tag:blogger.com,1999:blog-37601372415947532682024-02-24T23:29:12.571-08:00Rock Hall MonitorsWhere we keep an eye on the goings-on in the Rock And Roll Hall Of Fame Foundation: what is, what isn't, what could be, what should be, what oughtn't be, etc.Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.comBlogger165125tag:blogger.com,1999:blog-3760137241594753268.post-8613731650688431252024-02-06T08:39:00.000-08:002024-02-06T08:39:08.551-08:00Predicting 2024's ballot<p> As we anticipate the announcement for the ballot for the Rock And Roll Hall Of Fame this year, I once again finding myself doing the last minute panic thing to get it posted in time. But that's okay, because it forces me to be succinct. Let's face it, the explanations matter less to most readers than the names in bold. So, what are my picks?</p><p><br /></p><p>First, I'll start with the newly eligible artists. None. Okay, but some thought Coldplay would be nominated once they presumably became eligible (until we learned of the adjustment), but I'm going to apply Occam's Razor to this one and say the Hall is showing their cards. They could nominate Coldplay too, but they clearly want <b>the White Stripes</b> first. So they make my list. Among other nominees, I think <b>A Tribe Called Quest</b> will return, too. The rationale is a little hard to explain, but Tribe is basically the first hip-hop repeat nominee that isn't a huge name or a foundational to hip-hop. They're innovative, but they weren't as foundational as Grandmaster Flash And The Furious Five or N.W.A. or as big as LL Cool J. So for them to be nominated twice already despite not being a bigger name tells me there's a burning desire around the hoagie for this group. I also think <b>Warren Zevon</b> will return, just because he's been a long time coming, and if he needs a second nomination to get in, they won't give up right away. And with Rage Against The Machine in, they may want to see if that truly does clear the lane for <b>Soundgarden</b>.</p><p>Using the past ceremony as a crystal ball, I imagine there will be a second hip-hop act on the ballot in the form of <b>Outkast</b>. Big Boi did a great job. Sadly, I don't see Queen Latifah getting nominated or Salt-N-Pepa, simply because Tribe is a bigger priority for someone there. I think <b>the Dave Matthews Band</b> will probably get another look as well, since Dave just did his best to be oh so charming and toe in the sand humble while inducting Willie Nelson. I don't think he was insincere, mind you; I just don't like the idea of that attitude being the reason the Nominating Committee latches onto him again more than his music being the reason. Now, some lamented there wasn't anything for the rock lovers, which I kinda disagree with. There just wasn't any display of rock and roll as a form of male peacocking. To which, I say, "So?" But Sheryl Crow gave a really good performance that rocked, even if she had never brought out <b>Peter Frampton</b> to play with her. But bringing him out was a big moment, and I think it'll serve as an impetus to get him in while he's with us. </p><p>Conversely, I am kind of led to believe that there will be a moment of "Everyone loves you once you're gone" spirit that will probably see a nomination for <b>Jimmy Buffett</b>, an artist I have an aversion to mainly because of the fan base. I do like some of his songs, and would probably like more if I did a deeper dive, but the extent to which "Margaritaville" (a song I like) has been transferred from an anthem about escapism to an anthem for the mindset of "any reason to get blasted is a good one"--which in turn is becoming escapism again because of the depressing economic realities younger generations are facing, there's no mindless partying anymore, it's escapism even when we call it partying and celebrating--is irksome. It's become about the object rather than the reason. Anyway, I see him being nominated. </p><p>Looking elsewhere, just because I don't see every act returning to the ballot from last year, I think they'll go with <b>Motorhead</b> instead of Iron Maiden and give Cyndi Lauper a year off to go with <b>Cher</b>, just to poke the bear as it were and court controversy. I'm guessing about sixteen nominees, and I just think it's a shame they snubbed <b>Destiny's Child. </b>I hope they rectify it. For the older men in the room, let's throw in a possible nomination for <b>Huey Lewis And The News</b>, another name they may want to rush to honor while the lead man is still with us, but has had to give up touring. Let's give another nod for <b>Mary J. Blige</b> and see if we can finally get <b>Mariah Carey</b> on the ballot too. I'll even throw <b>No Doubt</b> on there too.</p><p>Lastly, for my left field pick, I'm going back to the removal of Jann S. Wenner altogether from the Foundation establishment, following his headlong rush to get canceled last year. If there were any vindictive NomComm members who wanted to twist the knife, there is one act they could nominate to do that. Even though there are no articulate women in this group, nor any articulate people of color, it would still bring a cheesy grin to those of us who know to see them nominated. Reportedly on Wenner's "over my dead body" list, this would also be indicative of Sykes being at the helm because this was an act that really helped MTV in its first decade with programming, which then caused a resurgence in their popularity. Naturally, I'm talking about <b>the Monkees</b>. A left field pick to be sure, but think about it.</p><p>In closing, those are my sixteen names, and I'd also like to take this opportunity to commit a shameless plug. Even though I didn't predict "Weird Al" Yankovic to be on the ballot, I did recently have the privilege to be a guest on the "My Weekly Mixtape" podcast, where the host, Brian Colburn, and I cast a vision of a twenty-song playlist that both symbolizes most if not all of the reasons why "Weird Al" should be in the Rock And Roll Hall Of Fame, and also displays what I believe is unquestionable musical excellence across his entire career. Please go check it out; it would mean a lot to me if you would. And if Brian's wife reads this: Ross and Rachel were on a break. Yeah, I said it. Whatcha gonna do about it, huh?</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-9203048297259290512024-01-06T06:10:00.000-08:002024-01-06T06:10:02.905-08:00Songs Of Proof: The Class Of 2023<p> It's hard to type up a blog post on a phone, so bear with me until I have the time to purchase a new laptop. But, I'm watching the ABC broadcast as I text this up. So, I'll have ceremony thoughts while sharing my choices and thought process. </p><p><br /></p><p><b>Kate Bush:</b> It may seem like sacrilege to not use "Running Up That Hill" for her Song Of Proof, but stranger things have happened, thus marking the last mileage I intend to milk out of that joke. Big Boi gave an enthralling speech, even when giving the prompter people flak for falling down on the job. The performance of St. Vincent was beautiful, but I felt it was important to use another song, lest anyone think of Kate Bush as a one-trick pony. And having few pop hits gave me a little more latitude. But I didn't abandon the charts either. A great middle ground and truly one of my favorite songs by this amazing artist, "Love And Anger" is a top shelf song that showcases Bush's signature avant-garde theatricality and intertwines it with a solid enough beat for those who would dare wonder what Kate Bush has to do with rock and roll anyway. Plus, it was a number one hit on the Album (or Mainstream) Rock charts when it came out. Underrated song that needs more attention, and I think it does justice on an objective level too.</p><p><br /></p><p><b>Don Cornelius:</b> The segue from the Spinners tribute to this induction was clever, and the video package really was amazing for this man. It's just sad that it's another example that the Hall is more of a rogues' gallery than an upright citizens parade (malaprop intentional). But not inducting him would have been wrong too. What "Soul Train" did for the African-American community is too significant to not enshrine him, especially since he had to be the one to get Dick Clark to back down with his copycat competitor program. He went toe to toe with Dick Clark, whom you did not pick a professional fight with in those days, and emerged victorious, to elevate the Black community. No, he needed to be inducted, warts and all. And just as "Bandstand Boogie" represents Clark, the only choice for Don Cornelius is the MFSB (featuring the Three Degrees) classic, "TSOP (The Sound Of Philadelphia)," which was the theme song, minus the singing of the name of "Soul Train."</p><p><br /></p><p><b>Sheryl Crow: </b>Her segment is really condensed and rushed. But that's to be expected, condensing a 4.5 hour event down to under 3 hours to allow for commercials. Anyway, Sheryl's music to me kind of has an alternative beach bum feel to it. The kind of music someone on the beach plays who has nowhere else to be, but isn't the standard type of music you'd expect from such a character. And that's not meant in a derogatory manner either. That's just the mental image I get of her music. To that end, I wanted "A Change Would Do You Good," but it wasn't a Hot 100 hit. Since her commercial success had a lot to do with her case, I felt it needed to be one. "Soak Up The Sun" is a favorite but is a little too atypical. "If It Makes You Happy," I'll admit I thought was an Alanis Morissette song when I first heard it, so no. The final song standing is "Everyday Is A Winding Road," narrowly edging out "All I Wanna Do." With a little bit of a road trip feel to its pacing and arrangement, it works the best for that "enjoying life" vibe that I feel is most signature of her music. And hey, Frampton shredded wickedly while onstage with Sheryl and Stevie. </p><p><br /></p><p><b>DJ Kool Herc:</b> This was a tough one. First, a quick side note, if someone is to be inducted as a "Musical Influence", in what is a renaming of the "Early Influence" category, then one should arguably have a catalog to go with it. I personally would have gone with Award For Musical Excellence for him; I mean, they inducted engineers in that category, so why not Herc there? I digress, and it seems that if you're not a Performer inductee, then whichever category they stuff you in is irrelevant. I think it's careless, haphazard, and slipshod, but you're also all sick of seeing me tilt at that windmill. His acceptance speech seemed incoherent in parts, but I think we can chalk it up to being overcome with emotion. But with no substantial catalog of his own, choosing the song for him was tricky. I seriously thought about going with the James Brown song that they mentioned as being one of the songs that he kept using the break of that pioneered hip-hop. However, since hip-hop originally started as the milieu and elevation of the deejay, I chose a different direction. The song chosen is a little off, but bear with me. Even though the credited artist is absolutely making the song about him, the lyrics namecheck Kool Herc as one of the innovators, and if you just go by the title alone, it could also apply to DJ Kool Herc as well, and how hip-hop was originally about the deejay and not the emcee. So, for those reasons, the song used is "Girls Love The Way He Spins" by Grandmaster Flash.</p><p><br /></p><p><b>Missy Elliott:</b> This was a great induction. Queen Latifah gave a great speech, and the video package was on point. It also makes it seem an induction for Timbaland is inevitable. Missy's speech was wonderful, and her performance was the halftime show we need. One of the things I heard said about her was that her sound still sounds current. I'm not knowledgeable enough about hip-hop to weigh in on that, but it is a good listen at any time. Thinking about how she wanted to head a label more than perform, I'm not sure if she didn't have confidence in her abilities or just wanted the label more to the point where she downplayed her abilities. Either way, it just shows that brilliance can't and shouldn't be shrouded, and either way, her story shows that no matter how talented you are and how big the dream, to get it, you gotta "Work It." Narrowly beating out "Get Ur Freak On," that will be the selection for her. And if I'm in the wrong, hopefully it's no worse than a misdemeanor.</p><p><br /></p><p><b>Chaka Khan:</b> I'm glad she's in, I'm sad it happened this way, because now there is no chance to have her be a double inductee. But you can't be a double inductee if you can't even get in a first time. Bird in the hand being worth two in the bush, and all that. The song I'm using for her as an Award For Musical Excellence inductee is the same I'd have used if she'd been voted in. "I'm Every Woman" is a powerful anthem and a party jam as well, and that's fitting because discovery of one's identity is worth celebrating. It's a personal victory, and to quote "Avengers: Age Of Ultron:" victory should be honored with revels. As far as her induction segment goes, H.E.R. absolutely killed it, as did Chaka. Sia... thanks for trying, I guess. And I have to give it up for Chaka acknowledging Tony and thus also the Hall's attempts to acknowledge Rufus as a band too. Rock on Tony Maiden, sorry you got shafted by the voters. Congratulations Chaka. You are every woman in how you showed how hard it is for institutions to give women the laurels that are no-brainers to hand out.</p><p><br /></p><p><b>Al Kooper:</b> The brass ring just always seemed to elude the man, but he had his hands in enough things to be significant. I'm glad he got his due recognition and that ABC didn't excise his induction altogether for time's sake. A hard one to choose a song for. I almost went with a Lynyrd Skynyrd song; however, I felt he has been too much of a journeyman musician to not use a song he played on more notably. Having played on "Blonde On Blonde," I decided that "I Want You" is the ideal choice. The organ line is subtle to where you might miss it, but it really adds a lot to the song. That really seems to symbolize Al Kooper's career as a whole, so this Bob Dylan song makes the final cut.