songs were big for a reason.  The deeper album cuts weren't always my thing, though.  I did enjoy them somewhat, but they're very different than the songs that got released as singles for Top 40 stations to play.  The biggest detriment to my listening enjoyment though, and one where I've had to maybe put my thumb on the scale a little, is that I enjoy the songs where they are a featured artist quite a bit less than when they're the primary or sole artist.  Admittedly, "Ms. Jackson" is one I made fun of at first, making cat noises on "Ooh"s and "for real, for real"s.  And the fact they had animal puppets in that video to be part of the singing didn't help.  But the video for that song and the symbolism in the visuals made me realize that they were very creative and artistic.  

Favorite song:  "Skew It On The Bar-B"

Merits rank:  2

Average of ranks:  3.5

6.  The White Stripes

Another one I'm kind of surprised isn't higher, but maybe I just wasn't having the greatest of days when I was bingeing them.  Of the '90s rock bands that have the strong classic rock influences, though, this one also gets high marks.  Jack and Meg have a great merging of talents that can leave you scratching your head at times, but you're not unhappy with the results either.  

Favorite song:  "In The Cold, Cold Night"

Merits rank:  7

Average of ranks:  6.5

7.  Bad Company

Maybe it's the comfort factor, the familiarity, but this one is a little higher than I expected.  That said, I do love classic rock, even if thematically, Bad Company gets a little tiresome.  Sonically, I can keep listening to them.  The Brad Howe era, what you might call the ersatz Bad Company, deserves some love.  And as much as I want to dunk on them for an endless cycle of songs that are either about sex, drugs, rock and roll, or some combination of the three, there are exceptions.  One exception would be my favorite track which seems like a plea to get laid at first, but with the beauty of the arrangement and the soulful singing by Paul Rodgers, it's clear that this isn't just about wanting to get some, but the genuine need for intimacy, connection, partnership, pair-bonding, completion even.  That resonates with me.

Favorite song:  "Love Me Somebody"

Merits rank:  9

Average of ranks:  8

8.  Joe Cocker

This one surprised me at how high the rank is.  I have used some very unflattering language to describe my distaste for the hits that everyone knows.  In my defense, I didn't know he struggled with alcoholism when I said, "he doesn't sound soulful, he sounds like a broken down, dirty old man, and when I hear him singing 'You Are So Beautiful To Me,' it sounds like he's singing to a bottle of wine, and not a girl."  And I'm sorry, the image of Josh Saviano looking into the camera, waving, and running away is burned into my memory to where I prefer Ringo singing "With A Little Help From My Friends."  I don't care for either version of "She Came In Through The Bathroom Window," so we'll call that one a draw.  He does have the superior versions of "The Letter" and "Feelin' Alright", though.  And his lesser known, deeper cuts are what bring him up this high.  I really do feed off the energy of those songs, especially ones that give off Bob Seger vibes.

Favorite song:  "Cry Me A River"

Merits rank:  12

Average of ranks:  10

9.  Oasis

Once again, this is an issue of being a band that I can't binge on for too long.  They've got some really great songs, but the accent gets a little hard to endure after three or four hours.  They're a band I can listen to driving to and from SeaTac airport, but not one I'm going to want as the soundtrack if I'm driving all night to Reno.  They're a sprint, not a marathon listening event for me.  

Favorite song:  "Round Are Way"

Merits rank:  10

Average of ranks:  9.5

10.  Billy Idol

It's really hard for me to fair to Billy Idol and his music.  This is an artist that got ruined by my time in radio, when I did the weekend overnights on the lite rock station that specialized in "retro weekends."  The drunks and mentally disabled that used to call up and request "Rebel Yell" and "White Wedding" have ruined those songs for me.  And while I can appreciate his punk rock cred, as I said in my merits listing, he also had a synth-pop side, which you can kind of hear on songs such as "Eyes Without A Face."  Those songs, I don't like.  He's not at the bottom, though, so some of the deeper cuts and later albums had some jams on them that caught me by surprise.  And again, we have the technicality, that since "Dancing With Myself" was just a rebranding of a Generation X song, I feel it'd be disingenuous to allow that song in the competition for the favorite.  Sidebar: there is a mashup of "Rebel Yell" with Bob Marley's "Get Up, Stand Up" that you should absolutely check out.

Favorite song:  "Can't Break Me Down"

Merits rank:  8

Average of ranks:  9

11.  Mana

Like A Tribe Called Quest on their first nomination, I had trouble recalling anything to mind that I listened to.  This time, however, it's just due to the fact that nothing can stick, primarily because I don't speak Spanish.  As I type this, I'm having to take myself back and evoke the vibe and feel of what I've been listening to.  I distinctly remember them not quite feeling like my other experiences with Latin pop, which usually either involved or were sonically adjacent to mariachi, telenovela theme songs (or love songs that sound like they could have been), or dance music.  With Mana, I definitely got vibes of reggae and beach vacation music, along with some of the more traditional rock vibes, but not as audacious sounding as American or European rock bands.  That's the best I can do to explain myself on this one.  Sorry.  I'm throwing on a favorite song after having binged on them again yesterday, at the time of writing.

Favorite song:  "Clavado En Un Bar"

Merits rank:  6

Average of ranks:  8.5

12.  Soundgarden

Third time's a charm, I guess.  If you've looked at my ranks of their music on previous personal tastes lists, you know that this is actually a relative climb up for them.  I'm not sure if their music is actually growing on me or if Spotify is just choosing songs more palatable for me to tolerate.  Either way, I'm warming up to them a bit.  But I still have no idea what the heck a spoonman is.

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

Merits rank:  4

Average of ranks:  8

13.  The Black Crowes

As much as I enjoy classic rock, I don't enjoy all the artists that are in regular rotation on classic rock.  So even when you describe a '90s act as rooted in classic rock traditions, it's not a solid guarantee that I'm on board.  In this instance, the three classic rock acts that I hear the most influence on the sound of the Black Crowes are the (Small) Faces, the Band, and the Rolling Stones.  I'm not that huge a fan of either era of the (Small) Faces; the Band are alright, but I can take or leave them a lot of the time; and I love the Stones, but they are tertiary in terms of influence that I hear.  The clincher as to why they rank lower on this list though, is Chris Robinson's singing voice.  It's just not for me.  It works well in the group, though.  It fits.

Favorite song:  "Jealous Again"

Merits rank:  14

Average of ranks:  13.5

14.  Joy Division / New Order

My apologies to those in the hobbyist community who love post-punk and indie or underground bands.  I'm trying to appreciate them, really I am.  New Order is definitely the easier incarnation for me to listen to, and if it was just New Order, they might be one notch higher.  Even then, that's as high as they'd get.

Favorite song:  "Round And Round"

Merits rank:  3

Average of ranks:  8.5

So if we give equal weight to the merits and personal preferences, as I am wont to do, then the composite ranking is such:

1. Mariah Carey

2. Chubby Checker

3. Outkast

4. Cyndi Lauper (tied)

4. the White Stripes (tied)

6. Bad Company (tied)

6. Soundgarden (tied)

8. Joy Division / New Order (tied)

8. Mana (tied)

8. Phish (tied)

11. Billy Idol 

12. Oasis

13. Joe Cocker

14. the Black Crowes

So, with that composite list, the logical conclusion is that when I vote on the fan ballot daily, I should be clicking on Mariah Carey, Chubby Checker, Outkast, Cyndi Lauper, the White Stripes, Bad Company, and Soundgarden.  And believe it or not, that's exactly how I've been voting... since day two.  Day one, I had just begun doing catalog dives on the nominees, and wasn't quite fully committed to a seventh pick yet.  So, that first day, I did not vote for Soundgarden; instead, I decided to shake things up and cast a vote for Mana.  So there.  You know someone who voted for Mana... once.  Since then, Soundgarden was my seventh choice, and I've been running with it.  That'd be a pretty good class too, if that's how it worked out.  But how do I think it'll actually play out?  We'll have the seeds coming soon.