</p><p><br /></p><p><b>George Michael:</b> Andrew was a pure class act as the inductor, choosing to not even make a cheeky joke about how he's being excluded, only about how he was the cuter one, not George. I loved his speech. And he was the perfect person to accept the award in George's honor. Much was said about Adam's reserved performance of "Faith," but not being a huge George Michael fan myself, I didn't care about how much sex the performance could have exuded. That said, it was wooden, fir real, that son of a beech. Sorry. But literally standing still to a song with that danceable a beat is just bad showmanship. Getting to the song, this was the toughest one to choose. My rules about choosing a Song Of Proof disqualify all of his duets and Wham! classics. "Amazing" is a fantastic song, but it's a little outside of his imperial reign as a megastar, so I felt it disingenuous to use that one. And since even though I have readers, the Great Playlist is primarily a vanity project, I wanted it to be a song that doesn't make me bored by the second minute, which ruled out "One More Try," "Father Figure," and "Freedom ('90)." Personal opinion, don't at me, he still deserved his induction. It came down to two songs, and they both are highly sexual. Opting to not deal with whether to use part one, part two, or parts one and two; I went with the simpler, anthropomorphic "Monkey."</p><p><br /></p><p><b>Willie Nelson:</b> I actually streamed the livestream while I was delivering my route, and when I listened while delivering, I was initially really annoyed with Dave Matthews' speech. He sounded rambling and clumsy. Watching it with more focus on a sick day on Boxing Day, I appreciated his speech a lot more, especially the social commentary. I really didn't like the weed jokes though. It wasn't funny to say, "I don't know if you know this..." Everyone knows it, and some cynics claim that it was the weed and not the music that made Willie influential to rock musicians. Fortunately, Dave's uncut speech did highlight some of Nelson's most important recordings, including the "Stardust" album. Focusing on the music, I had my choice already, but the video package reinforced the decision. Willie struggled trying to find fame via the traditional Nashville route. He was doing well playing gigs, and really found himself and his style after relocating to Texas. Being a good live act and all those open miles moving back to the Lone Star State, the obvious choice is the crossover hit, "On The Road Again."</p><p><br /></p><p><b>Rage Against The Machine:</b> Honestly, put any song you want here for this band. Even their cover of "Maggie's Farm" would fit. I went for a song from the Rock charts, but even a non-charting song is just as appropriate. The message of change and anger came through in every note and every song. Ice T's speech was great. Tom Morello's speech.... it would have been more meaningful in my opinion if he weren't an insider of the institution of the Rock And Roll Hall Of Fame. Nonetheless, what he said was worth saying. It's reminiscent of what Bernie Sanders has been telling people when he's had to suspend his presidential campaigns, telling us we can't hang all our hopes on him, that it's our revolution, our torch and pitchfork to carry, and our fight to fight. "Bulls On Parade" is the choice, but there's no bad call here.</p><p><br /></p><p><b>The Spinners:</b> So overdue, so welcome, so horrendous that this last nomination only happened because Thom Bell died. But finally the Spinners are in. I weep that the Hall's rushing headlong to more modern acts because given how the Hall operates, it means we can just forget ever enshrining the Stylistics, Delfonics, Chi-Lites, Harold Melvin And The Blue Notes, and all the other amazing soul groups of the '70s. So much fertile ground there. This also makes the insult of having no inductor for the Spinners even more egregious. They got left off the original poster, and they're the only Performer inductee from this class to not get an inductor. The Hall was just determined to do them dirty, but at least they corrected course to include John Edwards. And New Edition really captured the spirit in their tribute. Anyway, I long decided that "I'll Be Around" would be their Song Of Proof, and that still stands. It has the funky beat that really shows the hybrid style that we call "Motownphilly." There were a few close competitors though. But in the end, that song was still around as the most solid example.</p><p><br /></p><p><b>Bernie Taupin:</b> I'm so glad they kept Bernie's cutting remarks aimed at Jann S. Wenner. Highlight for sure. Anyway, with the ceremony running long as it was, I was kind of upset that Elton John performed "Tiny Dancer," as that's one of the notoriously longer songs. I don't hate the song, just a little sick of it. So, no, not the choice here. Counterintuitively, I'm going with "Saturday Night's Alright For Fighting." Even in what is such a meat and potatoes rocker of a song, the lyrics still have some incredible poetic value. Descriptions that evoke sensory triggers, metaphors, and social commentary are all found in this song that seems basic in some ways. But it's not. It may not be his most highbrow song, but it still shows his brilliance. </p><p><br /></p><p><b>Link Wray:</b> A triumph of an induction to be sure. It'd have been nice to induct him as a Performer, and also a mention of the Ray-Men, but under the circumstances, a Musical Influence solo induction is empirically better than a Singles not-a-category-category non-induction-induction. Even though the Song Of Proof is "Rumble" for obvious reasons, I really appreciate the job they did to put some spotlight on his other songs, particularly "Rawhide." On a personal note, I really like "Copenhagen Boogie" and "Ace Of Spades" as well. Jimmy Page did a terrific job with the tribute. A musicians' musician, it's so great that Link Wray got inducted. Let's keep dismantling that bogus consolation prize and get Chubby Checker, the Chantels, and the Shangri-Las in 2024. </p><p><br /></p><p>And soon the Nominating Committee will meet to draft up that ballot. The timeline has shifted for eligibility, and we'll see how that shapes things. Meanwhile, putting a cap on the Class Of 2023 with a recap:</p><p>Kate Bush: "Love And Anger"</p><p>Don Cornelius: "T.S.O.P. (The Sound Of Philadelphia)" by MFSB featuring the Three Degrees</p><p>Sheryl Crow: "Everyday Is A Winding Road"</p><p>DJ Kool Herc: "Girls Love The Way He Spins" by Grandmaster Flash</p><p>Missy Elliott: "Work It"</p><p>Chaka Khan: "I'm Every Woman"</p><p>Al Kooper: "I Want You" by Bob Dylan</p><p>George Michael: "Monkey"</p><p>Willie Nelson: "On The Road Again"</p><p>Rage Against The Machine: "Bulls On Parade"</p><p>The Spinners: "I'll Be Around" (Vocal Group Hall Of Fame Song Of Proof: "It's A Shame")</p><p>Bernie Taupin: "Saturday Night's Alright For Fighting" by Elton John</p><p>Link Wray: "Rumble" (with his Ray Men)</p><p><br /></p><p>Thoughts? Comments? Make your voice heard below.</p><p><br /></p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-41173219323755272882023-05-21T20:30:00.001-07:002023-05-21T20:34:22.602-07:00Delayed Reaction 2023<p> 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. </p><p><br /></p><p>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 <b>Kate Bush</b> and <b>Rage Against The Machine</b>? 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. </p><p>Aside from Rage, <b>the Spinners</b> 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.</p><p><b>Sheryl Crow</b> 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.</p><p>Not a lot of surprise about <b>George Michael</b> 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.</p><p>And congrats to <b>Willie Nelson</b> 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. </p><p>But big huzzah for <b>Missy Elliott</b> 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).</p><p>And that segues into the first point on the other categories. <b>Chaka Khan</b> 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.</p><p><b>Al Kooper</b> 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.</p><p>There are two inductees that really make me tilt my head, but not because they're being inducted, but where. The first is <b>Bernie Taupin</b>. 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.</p><p>But the Non-Performer we do get is a big one. <b>Don Cornelius</b> 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.</p><p>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, <b>Link Wray</b> 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!</p><p>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.</p><p>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. <b>DJ Kool Herc</b> 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.</p><p>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. </p><p>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.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com1tag:blogger.com,1999:blog-3760137241594753268.post-28003501870904375932023-04-30T20:51:00.000-07:002023-04-30T20:51:00.195-07:00Predictions For 2023<p> 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:</p><p><br /></p><p><b>1. Willie Nelson </b>He's a national treasure and the voters as a body won't pass up the chance. </p><p><b>2. Sheryl Crow </b>The Hall can be very LinkedIn-like sometimes, and I have to believe the connections are too many for her to miss.</p><p><b>3. Missy Elliott </b>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.</p><p><b>4. Warren Zevon </b>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.</p><p><b>5. George Michael </b>I don't get it personally. His music is alright, but it doesn't move me. But I'm clearly in the minority.</p><p><b>6. Kate Bush </b>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.</p><p><b>7. The White Stripes </b>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?".</p><p><b>8. Iron Maiden </b>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.</p><p><b>9. The Spinners </b>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.</p><p><b>10. Cyndi Lauper </b>My intuition is telling me she was just the painful last cut for too many voters.</p><p><b>11. Joy Division/New Order</b> 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.</p><p><b>12. Soundgarden</b> I just see them splitting the vote against Rage Against The Machine, but they've got the support of musicians and writers.</p><p><b>13. Rage Against The Machine</b> I just see them splitting the vote against Soundgarden, but they've got the support of the insiders at the Foundation.</p><p><b>14. A Tribe Called Quest</b> With Missy Elliott on the ballot, no chance. </p><p><br /></p><p>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.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-15481718186196199582023-04-16T17:11:00.000-07:002023-04-16T17:11:59.042-07:00Personal Preferences Of The 2023 Slate<p> 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.</p><p><br /></p><p><b>1. The Spinners</b></p><p>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. </p><p>Favorite song: "One Of A Kind (Love Affair)"</p><p>Merits Rank: 10</p><p>Average Of Ranks: 5.5</p><p><br /></p><p><b>2. Sheryl Crow</b></p><p>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.</p><p>Favorite song: "Soak Up The Sun"</p><p>Merits Rank: 13</p><p>Average Of Ranks: 7.5</p><p><br /></p><p><b>3. Willie Nelson</b></p><p>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. </p><p>Favorite song: "Roll Me Up"</p><p>Merits Rank: 1</p><p>Average Of Ranks: 2</p><p><br /></p><p><b>4. Cyndi Lauper</b></p><p>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.</p><p>Favorite song: "She Bop"</p><p>Merits Rank: 14</p><p>Average Of Ranks: 9</p><p><br /></p><p><b>5. The White Stripes</b></p><p>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.</p><p>Favorite song: "Apple Blossom"</p><p>Merits Rank: 4</p><p>Average Of Ranks: 4.5</p><p><br /></p><p><b>6. Missy Elliott</b></p><p>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.</p><p>Favorite song: "Hot Boyz"</p><p>Merits Rank: 3</p><p>Average Of Ranks: 4.5</p><p><br /></p><p><b>7. Kate Bush</b></p><p>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. </p><p>Favorite song: "Rubberband Girl"</p><p>Merits Rank: 11</p><p>Average Of Ranks: 9</p><p><br /></p><p><b>8. A Tribe Called Quest</b></p><p>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.</p><p>Favorite song: "I Left My Wallet In El Segundo"</p><p>Merits Rank: 5</p><p>Average Of Ranks: 6.5</p><p><br /></p><p><b>9. Warren Zevon</b></p><p>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.</p><p>Favorite song: "Excitable Boy"</p><p>Merits Rank: 12</p><p>Average Of Ranks: 10.5</p><p><br /></p><p><b>10. Rage Against The Machine</b></p><p>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.</p><p>Favorite song: "Testify"</p><p>Merits Rank: 9</p><p>Average Of Ranks: 9.5</p><p><br /></p><p><b>11. George Michael</b></p><p>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.</p><p>Favorite song: "Monkey"</p><p>Merits Rank: 6</p><p>Average Of Ranks: 8.5</p><p><br /></p><p><b>12. Iron Maiden</b></p><p>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.</p><p>Favorite song: "Run To The Hills"</p><p>Merits Rank: 2</p><p>Average Of Ranks: 7</p><p><br /></p><p><b>13. Soundgarden</b></p><p>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.</p><p>Favorite song: "Everybody's Got Something To Hide Except Me And My Monkey"</p><p>Merits Rank: 8</p><p>Average Of Ranks: 10.5</p><p><br /></p><p><b>14. Joy Division/New Order</b></p><p>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.</p><p>Favorite song: "Love Will Tear Us Apart"</p><p>Merits Rank: 7</p><p>Average Of Ranks: 10.5</p><p><br /></p><p>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.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-32285211793081898812023-04-02T22:37:00.000-07:002023-04-02T22:37:03.949-07:00Merits Of The 2023 Nominees<p>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.</p><p><b><u><br /></u></b></p><p><b><u>1. WILLIE NELSON</u></b></p><p><b>Innovation</b>: 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.</p><p><b>Influence</b>: Massively influential in country music, but also influential in rock, as especially evidenced by the variety of duets he's done.</p><p><b>Impact:</b> 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.</p><p><b>Intangibles</b>: 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. </p><p><b>Issues:</b> 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. </p><p><b><u><br /></u></b></p><p><b><u>2. IRON MAIDEN</u></b></p><p><b>Innovation: </b>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.</p><p><b>Influence: </b>Easily one of the most influential bands in heavy metal and hard rock.</p><p><b>Impact: </b>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.</p><p><b>Intangibles: </b>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.</p><p><b>Issues: </b>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. </p><p><b><u><br /></u></b></p><p><b><u>3. MISSY ELLIOTT</u></b></p><p><b>Innovation: </b>Not too sure about this one. Admittedly, I'm not knowledgeable enough about hip-hop to state what makes her sound unique.</p><p><b>Influence: </b>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.</p><p><b>Impact: </b>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.</p><p><b>Intangibles: </b>While not the first female rapper to become famous to mainstream audiences, the level to which she became famous, particularly on the strength of <u>Supa Dupa Fly</u>, makes her a force to be reckoned with.</p><p><b>Issues: </b>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.</p><p><b><u><br /></u></b></p><p><b><u>4. THE WHITE STRIPES</u></b></p><p><b>Innovation: </b>While rock and roll is itself most predominantly based in the blues, they upped the bluesy level into a distortion-driven alternative rock style.</p><p><b>Influence: </b>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.</p><p><b>Impact: </b>Three Top Ten albums and eleven charted singles on the Alternative Rock Charts (in the States)</p><p><b>Intangibles: </b>Jack's continued career as a producer and solo artist has only heightened the production values and musicianship of the duo's catalog.</p><p><b>Issues: </b>Relatively limited catalog, due to breaking up near the height of their powers, so not a lot of longevity.</p><p><b><u><br /></u></b></p><p><b><u>5. A TRIBE CALLED QUEST</u></b></p><p><b>Innovation: </b>When you talk about about formative acts of the sound of '90s hip-hop, this outfit is near the top of the list.</p><p><b>Influence: </b>Their influence on hip-hop and rappers to come, as well as on their contemporaries was massive. Widely influential.</p><p><b>Impact: </b>A handful or two of charted singles. Albums charts, four top ten albums with a fifth that is critically well-regarded.</p><p><b>Intangibles: </b>With their level of artistry, and renown of the individual members, they're a synergy, so much more than the sum of the parts.</p><p><b>Issues: </b>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.</p><p><b><u><br /></u></b></p><p><b><u>6. GEORGE MICHAEL</u></b></p><p><b>Innovation: </b>Seemingly little, though his British take on new jack swing in a few of his records was novel.</p><p><b>Influence: </b>Larger than expected, even namechecked by inductees in the past couple of induction ceremonies.</p><p><b>Impact: </b>Possibly the biggest pop singles act on this ballot, with multiple #1 hits, and even bigger in his home country of the United Kingdom.</p><p><b>Intangibles: </b>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.</p><p><b>Issues: </b>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.</p><p><b><u><br /></u></b></p><p><b><u>7. JOY DIVISION / NEW ORDER</u></b></p><p><b>Innovation: </b>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.</p><p><b>Influence: </b>Both incarnations were influential in their respective styles that they helped pioneer, often namechecked as influences.</p><p><b>Impact: </b>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.</p><p><b>Intangibles: </b>The ubiquity of the album cover for <u>Unknown Pleasures</u> gives them a cultural presence outside of the music itself. </p><p><b>Issues: </b>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.</p><p><br /></p><p><b><u>8. SOUNDGARDEN</u></b></p><p><b>Innovation: </b>Despite spending more years paying their dues, they were one of the first on the scene to help define the sound of grunge.</p><p><b>Influence: </b>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.</p><p><b>Impact: </b>They had a serious string of hits on the Album/Mainstream Rock and Modern/Alternative Rock charts.</p><p><b>Intangibles: </b>As another band with a mythos surrounding their lead singer, it helps elevate their legacy.</p><p><b>Issues: </b>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.</p><p><b><u><br /></u></b></p><p><b><u>9. RAGE AGAINST THE MACHINE</u></b></p><p><b>Innovation: </b>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.</p><p><b>Influence: </b>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.</p><p><b>Impact: </b>A few charted songs on the Album and Modern Rock charts, and a couple charted albums.</p><p><b>Intangibles: </b>There is a sense of authenticity to them, and congruity with their name, their music, and their image offstage.</p><p><b>Issues: </b>Their lyrics are often incomprehensible, so you don't know what they're saying, only that they're angry. Additionally, not big on longevity.</p><p><b><u><br /></u></b></p><p><b><u>10. THE SPINNERS</u></b></p><p><b>Innovation: </b>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.</p><p><b>Influence: </b>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.</p><p><b>Impact: </b>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.</p><p><b>Intangibles: </b>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.</p><p><b>Issues: </b>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.</p><p><br /></p><p><u><b>11. KATE BUSH</b></u></p><p><b>Innovation:</b> 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.</p><p><b>Influence:</b> 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.</p><p><b>Impact: </b>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.</p><p><b>Intangibles:</b> Her performances pioneered the usage of headset microphones. More importantly, her overall level of artistry, particularly by Western standards, is extremely high.</p><p><b>Issues:</b> 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.</p><p><br /></p><p><b><u>12. WARREN ZEVON</u></b></p><p><b>Innovation:</b> 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.</p><p><b>Influence:</b> His strongest category, he has been a very influential figure, especially among other singer/songwriters.</p><p><b>Impact:</b> 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.</p><p><b>Intangibles:</b> An artist's artist, a songwriter's songwriter, a critic's wet dream. </p><p><b>Issues:</b> 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.</p><p><br /></p><p><u><b>13. SHERYL CROW</b></u></p><p><b>Innovation</b>: I give her credit for bringing an updated and maybe even alternative feel to a pop sound that has a very "beach music" feel.</p><p><b>Influence:</b> Not a particularly strong category for her. Probably some artists that are just not coming to mind right now.</p><p><b>Impact:</b> A fairly respectable run of charting singles, and her albums do well. </p><p><b>Intangibles: </b>An in-demand duet partner, indicating some level of musical versatility.</p><p><b>Issues:</b> "Picture." Also, her music has a tendency to be labeled "safe" which hurts her rock cred.</p><p><br /></p><p><b><u>14. CYNDI LAUPER</u></b></p><p><b>Innovation:</b> Not a strong category for her.</p><p><b>Influence:</b> More so for her style than the music, perhaps, but her brand of pop has had ripples that still continue to reach.</p><p><b>Impact</b>: 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.</p><p><b>Intangibles:</b> 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.</p><p><b>Issues:</b> 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.</p><div><p><br /></p><p>So there it is. My rankings. Break out the tar and feathers. Or just write your thoughts in the Comments below. Enjoy!</p><p><br /></p></div><div><br /></div><div><br /></div>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-77736436669559674712023-02-05T20:00:00.000-08:002023-02-05T20:00:41.986-08:00Yikes And Away: The Ballot Of 2023<p>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. </p><p>Running down the nominees, we begin by running up a hill, because <b>Kate Bush</b> has been nominated again. And <b>Rage Against The Machine</b> 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. </p><p>Among the widely predicted, <b>Missy Elliott</b> 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, <b>George Michael</b> 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 <b>Sheryl Crow</b>, which was pretty much just about reading the cues and seeing how much she'd been playing ball with the Hall.</p><p>Onto the names I didn't predict, congrats to those who correctly picked <b>Cyndi Lauper</b> 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 <b>Willie Nelson</b>, 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 <b>Iron Maiden</b>, 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 <b>A Tribe Called Quest</b> 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 <b>Soundgarden</b> 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 <b>the Spinners</b> 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 <b>Warren Zevon</b> is on the ballot. I have his album <u>My Ride's Here</u>, 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."</p><p>Moving on to the final two, it's pretty cool to see <b>Joy Division/New Order</b> 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.</p><p>The last nominee, and the one that's getting the attention, is <b>the White Stripes</b>, 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.</p><p>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. </p><p>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.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com2tag:blogger.com,1999:blog-3760137241594753268.post-58684169221331590542023-01-31T06:28:00.000-08:002023-01-31T06:28:26.632-08:00Quick Predict: Ballot 2023<p>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.</p><p><br /></p><p>First off, while there is no sure thing to predict, I'm going to predict three newly eligibles for the ballot. First, is <b>Missy Elliott</b>. 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 <b>Destiny's Child</b>. 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 <b>Queens Of The Stone Age</b>. It's a stretch, but what the hell? The Hall does crazy things sometimes.</p><p>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 <b>Kate Bush</b> to return to the ballot. But I also think <b>Dionne Warwick</b> and <b>Devo</b> have a chance to return. Crazy as it may sound, I think a third consecutive nomination may also be in the cards for <b>Fela Kuti</b>.. And of course, loving their own means it'll probably spell a return for <b>Rage Against The Machine</b> too.</p><p>Who's been eligible but will just be appearing for the first time? Well, keeping in a somewhat traditional rock vein, look for <b>INXS</b> to possibly be a priority. If the Hall's feeling particularly populist, it could finally be good news for <b>Motley Crue</b> as well. And if they want to go with names of the nineties, then <b>No Doubt</b> is a name that might come up as well. Of course, it's also only a matter of time before <b>Outkast</b> bursts onto the ballot. And when it comes to playing ball with the Hall, you need to keep <b>Sheryl Crow</b> in the conversation as well. If the Hall is not done with classic rock though, it could be time for <b>Bad Company</b> to be nominated. And if Rick Krim joined the NomComm to push for more prog, <b>Jethro Tull</b> seems to be the currently priority in that column. I'll go for a ballot of seventeen as well, and say <b>George Michael</b> 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 <b>Mariah Carey</b>. </p><p>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.</p><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /> <p></p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-76573296180450106092023-01-29T18:09:00.000-08:002023-01-29T18:09:09.874-08:00Songs Of Proof: The Class Of 2022<p> 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)." </p><p>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.</p><p><br /></p><p><b>Harry Belafonte:</b> 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."</p><p><br /></p><p><b>Pat Benatar:</b> 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.</p><p><br /></p><p><b>Elizabeth Cotten:</b> 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.</p><p><br /></p><p><b>Duran Duran:</b> 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.</p><p><br /></p><p><b>Eminem:</b> 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.</p><p><br /></p><p><b>Eurythmics:</b> 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.</p><p><br /></p><p><b>Allen Grubman:</b> 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 <u>Zooropa</u> 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.</p><p><br /></p><p><b>Jimmy Iovine:</b> 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."</p><p><br /></p><p><b>Jimmy Jam And Terry Lewis:</b> 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.</p><p><br /></p><p><b>Judas Priest:</b> 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 <a href="https://rockhallmonitors.blogspot.com/2019/08/a-proposition-for-propositions.html">my suggestion regarding propositions</a> 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.</p><p><br /></p><p><b>Dolly Parton:</b> 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.</p><p><br /></p><p><b>Lionel Richie:</b> 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. </p><p><br /></p><p><b>Sylvia Robinson:</b> 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.</p><p><br /></p><p><b>Carly Simon:</b> 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.</p><p><br /></p><p>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:</p><div style="text-align: left;">Harry Belafonte: "Jump In The Line"<br />Pat Benatar: "Heartbreaker"<br />Elizabeth Cotten: "Freight Train"<br />Duran Duran: "A View To A Kill"<br />Eminem: "Survival"<br />Eurythmics: "Sweet Dreams (Are Made Of This)"<br />Allen Grubman: "Numb" by U2<br />Jimmy Iovine: "Stop Draggin' My Heart Around" by Stevie Nicks (with Tom Petty And The Heartbreakers)<br />Jimmy Jam And Terry Lewis: "Control" by Janet Jackson<br />Judas Priest: "You've Got Another Thing Coming"<br />Dolly Parton: "Baby I'm Burnin'"<br />Lionel Richie: "Running With The Night"<br />Sylvia Robinson: "It's Good To Be The Queen" by Sylvia<br />Carly Simon: "You're So Vain"</div>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-41420946082351779972022-11-20T19:42:00.000-08:002022-11-20T19:42:09.380-08:00Eine Kleine Fanfic Part Deux<p> The Rock And Roll Hall Of Fame induction ceremony for the Class Of 2022 is airing on HBO as I type this, but I find that most of my comments and thoughts not only echo most of what has been said already by those who were there or haven't been consistently working over seventy hours a week, but they also play a factor into the selection of my Songs Of Proof for this class. So, I'm going to marry the two posts together at that time. Meanwhile, I've still been celebrating the music of this class in a way that is reminiscent of last year's class. </p><p>This past year, I got the chance to participate on an episode of the Playlist Wars podcast, assembling my competitive, celebratory list of the music of Motown. While I don't know what percentage of the votes I got, I do know that I lost. Host Brian Colburn won with 50% of the vote, and guest host Ed and I split the remaining half. I'm guessing that not having the Four Tops or Mary Wells on my list put me solidly in third, but oh well. It was a lot of fun. Sadly, the podcast is on hiatus while the hosts tend to their own commitments in their offline lives, and I wish them the both the best. However, that announcement didn't come until after I had put together a fanfiction list celebrating this year's class. Parenthetically, I was asked if I wanted to do an episode about the ballot, ten songs by presumably ten of the seventeen nominees. I declined for a couple reasons, mainly because I was uncertain I wanted to see the discussion on Twitter following that hypothetical episode's drop. Not that I didn't trust the fellow playlisters, but we all know how any discussion on Twitter can unravel when random people come across it, especially surrounding the Rock And Roll Hall Of Fame. But for my own personal enjoyment, I put together another Playlist Wars style playlist celebrating not the ballot, but the actual inductees for the Class Of 2022.