Stacking up: the 2025 nominees.

 As is the custom, it is now time to rank the Rock And Roll Hall Of Fame's 2025 nominees by merits.  This is an attempt to be objective, take our heart off our sleeve and put it back in the ribcage, and use our thinking brain to gauge the nominees, and determine who's the most worthy.  How do we do that?  By having metrics by which we try to measure each of the nominees, applying the same standard all around.  What standards might those be?  Those who've been reading long enough know we're catching the on ramp to my I-5:  Innovation, Influence, Impact, Intangibles, and Issues.  The first four are the positive aspects to a nominee's candidacy, and the last one is the other side of the coin, the negative side that might detract, because we need to give as well-balanced an analysis as you can.

So we're about to rank the nominees by order of merit according to these metrics.  As a reminder, in case you're tempted to get your dander up, just because an artist lingers down near the bottom of this list, that doesn't mean they're not worthy.  You can't only compare them to the other nominees, but you have to remember that they stick out from among thousands upon thousands of musical acts that are never going to be on the ballot.  So if they're worthy of the Hall, why bother ranking them?  Two reasons: one, a voter can only vote for seven, so there theoretically should be reasons why or why not; two, making lists is fun.  So let's do this.

1. MARIAH CAREY

Innovation:  It's both musical and industry innovation and influence the way she helped infuse the world of hip-hop into the style of pop-R&B.

Influence:  In addition to setting a new pop-R&B template, she has been incredibly influential as a singer and interpreter of songs in her own right, inspiring a legion of female singers in her wake.

Impact:  The first, and possibly only to date, singer to land a number one Billboard Pop Chart hit in every year for an entire decade.  Second most #1 pop singles of the rock era, and far and away the most commercially successful singles artist on this ballot.  

Intangibles:  An underrated songwriter and creative controller in the direction of her music and affected change in the industry, as mentioned above.

Issues:  Allllllll I waaaannnn--Ow!  Ow!  Stop hitting m--Ow!  Seriously though, the kneejerk rage and hateful memes that one song has spawned on social media could fool a less knowledgeable person into thinking she's a one-trick pony, not to mention the hatred of that song itself because of its artery-clogging saturation in the public consciousness between Halloween and Martin Luther King Day (it takes time for it to abate completely).  Additionally, her music got very adult contemporary palatable really quickly, and if there's one format that is almost universally not considered rock and roll in the slightest... well, it's Contemporary Christian, but if there's a second one, it's Adult Contemporary.  Lastly, her personal life was at one point a veritable source of cheesy tabloid fodder that somehow has a way of damaging credibility for palpable reasons I can't fully articulate.

2. OUTKAST

Innovation:  They made hip-hop that sounded like neither East Coast nor West Coast.  There was an originality to what they did.  

Influence:  Massively influential, they influenced Janelle Monae, Kendrick Lamar, Kanye West, and Lil' Wayne, just to name a few.

Impact:  They were extremely successful in terms of sales with hit singles and albums, and furthermore, college radio played them back in the day.  Also, they made hip-hop that was accessible to White people over thirty, completing the canvas of American cultural ubiquity.

Intangibles:  Their talents are unique, both individually and collectively, they were lauded by critics, and their image of an oil-and-vinegar type of combination all add to making an indelible impression.

Issues:  In a somewhat self-contradictory twist, there's some sense that they need to reunite and put out new stuff before folks should be willing to vote for them.  As much as everyone loved Speakerboxxx/The Love Below, they're equally unhappy that they didn't give the public another album like that, and Idlewild is an unsatisfying closing chapter.  Some may not want to enshrine them until they get another top flight album.

3. 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.

4. 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.

5. CHUBBY CHECKER

Innovation:  He might want to take credit for innovating "dancing apart from the beat," but sonically, I gotta call this one a goose egg.

Influence:  He was massively influential for a short period of time, that being in the wake of the twist as a dance craze.  So many records about the twist itself, in addition to the entire fad of different dance records that lasted until about the arrival of the Beatles.  Additionally, some of his early '60s dance records were remixed by EDM producers and deejays during the '00s, so a brief resurgence in his reach of influence.

Impact:  The name is universally known, and he had a strong string of hit singles through the early '60s, including two #1 hits, one of which was Billboard's biggest single of all-time (by their metrics) for nearly fifty years.  Additionally, the first rock and roller to play the Superbowl halftime show, which is now one of the biggest events in American music culture, and something of a dream gig to land.  Plus, he's the only African-American musician worthy of mention in Billy Joel's musical synopsis of the cultural zeitgeist of the Cold War, "We Didn't Start The Fire."

Intangibles:  Respected by a lot of the rock and roll community, including his contemporaries and the immediate generation following him, he is held in high esteem by most inside players, seemingly.  Even rockists who don't think rock and roll TRULY existed before the Beatles or Rolling Stones are willing to give a hat tip to Chubby Checker as an early, quasi-foundational figure.  And as John Sykes frames rock and roll music as a matter of youth culture, Chubby is a strong symbol for youth culture in the early 1960s, especially considering those twisting teenagers grew up to be the first wave of Rolling Stone readers as late teens and early twenty-somethings who wanted to fight the power and change the world, which is what Sykes typically means when he talks about youth culture.

Issues:  When I tried to tell a good friend of mine that Chubby was a lot more than "The Twist," he responded, "No, he's less than 'The Twist.'"  Considered a one-trick pony who beat that horse to death, his talent and skill are greatly downplayed by some.  It doesn't help much either that the in-house songwriters of the Cameo-Parkway empire were frequently derivative at best, plagiaristic at worst, and the results tend to get laid at the artists' feet.  Lastly, with his stunts in campaigning to get in the Hall, he comes off as a bit "thirsty" for it, which may turn some voters off.

6. MANA

Innovation:  Admittedly, I'm way outside my ken here, but I do hear some fusion of reggae and other Latin American rhythms and rhythmic structures that feels like it must have been novel at the time.

Influence:  Again, not something I'm having a ton of luck finding stuff on, but in a spaghetti-on-the-wall kind of way, one would have to imagine that they can't be that huge without having some modicum of influence in their wake.

Impact:  This band is huge in the parts of the Western Hemisphere south of the Rio Grande.  And even as far as U.S. penetration goes, on the U.S. Latin charts, their string of hits is bigger than on the Pop charts in Mexico or Spain, charting high over the course of nearly thirty years.  They even apparently made the Billboard Hot 100 twice.  And it's probably not an overstatement to say they're a sizeable part of some SoCal subculture and scene.

Intangibles:  They generate a little cred by having drawn influence themselves from reggae, which the Hall has recognized in a couple inductions.  Additionally, they are deeply immersed in charitable causes and humanitarian efforts, which is part of the rock and roll spirit and the emblem of youth culture that Sykes wants to bind rock and roll to: the youth movement that is enraged at injustice and takes down the establishment by using their powers of being young and being rockin'.  

Issues:  If you don't speak Spanish, their being announced as a nominee is very likely the first time you've heard of them.  Additionally, some are wondering why Mana instead of Los Lobos, Selena, or Gloria Estefan And The Miami Sound Machine.  Furthermore, much of their catalog has a more "cool" feel than "edgy" with the distortion pedals and vocals that push boundaries.  There's a very ambient, background feel for many of their songs.

7. 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.

8. BILLY IDOL

Innovation:  A unique combination of punk-rock moorings and synth-pop that was contemporary at the time.