</p><p>Brief refresher: the premise of the Playlist Wars podcast is simple: take an artist or theme, create the best ten-song playlist about that, and pit it against two others, celebrating the music in a competitive manner, not unlike the way Battlebots roboteers celebrate science and engineering by trying to destroy each other's creations in the BattleBox. So this is what I've done. Will I do this again if the podcast doesn't return from hiatus? Maybe. It's fun for me, and I hope you all enjoy listening to the combination of songs in this permutative list that is meant to work as a single unit, like an album. But it also depends on if the classes continue to be large enough to make a list feasible. So, now I'm gonna share my vision of how I'd put the gloves on with Brian and Gomez. </p><p><br /></p><p><b>Track 01: "Banana Boat (Day-O)" by Harry Belafonte</b></p><p>Like last year's list, I begin with a side category inductee, partially to remind everyone that there are inductees besides the names most heavily promoted, and partially because it just works. Instead of a lesser known track that makes a great entrance, though, I start off with a song that everyone knows, many can't help but sing along to when they hear it, and is a little bit of a slow burn in terms of getting the energy going. The song is infectious, and because of its cultural ubiquity, you can attempt the accent without judgment (usually). This is a song that demonstrates Harry Belafonte not necessarily as an Early Influence, though also that, but moreover Harry as an icon to the whole world. Who wouldn't want to lead off with that? So I did.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lZABxj718uA" width="320" youtube-src-id="lZABxj718uA"></iframe></div><br /><p><br /></p><p><b>Track 02: "You're So Vain" by Carly Simon</b></p><p>I gotta admit, Carly Simon was the most difficult inductee to put on this list, both in terms of choosing the song, and also placing it most strategically. But my guiding ground rule for these playlists so far is that every Performer inductee must be represented. Eventually I defaulted to placing her most iconic song in the second slot. It's a little wobbly, but in terms of energy, it's a step up from the previous song. With its bass intro and build up in the arrangement, it works well. And like the Belafonte selection, this is a widely known song. People know it, they know it as a mystery in the annals of rock and roll cryptology, and they still love to sing along with it. </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lT7I40wWYAQ" width="320" youtube-src-id="lT7I40wWYAQ"></iframe></div><br /><p><br /></p><p><b>Track 03: "Hit Me With Your Best Shot" by Pat Benatar</b></p><p>Just for clarification, I assembled this playlist shortly after the inductees were announced. So this selection was chosen months in advance of Pat's announcement that she would no longer perform this song as a protest against gun violence. Getting to the song itself, this is where we bring the energy up. It's not a fast song, but with its guitar distortion energy and pounding rhythm, plus Pat Benatar's energetic vocals, this is a song that will wake you up if you aren't yet. Again, a song that everyone knows and loves, but as I noticed with the topical episodes of Playlist Wars, it's best to not to go too deep or obscure. When it's an artist episode, you can win with some awesome deep cuts. Topical episodes, do it LRR: Least Research Required. Too bad I didn't take my own advice in the Motown battle.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/JRD80XRMT7s" width="320" youtube-src-id="JRD80XRMT7s"></iframe></div><br /><p><br /></p><p><b>Track 04: "Hungry Like The Wolf" by Duran Duran</b></p><p>Keeping the energy going and getting a little faster, we come now to the fan vote topper. Originally, I was going to slot "Rio" as Track 03, but "Haven't Got Time For The Pain" didn't work either as Carly's song for the list or in the fourth slot, so I switched it up a bit. Plus, I didn't want to be dealing with the debate of whether I should have used the single or the album version of "Rio." "Hungry Like The Wolf" is another fun and recognizable song. It has the same energy and represents the band really well. And with other vocals on the record, you can even try to harmonize a little, though it's not easy, at least for me. That's why they're the professionals.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yLrF5j7up9Q" width="320" youtube-src-id="yLrF5j7up9Q"></iframe></div><br /><p><br /></p><p><b>Track 05: "It's Good To Be The Queen" by Sylvia</b></p><p>Despite what I said about "Least Research Required," I still decided I needed to have some deep cuts, because that's who I am. I often find more joy in the songs that haven't been rammed down my ear canals umpteen times. And I thought it would be a wonderful curveball to include this Non-Performer inductee who had a recording career. I will admit though, it was tough to pick a song. I didn't want to use "Love Is Strange," since Mickey is not an inductee, and I actually don't care for her breathy soul singing of the early '70s. I'm not a fan of Diana Ross's voice either, and Sylvia's voice during that time sounds a little like a winded Diana Ross. It's supposed to be sexy, but it just doesn't work for me. This rap song, however, does. And it's more appropriate for this playlist because of why she's being inducted. While I wish to reiterate that this is NOT the Songs Of Proof list, I'll just give an unsurprising leak that this is definitely going to be the Song Of Proof for Sylvia Robinson too. As far as its placement on this list, halfway is a good place to throw the big curveball, and if this playlist were to be on an analog format, like vinyl or cassette, this would be an ideal song to end Side A.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rwNVPnoegpw" width="320" youtube-src-id="rwNVPnoegpw"></iframe></div><br /><p><br /></p><p><b>Track 06: "We Made You" by Eminem</b></p><p>To kick off the hypothetical Side B, we follow rap with rap. And it just seems like it'd be fun to flip the cassette over, press to play, and hear that musical sting followed by "Guess who? You miss me?" I love this song. When I first saw the video for this song, I was laughing my head off at how Eminem was making fun of both pop culture and himself. This isn't an obscure song, but it also isn't one of his best-known ones, and certainly not one that made him an obvious shoo-in for induction on his first year of eligibility. Listening to this song, it certainly does sound like he's letting his Slim Shady persona run loose with the electronic shock collar around its neck turned off again; however, listening to it more closely, I've also suspected that this is loosely and secretly about the sleaze that is commonly attributed to the world of entertainment agents. Or not, but I think so.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RSdKmX2BH7o" width="320" youtube-src-id="RSdKmX2BH7o"></iframe></div><br /><p><br /></p><p><b>Track 07: "Tennessee Homesick Blues" by Dolly Parton</b></p><p>I like to be meticulous with the placement of songs in my playlists, making sure it flows well and logically. So naturally, I follow up the controversial rapper with the national treasure of a country legend who couldn't even keep herself out of the Rock And Roll Hall Of Fame. As I said about my playlist for the Class Of 2021, the seventh slot is where I like to put my clean-up hitter. So of course that's Dolly Parton. And while this is not a particularly well-known song by her, this is one I fell in love with at first listen. The infectious guitar line, her yodeling, the autobiographical lyrics that still resonate with you anytime you find yourself missing your old home or maybe feeling like you don't fit in where you are now. I'm not sure if this is my favorite song on the list, but it's way up there. Great song.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kQfBCqVZTso" width="320" youtube-src-id="kQfBCqVZTso"></iframe></div><p><br /></p><p><br /></p><p><b>Track 08: "All Night Long (All Night)" by Lionel Richie</b></p><p>When compiling this playlist, I found that the back half came together a lot quicker, more easily and naturally, and first, actually. Choosing the right Lionel Richie song was probably the most difficult of the latter half, and while this isn't my favorite track by him, I felt this was the right choice. Again, jumping around seemingly aimlessly in terms of musical style. And yet, why wouldn't you follow up Dolly with Lionel? Country and calypso-infused R&B. It just says yes to me. What starts out with some subdued energy breaks out into a party. And maybe celebrating all night long is what you do when you've cured the homesickness expressed in the previous track. But watching him perform this track as he is inducted, this is good song to put on the playlist for Lionel.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OyQVjGdJ60g" width="320" youtube-src-id="OyQVjGdJ60g"></iframe></div><br /><p><br /></p><p><b>Track 09: "Night Crawler" by Judas Priest</b></p><p>Representing the third side category, the Award For Musical Excellence, a band that was nominated again, and finally the Foundation had enough of the voting bloc's shenanigans, deciding to just induct them. Not being a diehard metal fan, let alone of Judas Priest, I don't know if this qualifies as a more obscure Judas Priest song or not. It's not one of the iconic ones that they performed at their induction. But this song just tears. This might be the favorite song of mine on this list, and in fact, this song helped me decide on the Lionel Richie song. Maybe we shouldn't party all night long lest we incur the night crawler! Gets your heart racing, and when I first started assembling this list, this was the very first song I had pinned down, both in selection and placement. Excellent example of metal, in terms of style and the genre's lyrical ability to give the PMRC members a collective coronary.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5yyO_HozK0c" width="320" youtube-src-id="5yyO_HozK0c"></iframe></div><br /><p><br /></p><p><b>Track 10: "When Tomorrow Comes" by Eurythmics</b></p><p>And logically, what drives the beast back below the bowels of the abyss? When tomorrow comes, of course! Along with "Night Crawler," this song was decided almost right away (followed shortly by "We Made You" after deciding not to start with "My Name Is"). Given how much I was forced to play and listen to "Sweet Dreams (Are Made Of This)" and also "Here Comes The Rain Again," it's still somewhat amazing to realize that Annie and Dave have this one in their arsenal as well. This song has such a sunny ambience to it in a way I can't really describe, partially due perhaps to the title itself. But the straightforward rock to it that would fit in perfectly alongside U2's "In God's Country" makes this a perfect official closer. The day is ending and we are content to look forward to tomorrow. </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sYpGQwPw1uo" width="320" youtube-src-id="sYpGQwPw1uo"></iframe></div><br /><p><br /></p><p><b>Hidden bonus track: "When I Get Home" by Elizabeth Cotten</b></p><p>But of course if you ask Petrarch, time, including tomorrow, is conquered by eternity. And this song is about that, specifically eternity in Heaven and the new creation with her God. Originally I had this other Early Influence inductee worked into the list of ten, but when I found "It's Good To Be The Queen," I knew that Elizabeth was going to be included as the hidden bonus track. Just like last year's list, this has an old-tyme feel, though this one is more from the simplicity of the arrangement than the actual age of the recordings. But it works beautifully--sonically, thematically, and for the sake of being inclusive of titled recording artists in this class. And it's also good to remind folks that she had songs other than "Freight Train."</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/em-cgrrfO04" width="320" youtube-src-id="em-cgrrfO04"></iframe></div><br /><p><br /></p><p><b>Potential Honorable Mention: "Cool" by the Time (honoring Jimmy Jam And Terry Lewis)</b></p><p>So, I didn't know that Jimmy Jam And Terry Lewis had released an album under their own name when I put this list together, and I doubt it would have made a difference. I knew they'd been in the Time, but wasn't sure which songs they'd been on. Turns out they weren't on the two big ones I played on Retro Weekends, "Jungle Love" or "The Bird." Oh well. But "Cool" is a fun jam to throw on that they played on as official members of the band. So let's have fun and imagine that Brian or Gomez would have thrown this one in the mix and make it the Honorable Mention. And this is the only potential Honorable Mention I'm going to entertain this time too. Not gonna have two more for Jimmy or Allan, even though I *KNOW* Brian would use Jimmy Iovine's induction as an excuse to include Tom Petty And The Heartbreakers on his list (tell me I'm wrong, Brian). But like last time, honorable mentions aren't on the playlist that I have in my YouTube "Library" folder. <br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/R5RwQ6d35wA" width="320" youtube-src-id="R5RwQ6d35wA"></iframe></div><br /><p><br /></p><p>And once again, there we are: a fanfictitious episode for a podcast that may be done for good (though I hope not). It's a fun way to celebrate the music, satisfy my list-making personality, and keep the inductees fresh while putting the final pieces together deciding the Songs Of Proof. I'm still not thinking one iota about next year's ballot, so don't ask yet.