Influence:  His influence was stunted by the arrival of grunge, but as some, like Miley Cyrus, are discovering him, he's had some influence.

Impact:  A dozen or so pop hits, most of them making the Top 40, and a fair amount of album sales as well.

Intangibles:  The sneer, the image of a bad boy and tough guy.  The punk-rock cred from his time in Generation X.

Issues:  His image and sound are really only seeing a resurgence recently, and most would say they overall didn't survive, period.  The slower and more synth-laden songs have a production style that is timestamped and is hit or miss with how well it's aged.  Additionally, some would probably protest it should be Generation X instead of Billy Idol getting nominated.

9. BAD COMPANY

Innovation:  Like a lot of the arena rock bands, they started about at the same time and had a big part of defining what that sound and movement would be.

Influence:  This is hard to parse out because, again, those bands all came out about the same time, so maybe it's a matter of them being part of something that was synergistically influential, which in turn lets them claim credit as a band themselves.  But Paul Rodgers does stand out as an influential vocalist, so they have that in their arsenal.

Impact:  They perform remarkably well in this, with several hits still in classic rock rotation, and even continued to make the Album/Mainstream Rock charts until the end of the twentieth century.

Intangibles:  Paul Rodgers is the secret weapon, being one of the most highly regarded rock vocalists, especially of the 1970s.  

Issues:  "Sex, drugs, and rock and roll" may be the unofficial motto of rock and roll, but it's also the depth and breadth of Bad Company's catalog, in terms of subject matter.  And because they were one of several bands to emerge in that lane at that time, they are sometimes considered generic-sounding. Also, there's the whole "Should it be Bad Company, or should it be Free that is how we encase Paul Rodgers in amber?" discussion.

10. OASIS

Innovation:  They were one of the acts leading the charge for the Britpop movement.

Influence:  Leading the charge, they influenced a lot of British bands that came after them, and not just in Britpop, but rock bands in general that followed.

Impact:  A fair amount of commercial success here in the States, and immensely popular in the UK to the point of creating factions in the Britpop fandom circles.

Intangibles:  They have a bit of longevity, releasing albums over a course of fifteen years, and a bit of critical acclaim to go with it.

Issues:  The sibling drama.  You're either here for it or really not here for it, but either way, it distracts and maybe even detracts from the music.  I mean, how many members can you name that don't have the surname "Gallagher" without looking it up?  Also, while no one denies how important the Beatles were, some hold it against Oasis for sounding a little too derivative of the Beatles.

11. 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.

12. JOE COCKER

Innovation:  As a vocal stylist, he's a unique blend of the blue-eyed soul reminiscent of the Righteous Brothers and working-class rock and roll such as Bob Seger.

Influence:  Maybe it's just me, but I can kind of hear his singing style as being influential to singers ranging from Bruce Springsteen to Michael Bolton.

Impact:  He doesn't have a ton of hits, but they are spread and spackled out enough to where he has name recognition to multiple generations.

Intangibles:  His recordings, both live and studio, have a palpable concert energy that can really draw an audience in.  Plus, he has stylistic versatility to rock out as well as croon.  Lastly, his iconic status achieved by his presence at Woodstock solidifies him as a symbol of that point in history.

Issues:  He was kind of an inconsistent performer, in terms of output and also reliability in the studio, which resulted in an inability to steadily maintain momentum at any point of his career.  Some of that was his alcoholism, and some of that was his seemingly low social battery he had as a humble introvert.  Unfortunately, the result remains the same.

13. PHISH

Innovation:  I heard one musician comment about their sound being a blend of Grateful Dead-styled jamming and prog rock.  I can't argue against that, so... sure!

Influence:  I would say Phish, more than the Dave Matthews Band, really helped whet the appetite of Gen X (the demographic, not the band) for jam bands, which helped spawn a league of said outfits.

Impact:  In terms of hits, they had very few, virtually none. But they are a name that every college student has heard of, and their music, while not a staple, was semi-regularly rotated in college radio programming.

Intangibles:  This band garnered a lot of respect and credibility for the level of success and name recognition that they have achieved despite not being with a major label for a large part of their history.  Even when they were signed with Elektra, the business model still remained much the same, and that level of grassroots growth is both authentic to their brand and amazing that they were able to become successful enough that they are now nominees for the Rock And Roll Hall Of Fame.  Their musicianship and live shows are noteworthy, even getting a genuine shout-out from Drew Carey when he appeared on "After Midnight."  And I'll also give them props for their "Phish Food" ice cream with Ben & Jerry's.  On a personal note, and mostly non-sequitur, I'm mildly disgruntled that virtually every flavor that Ben & Jerry's churns out now almost HAS to have fudge flakes/chunks/swirls and/or bits of brownie, like they're just making new variants of "Half-Baked," which is their most popular flavor, but one of my absolute least favorites.  I think the only one I *HATE* more than Half-Baked is "New York Super Fudge Chunk."  Phish Food has the fish-shaped fudge chunks in it, and is a chocolatey ice cream to boot, but I actually like that one.  It might be in my top twenty all-time flavors of Ben & Jerry's.  So that's a plus for the band in this category, in my opinion.  But I really miss "Red Velvet Cake."

Issues:  Most people have heard of Phish because... they've heard of Phish.  Unless you're a really big fan of the band, you probably can't name a song, or certainly not more than three.  Their songs just don't have widespread recognition, and their concerts are lauded more for the experiences while in attendance--the people you meet and bond with, the strains of weed you partake, the overall vibe, and even the demonstrations of musical virtuosity when they "open a song up" and jam--than the actual songs themselves.  That's what has made them successful, but it doesn't help them play in Peoria.  If the Rock And Roll Hall Of Fame is about the music, Phish definitely suffers for not having their songs being widely recognizable.

14. THE BLACK CROWES

Innovation:  Very little, one might give them a little credit for modernizing the classic rock sound.

Influence:  Hard to find, but they may have been an influence on the likes of Kings Of Leon and the Black Keys.

Impact: The Black Crowes perform surprisingly well in this category.  Though they only had a half dozen songs on the Billboard Hot 100, they've had almost thirty hits on the Mainstream Rock Charts, including six #1s that spent a combined half year in the top spot on that chart.  

Intangibles:  Despite the drama between the brothers, the revolving door of membership, and the multiple breakups; when they get back together, stow the drama, and get back into the music and into the studio, it's like riding a bicycle almost.  They just seem to pick up where they left off and get right back to work.  There's something to be said for that level of journeyman consistency that has proved efficacious for them.

Issues:  Despite their string of hits on the Mainstream Rock charts, they're mostly remembered for one or two hits, one of them being an Otis Redding cover.  Additionally, "modernizing the classic rock sound" could be an epaulet worn by any number of non-grunge rock bands that came out of the '90s, including other Rock And Roll Hall Of Fame inductees like Foo Fighters.  Lastly, their imperial phase occurred during the same time as another rock band with an ornithologically similar name.  With both being a kind of alternative rock at the same time, it's very easy for the general public to conflate the two.  It's not necessarily or entirely either band's fault if the general populace made no effort to differentiate the two, but being essentially in the same lane does hurt their abilities to establish separate identities.   I simply can't help but wonder how many people left a Black Crowes concert upset that they didn't play "Mr. Jones," or left a Counting Crows concert upset that "Hard To Handle" wasn't in the set.

And with that, I will once again remind you, dear readers, that finishing low on this list is not the same as calling them unworthy of induction.  Names on a ballot are not the same as proposals on a ballot, where you can vote to approve each one and possibly have fourteen inductees.  Voters are only allowed to vote for seven, and the Rock And Roll Hall Of Fame won't induct all fourteen this year.  So, decisions have to be made, and reasons why you vote for one and not another have to be determined.  And this list I've just given provides some of those reasons.  However, this is not a definitive list of reasons.  Tune in for the next chapter, where I'll be ranking reasons that come from the connection between the ears and the heart, instead of the ears and the head.  I'll be ranking the nominees based solely on my personal tastes.  