</p><p><br /></p><p>On a personal note, this is my first entry since moving into a new place. This has been a tumultuous year that is not over and looks like it won't get any better. And I mean that in terms of my professional life, my home life, my immediate family, and may even harm my church life. So if the nominees come out before I post my Songs Of Proof for this class, please understand. If I don't post a nominees prediction list, or maybe just a barebones list with no explanation, please understand. And if I go on hiatus and maybe close up shop altogether, I hope you understand. I hope that won't happen, but my life is largely bereft of joy right now. Every day is a matter of playing linebacker: just lower my head, plow forward as best as I can, and hope that each day I've gained more yards than I've lost. This blog does give me joy, but it takes a lot of time to type up and post usually (tonight's an exception... start to finish within one airing of the ceremony). More time than I feel I've got most of the time. Hopefully I'll see you all on the other side.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-69153542020099554542022-06-12T23:27:00.000-07:002022-06-12T23:27:31.473-07:00Everything But The Music: Reacting To The Class Of 2022<p>Recently, the Rock And Roll Hall Of Fame announced their inductees for the Class Of 2022. In what is becoming a tradition of seeing a ballot and saying, "There're really no bad names on here," we now follow that up by seeing the class and saying, "Well that's... fine." And that's what tends to happen when most of us can accurately predict most of the inductees. Instead of feeling awesome about nailing it almost exactly and precisely, it feels a little disappointing. Actually, that's not completely true. We do feel a little awesome about our prognostication skills, but we maybe don't exactly love what we predicted to happen. Previously, I admitted that I would be happier to be proven wrong. And I'm calling it as going 7.5/8 in my predictions. Basically, my top eight seeds are all getting inducted, and all but one of them in the Performer category. So... pretty much got them all. </p><p>But what also soils the celebration is when we look at the inductees and attempt to decode what each of their inductions means for the Hall, and the overall theme with these Performer inductees is "asses in the seats." Except for <b>Pat Benatar</b> (who extends my streak, thank you Pat), every one of them has had a #1 hit on the pop charts, and the act with the fewest Hot 100 hits is <b>Eurythmics</b> with 15. When 2016's class proved to be a rout for classic rock, we called it a "populist" class, because the Hall appeared to be kowtowing to the masses, or at least the loudest, whitest, malest masses. But we still called it a pretty good class. Now in 2022, we want to call it "populist" because it's comprised of acts with no less than 15 Hot 100 hits. It has been commented that this is the Rock And Roll Hall Of FAME after all, right? Heck, even I've said that in online discussion as a response to people who seemed to believe that Billboard was the SI unit for measuring selling out (when "selling out" and "cashing in" were considered derogatory). This year, the voters clearly went for the familiar names. Call it lethargy, call it nostalgia, or call it following the money. Maybe a factor of all three. Whatever you call it, what we don't have is a pleasant mixture that includes subversive innovation so ahead of its time that commercial success eluded it. In fact, the only nominee who missed out who also enjoyed massive commercial success in the American pop singles charts on par with the inductees is Dionne Warwick. If she'd made it, it'd really be a clean sweep as far as hit singles went. </p><p>And really, if it had been Warwick and Kate Bush getting in instead of <b>Eminem</b> and <b>Lionel Richie</b>, this would have been a banner year for the ladies. <b>Carly Simon</b> is the singer/songwriter inductee of the classic connotation, even though, pretty much all of the inductees were thoroughly involved with the writing of their music. Pat Benatar and Annie Lennox of Eurythmics are of course included. And of course <b>Dolly Parton</b> is the queen whose procession to induction will likely involve the waving of palm branches and will hopefully include being chauffeured by Rob Halford on a borrowed motorcycle that has never been driven before. And even though <b>Duran Duran</b> is a band of all men, they are a band that women have been outspoken on social media about needing to be inducted. They have presumably been heard, and Duran Duran are on their way in. </p><p>Additionally, it's really a big year for the icons of the '80s. And that's probably the biggest hallmark for the Hall this year. This is a big execution of John Sykes' vision, moving the Hall forward, even if incrementally. And if we're being honest, we shouldn't be surprised that the big sellers are the ones that are getting in. It's a simple arithmetic, when you consider what Nick Bambach, Michelle Bourg, and Eric and Mary of "Hall Watchers" have mentioned. We have a "safe" class with the only "dangerous" act getting in as an Award For Musical Excellence inductee because the Hall is adding more voters from a younger generation... a generation whose icons are not yet eligible for the Hall, and when it comes to those who are eligible, they're going for the names their parents taught them, aka the hitmakers, which will give us a good product for television and a good fundraiser for the foundation. Maybe the math is off, but that's one way to interpret the data.</p><p>The fingerprints of the MTV era are also present in a few of the other inductees, too. With producer <b>Jimmy Iovine</b> and production duo of <b>Jimmy Jam And Terry Lewis</b> being inducted, a lot of the sounds and styles of MTV are represented here as well. Admittedly, it's a little weird that both are primarily regarded as producers, but one is inducted as a Non-Performer and the other as Award For Musical Excellence. I would genuinely question the logic, as I'm inclined to lay aside the time that Jimmy and Terry were in the Time with Morris Day. However, that bridge has been incinerated, even in 2012 with the induction of the sound engineers in Award For Musical Excellence. </p><p>Speaking of Award For Music Excellence, congratulations to <b>Judas Priest</b> getting in, and sorry that the voting bloc sucks so bad when it comes to metal. Nick Bambach and I had the exact same top eight seeds, in slightly different permutations. He says he went 8/8 while I say 7.5/8. The difference is he considers it the same honor, and I don't. To me, being elected adds an extra level of validation, while this category means getting chosen again by the same folks who chose you for the ballot in the first place. That said, I really don't wish to rehash this argument. Michelle Bourg said it beautifully on her blog. What I do hope for though, is a simple middle ground. Whether you agree with the way the categories are used now or not, I do want to suggest this as a middle ground, a place where we can meet and agree. Can we at least agree that using the categories like this gives the Foundation, Board Of Directors, Nominating Committee, and whoever else--that doing it this way gives them no incentive to actually amend the process in any meaningful way that relieves the backlog while still inducting worthy artists? Can we at least agree that the use of the categories like this gives the powers-that-be no real motivation to change things for the better in the short and long term? Because if they have to keep inducting acts that would otherwise be considered Performers as Early Influences or in Award For Musical Excellence, the chance that they'll get around to pre-rock artists and session musicians that younger generations may not know the names of decreases. So if we can at least agree on that, we have something. </p><p>Which brings us to our two Early Influence inductees. First off is <b>Elizabeth Cotten</b>, a wonderful folk singer who both does and doesn't predate rock and roll music. Songs written before World War I, but she was never recorded until the mid-'50s. That's probably splitting hairs, though. Despite network and superstation radio, and even network television by this time, pop culture permeation still wasn't all that instantaneous, and certainly not like it is now. But her style is definitely reminiscent and in the vein of late-40's and early-'50s folk. So, no quibbles on this allocation, and her induction is what I describe as "out of the blue, out of the park." Fantastic job, Rock Hall.</p><p>The other Early Influence inductee is slightly more amusing and questionable. I actually have mixed feelings about the induction of <b>Harry Belafonte</b> as an Early Influence, but I also freely admit not knowing nearly enough. Harry, interestingly, did record in the early '50s, doing folk and pop songs, but he is of course best known for his calypso contributions. I do know he also delved into world music, but his calypso records are of course his legacy. I am curious about the influence calypso has had on the evolution of rock and roll. If calypso is part of the recipe for reggae, then okay; however, the reason my feelings are mixed about this induction is because I once heard that in the late '50s, so-called experts of the entertainment industry predicted that rock and roll was just a fad, would die out, and be replaced by a calypso fad, possibly on the popularity of Belafonte's records. Since calypso was being juxtaposed as adversarial, or possibly even promoted as the victor over rock and roll, it feels a little odd to enshrine its biggest name. But then again, the story may not be true, and even if it were, maybe Harry didn't agree with those experts and respected the music. Certainly enough to induct Public Enemy in 2013. I'm eager to learn more though. I want to know more about how his music has influenced rock and roll musicians. What I sincerely hope is NOT the case, however, is that he is being inducted as an Early Influence because of his political activism, and that he just happened to also be a musician. If he's being inducted for hobnobbing with rock and rollers at events and rallies for political activism, then no, he shouldn't be getting inducted. Rock and roll is first and foremost a form of music, and while Sykes wants to redefine it as the music of youth culture, or music with an attitude, to borrow from Chuck D, it's still music foremost. It's not a political agenda that uses a musical milieu. There are plenty of inducted rock acts that weren't political in their music, and plenty of small-time acts that make political music that are not worthy of enshrinement. If Belafonte's induction is primarily about his political music, fine. If it's about his political activism, not fine. Then you may as well induct Matt Taibbi as a Non-Performer for all his left-wing articles that just happened to be published in a magazine somewhat focused on rock and roll, and rock and roll culture. And the day THAT happens is the day I stop giving every inductee a Song Of Proof.</p><p>Speaking of Non-Performer inductees who may not deserve a Song Of Proof, lawyer <b>Alan Grubman</b> is getting inducted because he is Bruce Springsteen's lawyer. I mean, I thought the justifications for Landau, Azoff, and maybe also Avant were stretching it somewhat, but this one.... uffda. I even read some of the blurb on him on the Rock Hall website. They used the buzzwords in all the wrong ways. When I read that he liked to be "creative" and "innovative" when creating contracts for his clients, I made that face that says, "I would laugh if not for the abject horror of what I just witnessed." This is clearly about his work in founding this institution that is our collective hobby. But an induction? No no no no no. This is not someone you induct into the Rock And Roll Hall Of Fame; at best, you induct him into the Rock And Roll Hall Of Fame Hall Of Fame. Redundancy intended and necessary. In other words, give him a plaque at the ceremony thanking him for all his work in the Foundation, just like they did for Paul Shaffer years ago, without actually inducting him. The ceremony is put on by the Foundation, so if they want to take a moment to pull back the curtain and acknowledge the people who make the evening possible, that's all well and good. But as so many have said, rock and roll doesn't need a hall of fame to be valid, so inducting him for his work in the foundation is invalid. And unless he's clearing samples, or pioneering contract boilerplates that help artists retain their rights, he's not contributing to the perpetuation and evolution of rock and roll. Get that bum out of here. They'll really need to sell me with his video package at the ceremony.</p><p>But let's end our inductee review on a happy note. Hurray for <b>Sylvia Robinson</b> getting in! Finally a woman inducted as a Non-Performer without being part of a duo with a one-time husband. And first woman of color inducted in this category. This is huge for representation, but also huge for hip-hop. She's the first Non-Performer inductee whose most notable achievements were in the advancement of hip-hop and rap. Yes, there have been label executives who signed hip-hop acts, but the first label to have major success with the style, and founded to promote and elevate hip-hop? That is monumental. And the first inducted Non-Performer whose contributions to hip-hop headline their resume is (will be) Sylvia Robinson. Not Rick Rubin, though hopefully he'll be in too. Nor is it Dr. Dre, another good selection. It's Sylvia Robinson. A huge moment for the Hall watching community that has been pushing for her. You did well, and hopefully more will follow. </p><p>So, a mostly cool class, no? Yes. The inductees are worth celebrating, but it worries me where their tributaries lead. There's some cognitive dissonance, because the voting bloc seems to act independently and almost counter to the will of the NomComm, and yet we still say "the Hall" appears to be acting a certain way. To a degree, it doesn't feel like these inductees were chosen for their musical contributions. Some feel like the NomComm said, "Okay, who's trending right now that is also eligible?" That seems to be how we got Dolly Parton and Dionne Warwick on the ballot, and right now, seems to bode well for Kate Bush to return. It seems to also explain Fela Kuti's return this year. It's about the names who will sell tickets. It's about what's cool to think, like, and believe. It's about who also makes them look good, as well as who their friends are. But as much as we--and they--love the music, that doesn't seem to be what it's about. I'm sure that feeling will pass by the time the ceremony comes though, and certainly by the time the next ballot rolls around. But I'm nowhere near ready to start predicting that ballot, so don't ask. Time to just enjoy the Class Of 2022 for now. Happy inductions everyone.