And then there were 14: the Ballot of 2025

Today, the Rock And Roll Hall Of Fame announced their ballot for the Class Of 2025.  There are fourteen nominees, which is a little on the smaller side, but not too small, well within the statistical standard deviation of the past decade or so.  So far, I've only heard two podcast episodes about this ballot, and awaiting at least one more.  In a weird way, I feel a little underwhelmed by what's on the plate here.  There's a lot of good stuff.  Once again, it's a ballot where I don't really take exception to any single nominee, but that the sum of its parts doesn't exactly look like the mighty Megazord.  But there's really nothing wrong with the nominees themselves, except my own lack of familiarity with most of their discographies at large.  That's something I will rectify over the next several weeks and will hopefully have a better understanding of what a good class we could potentially have.  

Starting first with the fact that I correctly predicted six names, and even that deserves an asterisk.  I also predicted eighteen nominees, so when you do the math to figure out the proportions, you could argue that I should only be credited with 4.67 correct names predicted.  Or not.  This isn't a math class.  I've got six names on the board, but it's kind of telling that the furthest left-field pick of mine to make it is Bad Company.  It means I'm really bad at guessing where new ground will be broken.  Really though, I'm more relieved than excited at their nomination.  If they get in, it means we can finally stop hearing about Paul Rodgers needing category treatment or just about this band being a huge snub.  Nothing will ever mollify the classic rock crowd until every artist that was ever played in the format has been inducted, but at least this is one that makes sense to put up for nomination.  Seriously, I'm already seeing whining about Mariah's nomination, as she's "not rock," also complaining about Whitney Houston's induction in 2020.  I--I just... ugh.  The groundhog came out and saw its shadow, which means six more years of bellyaching about R&B and hip-hop being considered rock.  That said, I'm excited for Mariah Carey to be back, even though I didn't predict her but almost did, as it hopefully means she was on the bubble last year, or at least near it.  

Speaking of hip-hop, I did predict Outkast and am breathing a sigh of relief.  Top flight artistry, it's ridiculous they had to wait, but I refuse to be mad about it.  They're on the ballot, and I love it.  The rest of my correct predictions I'm not as personally thrilled about.  Billy Idol is an artist that was ruined for me during my radio days, partially by drunken or literally mentally handicapped callers, and partially by the fact that the songs of his we played tended to be "long" for me, which in this case meant over four minutes.  Oasis is a band that last year, I said I could enjoy in small doses, but that binging them made me sick of them.  We'll see if I still feel that way this time around.  Cyndi Lauper is an artist I like, and even enjoyed playing her songs when I worked in radio, but not one whose music I'm in love with necessarily.  Much the same can be said about the return of the White Stripes, though I really did discover a lot of great music that I appreciate.  But they too are a band that I don't get the whim to throw on randomly.

In fact, the only artist on this ballot whose music I'm a huge fan of and even had in my CD collection prior to them even being on the "Previously Considered" list (other than Outkast) is Chubby Checker.  I love his music, I'm excited by his nomination, and I love what his nomination potentially could represent.  There's a lot more than meets the ear upon first listen.  I really hope people take the time to explore his music further.  Yes, he did get stuck in that "American Bandstand dancing music" niche, but I do think that small pond is big enough to warrant enshrining this big fish for it, especially given the epoch of the rock era it looms large in.  But I'm meandering.  Speaking of meandering and big fish, nearly on the opposite end of the spectrum is jam band Phish, whose music I'm honestly not familiar with at all.  I'm not opposed to jam bands being enshrined, but if my experience in exploring Phish's catalog runs a parallel course to my first deep dive into the Dave Matthews Band back in 2019 for the Class Of 2020, I'm bracing myself to be simultaneously bored and irritated.  Hopefully not though, but being from farm country, being the fourth of five children in a middle class family whose parents taught that thrill-seeking and pleasure is not the end-all-be-all in life, live music experiences were always viewed as a luxury at best and a frivolity at worst; I will literally be fighting my nurturing environment to make space to appreciate what Phish represents.