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-54240570523059636542022-05-02T10:02:00.000-07:002022-05-02T10:02:24.716-07:00Making The Predictions: The Class Of 2022<p><span> And now, the end is near, and so I make my end predictions. My friends, I seed them all, breaking down odds with several sections.</span> Merits and politics, their sounds and lanes on alleg'd highways. But more, much more than this, I seed them my way.</p><p>And yet, as I type this, a lot of people have agreed with me in some eerily similar ways. I love it though, and I'm here for it. It does make me feel a little less of an outlier at times. But with this particular ballot, and the hand that the Rock And Roll Hall Of Fame played last year, there are all sorts of caveats to be had, and we'll get to those after I finish planting my seeds in a row. As a reminder, all odds are arbitrary and don't exactly follow the rules and bylaws that statistical analysis ought. I'm a rebel like that. Let's get planting.</p><p><br /></p><p><b><u>1. EMINEM</u></b></p><p>White rapper, megastar of the early 21st century. Newly eligible.</p><p><b>Why he might make it:</b> There's a lot of feeling of inevitability with this man. This is a name the Hall wants and is not wont to wait to enshrine. He has mass appeal, massive sales, critical acclaim, and has shown up to the Hall, for the Hall in the past, including last year.</p><p><b>Why he might not:</b> He's... problematic. His history and his lyrics are a bit unsettling at times, and reflect some seriously ugly thoughts that some voters would rather keep buried. Calling him the Ted Nugent of rap might be going too far, since Eminem's talent is unquestionable, but the way he uses that talent sometimes falls short of the ideal that might have been used to describe Camelot, or even a decent human being.</p><p><b>Whom he'd pave the way for:</b> Other superstar rappers like 50 Cent will be eligible soon. Also, the Hall may avail themselves to reach back a couple years and finally nominate Outkast.</p><p><b>Biggest threats:</b> A Tribe Called Quest is the direct hip-hop competition, and Beck is the other artistic soloist from the same era that gets love from critics and fans alike.</p><p><b>In the end:</b> This isn't entirely a foregone conclusion, but it sure feels like it at times. And maybe some just won't vote for him because they figure he doesn't need their vote. But those who are thinking about the broadcast or otherwise chasing the bottom line will make sure the box is checked for him. Odds of induction: 90%</p><p><br /></p><p><b><u>2. DURAN DURAN</u></b></p><p>New-wave/synth-rock band, most popular during the 1980s. First-time nominee.</p><p><b>Why they might make it:</b> This is a band with massive popularity, longevity, and represents the era that John Sykes is definitely looking to maximize right now: the golden age of MTV. </p><p><b>Why they might not:</b> The critics that like them now are either doing so in hindsight, or weren't around when Duran Duran was at the height of their popularity. Additionally, some still dismiss them as being a pretty boy band, and not serious.</p><p><b>Whom they'd pave the way for:</b> Stylistically, there aren't too many who even come close to being as good as Duran Duran, let alone as popular. Simple Minds have been "previously considered," so that's about the only one of their contemporaries I'd list.</p><p><b>Biggest threats:</b> Eurythmics and Devo both occupy the new-wave space, and Pat Benatar is an important figure from the early days of MTV. Kate Bush is also an innovator from that time.</p><p><b>In the end:</b> Topping the fan vote usually bodes well, not as a guarantee so much, but as an indicator, a weather vane, maybe. The smart money is still on them. Odds of induction: 80%</p><p><br /></p><p><b><u>3. PAT BENATAR</u></b></p><p>Female rock star, nominated with her husband and guitarist, Neil Giraldo. Second-time nominee, seeded #1 for the Class Of 2020. Oops.</p><p><b>Why she might make it:</b> She appeals to those who want more women in the Hall, as well as those with a myopic definition of rock and roll that follows the traditions of acts like the Beatles and Led Zeppelin. Also, she's the most popular (commercially charted) act of the "classic rock" ilk on this ballot; so the lane appears to be somewhat clear for her.</p><b>Why she might not:</b> Somehow she missed last time. Whatever reasons she wasn't voted for last time could resurface. Those with the aforementioned myopic definition sometimes want to limit it to full band units, i.e. those with at least a drummer and bassist, too. Solo performers need not apply, in their opinion. <div><b><br /></b></div><div><b>Whom she'd pave the way for:</b> The Bangles could follow her lead. It's also a bit of a stretch, but it could lead to Suzi Quatro, or even Siouxsie And The Banshees.<div><b><br /></b></div><div><b>Biggest threats:</b> Judas Priest is the only other nominee that could comfortably be called "classic rock," and Eurythmics include a famous and fierce front femme from the '80s.</div><div><br /><b>In the end:</b> It simply may have been too crowded a field last time, where Pat got lost in the shuffle. Less crowded now, and even Eddie Trunk voted for her. Things look a lot better this time for her. Not a lock by any stretch though. Odds of induction: 70%</div></div><div><br /></div><div><b><u><br /></u></b></div><div><b><u>4. CARLY SIMON</u></b></div><div><b><u><br /></u></b></div><div>Singer/songwriter most prominent during the '70s. First-time nominee.</div><div><br /></div><div><b>Why she might make it:</b> She created one of the most iconic songs from the entire decade of the 1970s. She is also a singer/songwriter in the classic connotation that also includes such inductees as Cat Stevens, Carole King, and James Taylor. </div><div><br /></div><div><b>Why she might not:</b> A lot of the singer/songwriter styles of that era got co-opted by the Easy Listening format, an evolution of the Middle Of the Road format, whose artists and programmers often opposed rock and roll in its early days. At least one voter has said they wouldn't vote for any iteration of Middle Of the Road music, which they believe Carly's catalog to largely be. Additionally, retrospective radio formats have done a poor job of preserving her legacy beyond a single song. If your parents didn't love Carly, you probably only know one or two... maybe three songs.</div><div><br /></div><div><b>Whom she'd pave the way for:</b> If gender of your singer/songwriters doesn't matter, then she could pave the way for another singer/songwriter who, despite having a substantial career, is largely remembered for one song that has a lot of speculation about its meaning... like Don McLean. Warren Zevon might also fall into that very category. She could also open the door for other singer/songwriters like Jim Croce, Nick Drake, or women like Roberta Flack or even Helen Reddy.</div><div><br /></div><div><b>Biggest threats:</b> Dionne Warwick and Lionel Richie are the other two artists whose catalogs have that soft rock appeal, and are the most similar. Dolly Parton might have been a factor, and Kate Bush could also be a detractor.</div><div><br /></div><div><b>In the end: </b>It doesn't feel as certain as the others, but I have a hunch that the power of "You're So Vain" will grab a lot of the older living inductees who liked her music. And enough of the critics to give her the edge over Richie or Warwick. Odds of induction: 60%</div><div><br /></div><div><br /></div><b><u>5. JUDAS PRIEST</u></b><br /><br /><div>Heavy metal band. Third-time nominee. Seeded #5 for 2018, and also #5 for 2020.<br /><b><br />Why they might make it:</b> They're one of the most important heavy metal acts of all time, let alone those not yet in the Hall. Innovative, influential in both sound and image, they've got the resume for induction.<br /><b><br /></b></div><div><b>Why they might not:</b> The Rock And Roll Hall Of Fame has been less than on the ball when it comes to inducting heavy metal acts. Additionally, on a cursory, Americentric level, this band is usually considered a one-trick pony.<br /><b><br /></b></div><div><b>Whom they'd pave the way for:</b> Metal, metal metal. Motorhead, Iron Maiden, Anthrax, Pantera, Megadeth. All of these could benefit from a Judas Priest induction.<br /><b><br /></b></div><div><b>Biggest threats:</b> Pat Benatar is the other classic rock act, and Rage Against The Machine is the other hard rock band, the closest to metal on the ballot after them. Punk rock bands the MC5 and New York Dolls might steal votes too.<br /><div><b><br /></b></div><div><b>In the end:</b> This is the third time I've seeded Judas Priest at #5, and I'll be honest, this time it REALLY feels like a gamble. However, the last two times, they were on ballots that were really congested with other bands that even if not metal, did occupy a similar space and share a common audience. That's not really the case this year. And "purists" like Eddie Trunk will have absolutely no quibble with voting for both Pat Benatar and Judas Priest, and maybe Rage Against The Machine too, and giving the middle finger to other subgenres represented on the ballot. It's not like catching the southbound express lane just past Northgate at 10:30 in the morning, but it's about as opportune a chance as this metal act is going to have. And this time, I think it's going to happen? Odds of induction: 52%</div></div><div><br /></div><div><br /></div><div><b><u>6. DOLLY PARTON</u></b></div><div><b><u><br /></u></b></div><div>Country music legend with decades of relevance. First-time nominee.</div><div><br /></div><div><b>Why she might make it:</b> She's a national treasure. Her music is quality, and proof that quality really knows no genre boundaries. She's also been influential on a multitude of artists across different genres, including the more traditional rock scape.</div><div><br /></div><div><b>Why she might not:</b> Because she asked people not to vote for her, and people are willing to do as she asks, especially because she was so polite and gracious with her request. Additionally, anyone with even an iota of cynicism can smell the disingenuity of the Hall on this one. Dolly's name will sell tickets to the induction ceremony. She's just that well-loved, and the Hall's making a grab for the cash. Cynics may not want to let that fly, and her request gives them a perfect out.</div><div><br /></div><div><b>Whom she'd pave the way for:</b> She'd bust the door wide open for country acts that were influential on rock and roll music. Willie Nelson has been talked about for years as being worthy of induction into the Rock And Roll Hall Of Fame. I'd also include Merle Haggard and Emmylou Harris as artists who could get some looks. Waylon Jennings too, and let's add Hank Williams, Jr., because why not?</div><div><br /></div><div><b>Biggest threats:</b> Herself. But for the purposes of the exercise, let's include friendly artists like Dionne Warwick and Carly Simon. And let's add Fela Kuti, another artist whose music some would balk at calling part of the rock and roll landscape, but is nevertheless very deserving.</div><div><br /></div><div><b>In the end:</b> This one is the biggest wild card here. How many got their votes in before Dolly issued her statement? How many would have voted for her? I think Dolly's attempted withdrawal created enough initial confusion to present the opportunity for the Hall to induct her in the Award For Musical Excellence category in case she doesn't get enough votes. Her most recent statement that she would graciously accept the award if voted in, made on the day the votes were due, further gives the Hall license to induct her this way, with the full knowledge that she'll be gracious about the award, and they can say that in good conscience, they believed she would've gotten the votes, so they decided to induct her. Besides, country artists who may not consider themselves rock is exactly one of the things this category was reimagined to accommodate, or so they would probably claim. Her two statements, and their timing, created a situation tailor-made for the Hall to induct her one way or another, and have there be absolutely no controversy about it. She's getting in this year. I'm about as certain of that as I am of Eminem getting in. Which category? There, I'm not sure. It's the big question mark. So for the Performer category.... Odds of induction: 50%</div><div><br /></div><div><br /></div><div><b><u>7. EURYTHMICS</u></b><br /><br /></div><div>English new-wave/synth-pop duo. Second-time nominee, seeded #11 for 2018.</div><div>.<br /><b>Why they might make it: </b>Their sound is infectious and one of those that might contend for epitomizing the entire decade of the 1980s. Additionally, Annie Lennox as both a musician and a public figure for femininity and feminism, makes them a formidable contender. Dave Stewart's production genius and industry connections help, too.<br /><b><br /></b></div><div><b>Why they might not:</b> New-wave and synth-pop are not having an easy time making inroads. The Cars took three tries, same with Depeche Mode, and we're just now getting to Duran Duran, too. There's some dragging of the feet in this subgenre from both the NomComm and the voters.<br /><b><br /></b></div><div><b>Whom they'd pave the way for:</b> I'd expect Annie to break down the door for more women. Maybe we could finally push through Cyndi Lauper and Gloria Estefan And The Miami Sound Machine, as well as more synth-driven acts like the Pet Shop Boys.<br /><b><br /></b></div><div><b>Biggest threats:</b> Duran Duran is the most obvious competition. Followed by Devo. And Kate Bush. Powerful women of the '80s also include Pat Benatar and Dolly Parton.<br /><b><br /></b></div><div><b>In the end:</b> They've got a fighting chance. With the Dolly situation being what it is, they could be the sixth Performer inductee, with Dolly getting inducted in AME. I don't think there'll be seven, but if so, it's them. Sadly, I don't see any People Of Color getting inducted in the Performer category this year. I hope I'm wrong, but I'm drawing the final line here. And maybe not even them. Odds of induction: 49%</div><div><br /></div><div><br /></div><div><b><u>8. LIONEL RICHIE</u></b></div><div><b><u><br /></u></b></div><div>R&B legend, formerly of the Commodores, with a major solo career in the '80s and '90s. First-time nominee.</div><div><br /></div><div><b>Why he might make it:</b> Currently on the Hall's radar for appearing at last year's induction ceremony and inducting Clarence Avant. He's a superstar of the 1980s whose reach extends slightly into the country community, and he retains relevance as an <i>American Idol</i> judge.</div><div><br /></div><div><b>Why he might not:</b> Since the start of the new millennium, the Hall has a less than stellar track record with any kind of R&B, particularly R&B that isn't rap or hip-hop. They also don't have a great track record with smooth, easy listening that isn't from a classic '70s singer/songwriter. Additionally, some worry that a Lionel induction will instantly terminate any chance of induction for Lionel's group, the Commodores. They believe both deserve induction, but that if the solo act goes first, the group will be left out in the cold.</div><div><br /></div><div><b>Whom he'd pave the way for:</b> Hopefully, it would lead to the Commodores being inducted as a group later on. Beyond that, maybe big names in smooth soul like Teddy Pendergrass, Barry White, or fellow Motown act Boyz II Men.</div><div><br /></div><div><b>Biggest threats:</b> Carly Simon and Dionne Warwick also have an easy listening style, while those who want it a little funkier may opt for Fela Kuti. Or if it's a decade thing, Eurythmics and Duran Duran are also popular picks from the '80s.</div><div><br /></div><div><b>In the end:</b> He's a strong contender, no question about it. I went back and forth on this one. Oh boy, did I. So, I'm not counting him out, but not picking him to get in either. Odds of induction: 45%</div><div><br /></div><div><br /></div><div><b><u>9. BECK</u></b></div><div><b><u><br /></u></b></div><div>Indie superstar from the '90s. First-time nominee.</div><div><br /></div><div><b>Why he might make it:</b> He's a critical darling, who has maintained a level of commercial success too. He also doesn't have too much direct competition. He almost seems like an artist groomed to get inducted into the Rock And Roll Hall Of Fame.</div><div><br /></div><div><b>Why he might not:</b> He had major success with "Loser" but has never been able to duplicate that level of mainstream success. While I just said he has maintained a level of commercial success, that level has been middling at best, in terms of singles, one of the perils of having that indie sound. He also just hasn't risen to the top of the conversation much this cycle.</div><div><br /></div><div><b>Whom he'd pave the way for:</b> This is one that's truly out of my element. I'm not sure whom else he'd pave the way for, at least those who have a realistic chance of being part of the conversation. Gorillaz is the only one I can point to at the moment.</div><div><br /></div><div><b>Biggest threats:</b> Eminem is the big name for those who want a '90s star. Rage Against The Machine might take away from him as well, as could artistic, musical nomad Kate Bush.</div><div><br /></div><div><b>In the end:</b> I initially had him in my top five. But in addition to him just not coming up in the discussion much, Dolly's withdrawal attempt also gave a better chance to some other artists, and Beck wasn't one of them. He sank while others had a newly increased chance. And that feels like where we are with him. Odds of induction: 40%</div><div><br /></div><div><br /></div><div><b><u>10. DIONNE WARWICK</u></b></div><div><br /></div><div>Female pop singer with a decades-spanning career. Second-time nominee, seeded #7 for 2021.</div><div><p><b>Why she might make it:</b> She has a lengthy career, has worked with a lot of big names, and is having a huge resurgence in popularity due to Twitter. The Hall does like to strike while the iron is hot.</p><p><b>Why she might not:</b> Most of her big hits were either hits on the Adult Contemporary charts, or could have been. Songs she made popular could have fit very comfortably on <i>The Lawrence Welk Show</i> back in the '60s, which is to say some have trouble considering her all that "rock and roll." For crying out loud, even Perry Como covered "That's What Friends Are For."</p><p><b>Whom she'd pave the way for:</b> An induction for Warwick would probably lead to the induction of the songwriting duo of Burt Bacharach & Hal David in the Non-Performer category. Because of her collaboration, she could help the Spinners get nominated again, or maybe get nominations for other women of the earlier years, like Connie Francis.</p><p><b>Biggest threats:</b> Carly Simon and Lionel Richie are the most direct competition, in my opinion. Popular women artists Pat Benatar and Eurythmics could also steal some votes.</p><p><b>In the end:</b> From the votes that we know have been cast, she's got a pretty good shot. And the older inductees may vote for her as a name they recognize. I just don't think it'll quite be enough. Odds of induction: 37.5%</p><p><br /></p><p><b><u>11. A TRIBE CALLED QUEST</u></b></p><p>Hip-hop act from the early '90s. First-time nominee.</p><p><b>Why they might make it:</b> They're pioneers of a certain style of hip-hop, artistic, dare I say literate, and the membership formed a kind of synergy, resulting in some amazing beats and jams.</p><p><b>Why they might not:</b> Very little name recognition. And if you've heard of them, you still maybe can't name a single song by them. Not a steady presence in the pop charts, and thus, didn't break as big as some other names on the ballot.</p><p><b>Whom they'd pave the way for:</b> An induction for this group could open the doors for De La Soul, Wu-Tang Clan, and a return nomination for Eric B. And Rakim.</p><p><b>Biggest threats:</b> Eminem is the bigger rap name on the ballot that more people will recognize. Rage Against The Machine and Beck both had some rap elements to their songs and were from the same decade, so they also could steal votes.</p><p><b>In the end:</b> Again, the sample we have is very promising for A Tribe Called Quest, but it's also very heavily slanted and niche. Like when the early polls in an otherwise red state show the Democratic candidate in an early lead. There's some initial surprise, followed by the realization that there are many more precincts to report yet. If we couldn't have two rap inductees in the Performer category when Public Enemy and N.W.A. were on the ballot, it's definitely not happening here either. Odds of induction: 35%</p><p><br /></p><p><b><u>12. FELA KUTI</u></b></p><p>Afrobeat pioneer. Second-time nominee, seeded #14 for 2021.</p><p><b>Why he might make it:</b> One thing that a nomination for the Rock And Roll Hall Of Fame will do, and that the Hall does right in this regard, is bring greater awareness to great artists that the general populace is unfamiliar with. The curiosity of the name has sparked curiosity of the music, and the interest has been sparked in many.</p><p><b>Why he might not:</b> Aaaanndd there have been many others who have dug in their heels, doubled down on the willful ignorance, insisting being big in the U.S. is the bar to clear. What percentage of those people are in the voting bloc may be higher than we wish to acknowledge. He just has almost no name recognition in the States.</p><p><b>Whom he'd pave the way for:</b> A whole continent of musical greatness awaits. The most likely would probably be Yassou N'Dour, who has worked with a few names well-known to the English-speaking world, like Peter Gabriel. King Sunny Ade and Sun Ra could get some recognition as well.</p><p><b>Biggest threats:</b> His own obscurity in the United States. For the sake of what this heading is supposed to mean, Rage Against The Machine released a lot of political music, and A Tribe Called Quest is probably the next funkiest artist on the ballot.</p><p><b>In the end:</b> When Fela Kuti returned to the ballot this year, the Hall was probably expecting a lot of the same enthusiasm to be reflected in the fan ballot. And then the nation of Nigeria rose up on Twitter and gave the Rock And Roll Hall Of Fame the middle finger. "Fool me once, shame on you, Rock Hall," seemed to be the consensus opinion, and the Hall looked pretty bad for it, for their tactics which are business-as-usual in North America, but apparently culturally unacceptable for them. Especially the spam email they kept getting hit with. I think there's a real chance that the Hall will induct Fela Kuti in Award For Musical Excellence as a way to extend an olive branch without actually making an apology to fans of Fela from far away. Just don't tell those fans that Award For Musical Excellence isn't the same as a Performer induction, that it's not the same honor, despite how much John Sykes insists it is and shovels it into the fire. Afrobeat isn't getting the votes though, so here... Odds of induction: 33.33%</p><p><br /></p><p><b><u>13. RAGE AGAINST THE MACHINE</u></b></p><p>Politically charged nu metal band. Fourth nomination, seeded #8 for 2018, #11 for 2019, and #13 for 2021.</p><p><b>Why they might make it:</b> The insider nature of the Hall bodes very well for this band, with guitarist Tom Morello being on the Nominating Committee. Additionally, the Hall loves politically charged music, and they were that. They were also innovative in their sound.</p><p><b>Why they might not:</b> They are a band you know the name of, and may even relate to the ethos of the name itself, but you might not know any of their actual songs. </p><p><b>Whom they'd pave the way for:</b> Getting this band in could refocus efforts to other hard bands of the era, particularly grunge, and garner a return nomination for Soundgarden, and maybe a nomination for Alice In Chains.</p><p><b>Biggest threats:</b> Judas Priest is the most obvious competitor. Pat Benatar is a hard-edged rocker that could steal votes as well. And if the voters want politically charged music that comes from a more authentic place, they might throw their votes to Fela Kuti instead. And don't ignore the potential for early punk rock like the MC5 and New York Dolls.</p><p><b>In the end:</b> They're starting to become old hat, but it's obvious they're not going away, they're going in. Just not this time.. Odds of induction: 30%</p><p><br /></p><p><b><u>14. DEVO</u></b></p><p>Post-punk, art-rock band from Ohio. Third nomination, seeded dead last at #15 for 2019, and #9 for 2021.</p><p><b>Why they might make it:</b> The Hall loves to reward artistic creativity, and these guys had it. Their music was fun but powerful, they had a gimmick, and they are innovators.</p><p><b>Why they might not:</b> They might be a little too far out there for some, and a one-trick pony to others.</p><p><b>Whom they'd pave the way for:</b> They might pave the way for an avant-garde act like They Might Be Giants to get inducted. Their music is fun at parties too, so maybe acts like the B-52's or Violent Femmes.</p><p><b>Biggest threats:</b> Duran Duran and Eurythmics occupy a similar sonic space, and Kate Bush is also rather high art music, like them.</p><p><b>In the end:</b> This is one of those acts that, if and when they do get in, it'll be to everyone's surprise. They're a band that we can point to with what's wrong with the induction process, allowing voters to only vote for five, and only allowing five to seven Performer inductees per year. Or just point to any "categoried" inductee that could/should be a Performer. In any event, they're not getting in this time. Odds of induction: 25%</p><p><br /></p><p><b><u>15. THE NEW YORK DOLLS</u></b></p><p>Early punk-rock band. Third nomination, unseeded their first nomination, seeded #15 for 2021.</p><p><b>Why they might make it:</b> They were highly innovative and influential, both in terms of their music and their image, and the critics loved them.</p><p><b>Why they might not:</b> Outside a few of the big names, punk rock really isn't having an easy time getting into the Hall. Additionally, they really never had major commercial success, and their circle of influence attenuates sharply the further you get from New York City.</p><p><b>Whom they'd pave the way for:</b> They were also progenitors of glam in a way, so maybe the Sweet gets looked at? Or maybe just punk rock acts like the Dead Kennedys.</p><p><b>Biggest threats:</b> The MC5 are the most obvious and direct competition. Judas Priest is there for those who'd rather have metal than punk. Pat Benatar and Rage Against The Machine are also threats to them.</p><p><b>In the end:</b> This is just the third nomination for the New York Dolls, but their return last year was quite unexpected. This will be interesting to watch and see how much patience the Hall and certain members of the Nominating Committee actually have. I think there's a very real shot for them to be inducted in Early Influence this year, despite my despisal for this type of shenanigans. But with only three nominations, maybe the Hall isn't ready to do that to them yet. We'll know shortly. Meanwhile... Odds of induction: 20%</p><p><br /></p><p><b><u>16. KATE BUSH</u></b></p><p>Experimental British musician. Third nomination, seeded #17 (but not dead last) for 2018, and dead last at #16 for 2021.</p><p><b>Why she might make it:</b> The Hall loves the artistic, experimental musicians, and Kate is most definitely that and then some. Additionally, the inductions of Roxy Music and T. Rex show that the Americentric bias in the ranks of the voting bloc is starting to erode and crumble. Lastly, remembering how the ceremony went last year, they could easily give her the Todd Rundgren treatment, with a pre-recorded acceptance speech from Kate, much like Tina Turner did, and get her induction over quickly and painlessly, thereby freeing up more room.</p><p><b>Why she might not:</b> There's still a strong Americentric presence in the Hall, and artists who work on their own timeline with no deadlines have trouble staying in the spotlight. Not that she coveted it, but we're discussing what helps and what hurts getting into the Hall.</p><p><b>Whom she'd pave the way for:</b> Tori Amos is the most direct descendant of Kate Bush, stylistically, and thus would benefit the most. Bjork is another artist in that vein who could get some consideration.