But they probably won't be the toughest act on the ballot for me to relate to.  Seeing as I don't speak Spanish, that honor will probably go to Mana, starting with the fact that I want to same the name twice to get that Muppets song stuck in your head, because I'm still five years old sometimes.  Also, I'm too lazy to pull up the special character that is the letter "a" with the accentuation mark over it to spell it technically correctly.  But don't worry, I also won't be doing that for Husker Du or Queensryche either.  Deal with it.  But if music is a universal language, then maybe I'll enjoy the melodies without necessarily understanding the lyrics, much in the same way "Macarena" took over the USA in the mid-'90s.  But this is a curious nomination, and I have two conspiracy theories about their nomination, probably neither of them are true.  One is a woke hypothesis, and the other is cynical.  One suggests that the NomComm put a band from Mexico on the ballot in protest Trump's renaming the Gulf Of Mexico, and also to piss off the MAGA faithful.  The other hypothesis is that this is bait to drive up traffic from the primarily Spanish-speaking world to the Rock And Roll Hall Of Fame's website to drive up the numbers in the fan vote for them, much in the way the website's traffic boomed when African people flocked to the website to vote for Fela Kuti on his first nomination, thinking that 110,000 votes on the fan vote equaled 110,000 votes in the tallying office, instead of just being the one fan vote that it actually was.  It might be that this is just bait to drive up those clicks to the website to make them seem bigger and more relevant.  Again, the truth is probably neither of those scenarios, but it's sometimes fun to harmlessly stir up irrelevant shit.

Moving on from there, we also have a nomination for Joe Cocker, a name that many in the hobbyist community have been crying out for for a long time.  Chubby Checker famously said he wants his flowers while he's still alive, but in Cocker's case, there's nothing wrong with placing some fresh ones on his grave, to let the world know he's still a beloved figure.  We also have a nomination for the Black Crowes, a band I'm currently not stoked about, but also admit that I only know the one song by them, a song that I think is okay.  Definitely one I'll need to research, but I'm willing to do it.  We also have a return of Joy Division/New Order to the ballot.  Last time they were nominated, I did what I thought was a fair amount of work in listening to their catalogs, trying to find the evolutionary missing link that made the transition between the eras that each name represented more seamless.  I don't think I found it last time.  I hope I'll find it this time.  Maybe it doesn't exist.  Maybe Ian Curtis was so singularly in control of the creative process that when the others had to move on without him and bring Gillian Gilbert aboard, it was inevitable that the New Order releases would sound vastly different.  

The last nominee is the most nominated artist on the ballot, this being the third time, and it is Soundgarden.  This is going to be an interesting one for me to watch for a particular reason.  And if you want to know what that reason is, become a Patreon subscriber for "Who Cares About The Rock Hall?" and check out the exclusive episode that I did as part of the listener takeover series.  Hint: I'm mildly bummed at Phil Collins not being nominated as a solo artist on this ballot.

So there we have it, a brief rundown of the nominees for this year's class.  And like Joe & Kristen, and also Mary & Eric have noted, this is a very homogeneous ballot.  There may be some stylistic diversity, but in terms of demographics and representation... yikes.  But as someone who has taken part in parliamentary procedures, I can also attest that when individuals and individual interests all coalesce to collectively fight for those individual interests, it's often a natural result that the needle is not greatly moved, if at all.  Hopefully, we'll get some balancing out in the categories.  But until then, I hope you all avail yourselves of the chance to research the nominees too. Enjoy the tunes.