</p><p><b>Biggest threats:</b> She's got competition from many directions. Devo, Eurythmics, Duran Duran, and Pat Benatar all come from the formative days of MTV like Kate; Carly Simon, Dolly Parton, and Dionne Warwick are also strong female presences that could be competition; and Beck is a fellow iconoclast that occupies a similar, albeit not parallel, space as her.</p><p><b>In the end:</b> Much like Beck, Kate Bush seemed to have fallen out of the discussion for awhile, until she rebounded back into it somehow. Too little too late though, in my opinion. Odds of induction: 15%</p><p><b><u><br /></u></b></p><p><b><u>17. THE MC5</u></b></p><p>Hard-rocking proto-punk band from Michigan. Sixth nomination. Their first nomination for 2003 predates my seeding system, seeded #12 in 2017, #14 for both 2018 and 2019, and #15 for 2020.</p><p><b>Why they might make it:</b> They're an extremely innovative and influential band, helping to give rise to punk rock as a subgenre of rock and roll.</p><p><b>Why they might not:</b> They just don't have the name recognition. They're not well-known enough to stand out above some of the other names. Also, with Kraftwerk having been made an Early Influence inductee, how much more so the MC5? The ballot fatigue makes it look like this will happen.</p><p><b>Whom they'd pave the way for:</b> There are some punk or hardcore punk acts that could get nominated, like Black Flag, or nominated again, like Bad Brains.</p><p><b>Biggest threats:</b> The New York Dolls, Judas Priest, Pat Benatar, and Rage Against The Machine are the most like the MC5 in terms of sound.</p><p><b>In the end:</b> At this point, y'all know how much I abhor the redefinition so they can jury-rig a solution without addressing the main problem of only allowing voters to vote for five and only inducting five to seven Performer inductees. Drum beaten, horse dead. Yadda yadda yadda. In the current reality that makes me roll my eyes, it's been declared inevitable by those hip to the Rock Hall Ruse that this group will be called an "Early Influence." Abandon all hope of a Performer induction. Odds of induction: 10%</p><p><br /></p><p>And with that, we have sown the seeds, but not sewn up the discussion. My predictions run pretty much the same as Nick Bambach's, which shouldn't be too surprising, since I believe both of us nailed all six Performer inductees last year. Anyway, this is just a prediction and not a preference. I'd honestly be just as happy to be wrong as I would to be right, happier in fact. Sadly, with a White rapper on the ballot, I think that may allow the Rock Hall voters to represent music predominantly made by African-American artists without actually voting for any African-American artists. It's a thready, tenuous trend I've been noticing, and one that I can only articulate very clumsily, so I won't try to expound on it. But the result is, I'm predicting no People Of Color to get in this year as a Performer. </p><p>As for the other categories, the Non-Performer category is anyone's guess, but if used, it'll be someone with their hooks in the Hall in some way, shape, form, or fashion. Years ago, Roger Friedman at Fox News claimed to have uncovered a collusion of sorts to induct one person one year (I think it was David Geffen in 2010), and then Doug Morris the next year. The first one he predicted did get in, but Doug Morris still hasn't. It wouldn't be a surprise if he did at some point, especially after Clarence Avant got in. But as for the other two categories, we could see them used to remove a few more names off this year's ballot that don't get the votes As mentioned above, I think there's a strong possibility for the MC5 and New York Dolls to get the Early Influence treatment. I really hope not, but at this point, it feels like holding back the tide with a broom. And in the Award For Musical Excellence category, there's a good chance we could see Dolly Parton inducted there, after all the hubbub and confusion her attempt to withdraw caused. And as mentioned before, I also think it's possible for Fela Kuti to get in this way this year as a half-hearted and half-assed peace offering to the nation of Nigeria after last year's disappointment, which honestly is little more than a failure to communicate the reality as opposed to what they believed. And to bring up a name that we quickly noticed wasn't nominated, agreed would get an Award For Musical Excellence induction this time, and stopped talking about for the past three months, I also suspect we will see Chaka Khan inducted this year in this category. Pat Benatar is the one name from the list of inductee hopefuls that I created back in 2004 who is on the ballot this year, but if Chaka gets in, her name was on that list as well, so hopefully one of those two will extend my streak. We'll know soon enough.</p><p><br /></p></div>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-75578019378834616912022-04-27T21:46:00.000-07:002022-04-27T21:46:08.996-07:00Listening And Liking The 2022 Nominees<p> Time now to take a quick look at the nominees for the Class Of 2022 in terms of how much I enjoy listening to them. Some I really enjoyed, some I can only enjoy when I'm in the right mood or doing something as opposed to something else. It's not the most objective way to be subjective, but I have a blue-collar life to live that includes dozing off in my recliner if I try to relax. But the uptick of this ballot is this: whatever artist I was diving into that day was my favorite. Mostly. Some days were just rough though. Even so, the music is always a highlight, and that's why I do this. I love music, these nominations give me both an excuse and a helpful direction to go in when expanding my horizons, and it's great discussion fodder. </p><p><br /></p><p>The ballot-filling episodes of "Who Cares About The Rock Hall" show that it certainly is often a combination of merit and personal tastes. And those that score high in both regards get the checkmark. Usually. The Dolly Parton situation notwithstanding. So let's rank the artists by how much I enjoy them, list a favorite song, and average out the ranks.</p><p><br /></p><p><b>1. Eminem</b></p><p>His more immature songs are sometimes the epitome of a haunted house with a very cheery paintjob on the exterior. Some of his hooks and samples are so bouncy and catchy, it's hard to take the lyrical horror seriously, like an eight-year old boy spouting things he doesn't actually understand. Although I gotta admit, I do think the line "God sent me to piss the world off" is pretty funny. I think we all have days when we feel that is our cosmic purpose in this creation.</p><div style="text-align: left;">Favorite song: "We Made You"<br />Merits rank: 8<br />Average of ranks: 4.5</div><p><br /></p><p><b>2. Dolly Parton</b></p><p>I once read a Cracked.com article that included the statement, "Nobody doesn't like Johnny Cash." There are those who don't like Elvis. Some who don't like the Beatles. Some who don't like U2. Crazy as it sounds, some who don't like the Four Seasons. I myself have a slight Led Zeppelin allergy. But nobody doesn't like Johnny Cash. The same can be said about Dolly Parton, pretty much. You don't have to like every song, but you get to. Heck, she's even enough to have Tennessee made the spokesman for the Southern States in one of comedian Ben Brainard's videos.</p><div style="text-align: left;">Favorite song: "Tennessee Homesick Blues"<br />Merits rank: 1<br />Average of ranks: 1.5 </div><p><br /></p><p><b>3. Devo</b></p><p>I don't love every song, especially their covers of "(I Can't Get No) Satisfaction" or "Working In A Coal Mine," but admitting to not liking those two songs seems sacrilegious to the Devo fans. But the weirdness and reimagination is part of their overall charm.</p><div style="text-align: left;">Favorite song: "March On"<br />Merits rank: 16<br />Average of ranks: 9.5 </div><p><br /></p><p><b>4. Pat Benatar</b></p><p>It's a little tricky. I like a lot of her songs, and I don't like a few of them. And ones I don't like are some of the big crowd pleasers. But overall, I like her music.</p><div style="text-align: left;">Favorite song: "All Fired Up"<br />Merits rank: 9<br />Average of ranks: 6.5</div><p><br /></p><p><b>5. Beck</b></p><p>I'm not a huge indie guy, but Beck certainly knows how to make it interesting. Even some of the less celebrated stuff was pleasant to listen to. And hey, the episode of <i>Futurama</i> he was on was pretty awesome.</p><div style="text-align: left;">Favorite song: "Mixed Bizness"<br />Merits rank: 4<br />Average of ranks: 4.5</div><p><br /></p><p><b>6. Eurythmics</b></p><p>I have to admit, if you're basing it off of "Sweet Dreams (Are Made Of This)" or "Here Comes The Rain Again," you really haven't listened to their music. This is an artist I like a lot more than my work on Retro Weekends at the lite rock station would have had me believe. And big thanks to Nick Bambach for mentioning my favorite song by them among the playlist tracks on his "Rock In Retrospect" podcast.</p><div style="text-align: left;">Favorite song: "When Tomorrow Comes"<br />Merits rank: 10<br />Average of ranks: 8</div><p><br /></p><p><b>7. Judas Priest</b></p><p>Admittedly, my first day of binge-listening was a disaster. I think I may have even exited Spotify and decided to socialize with my coworkers, to their chagrin. But we all have bad days. The second day went a lot better, as did the third, as evidenced by their ranking this high.</p><div style="text-align: left;">Favorite song: "Nightcrawler"<br />Merits rank: 5<br />Average of ranks: 6</div><p><br /></p><p><b>8. Duran Duran</b></p><p>Duran Duran is a group that my ability to appreciate was badly damaged during my fast food days by off-key coworkers who changed all the lyrics to be about either boobs or weed. And not even cleverly. Haphazardly, not even trying to make them rhyme, Outright butchery. Fortunately, this band's quality of musicianship is good enough to eventually overcome that. </p><div style="text-align: left;">Favorite song: "Ordinary World"<br />Merits rank: 3<br />Average of ranks: 5.5</div><p><br /></p><p><b>9. Lionel Richie</b></p><p>Of the nominees whose catalogs might possibly be deemed "too schmaltzy," Lionel's is the one I enjoyed the most. I could definitely hear some of the country flavors that were spoken of with regards to his solo work, but there were also some rhythmic underpinnings--both kept the experience of diving into his solo work from being too tedious. Only tedious thing was hitting "Skip" on the Commondores' songs that were thrown into the mix. Nothing against them, but they're not the nominee.</p><div style="text-align: left;">Favorite song: "Angel"<br />Merits rank: 12<br />Average of ranks: 10.5</div><p><b><br /></b></p><p><b>10. New York Dolls</b></p><p>This is not really music that works well while I'm working. But while driving, they're a lot more fun to listen to. However, the later stuff is not as good, in my opinion, partly because the lead singer is harder to understand on those later albums.</p><div style="text-align: left;">Favorite song: "Personality Crisis"<br />Merits rank: 13<br />Average of ranks: 11.5</div><p><br /></p><p><b>11. The MC5</b></p><p>This band actually drops a bit, mainly because Spotify kept shoving live albums (besides the first one) and Wayne Kramer MC50 tracks down my ears. I get the catalog is limited, but this was just bad work by the algorithms. Fortunately, I remembered and enjoyed a lot of the albums' tracks from the previous years' research.</p><div style="text-align: left;">Favorite song: "American Ruse"<br />Merits rank: 17<br />Average of ranks: 14</div><p><br /></p><p><b>12. Carly Simon</b></p><p>I have to admit, her albums of standards covers did next to nothing for me. A few of the songs were pretty cool, but I almost got more excited when the songs from the Winnie-The-Pooh movies would come up. Her originals are pretty solid though. No denying that.</p><div style="text-align: left;">Favorite song: "You're So Vain"<br />Merits rank: 15<br />Average of ranks: 13.5</div><p><br /></p><p><b>13. Fela Kuti</b></p><p>As I said last year, it's pretty much a cultural thing. Enjoy the first few minutes of the introductory groove, mind wanders until the vocals kick in, struggle to understand the words with his African accent. It's not a good system, and I do try to do better. </p><div style="text-align: left;">Favorite song: "It's Highlife Time"<br />Merits rank: 2<br />Average of ranks: 7.5</div><p><br /></p><p><b>14. Kate Bush</b></p><p>If you want a working definition of "inconsistent," look no further. Kate Bush ranked #4 on the personal taste list last year and has dropped below artists she was higher than last year. I really can't explain it. Last year, I guess I was really into the musical theatre feel of her music, and this year, not. I like musical theatre, and her voice is beautiful. But sometimes I just got annoyed listening to her. I really don't know what to tell you or what happened. Maybe the stress at work ruined her for me. Maybe I'm just getting older and crankier. Anyone's guess.</p><div style="text-align: left;">Favorite song: "Love And Anger"<br />Merits rank: 14<br />Average of ranks: 14</div><p><br /></p><p><b>15. Dionne Warwick</b></p><p>My appreciation for the Bacharach/David tunes that could easily have fit in the setlist for <i>The Lawrence Welk Show</i> has not grown. (And I like <i>The Lawrence Welk Show</i>, by the way.) My appreciation for her '70s songs though, has not diminished. So it balances out.</p><div style="text-align: left;">Favorite song: "Once You Hit The Road"<br />Merits rank: 11<br />Average of ranks: 13</div><p><br /></p><p><b>16. Rage Against The Machine</b></p><p>This has been a suprisingly pleasant listening experinece this year. The stress of the workplace that may have hindered Kate Bush makes this group a lot of fun this time around, despite not really making any ground in relative rankings. That said, I also feel the songs tend to be interchangeable to the point where if they did get inducted, they could just do a big-ass medley and no one would notice, like cobbling together segments from a bunch of James Swearingen's old compositions Seriously, I have trouble matching Zach De La Rocha's repeated hooks and lines to the correct songs they come from. </p><div style="text-align: left;">Favorite song: "People Of The Sun"<br />Merits rank: 7<br />Average of ranks: 11.5</div><p><br /></p><p><b>17. A Tribe Called Quest</b></p><p>They're at the bottom of the list because an hour after listening to them, I can't audiate a single song of theirs, except the hook, "Can I kick it? Yes you can!" I'm listening to this group now while typing this entry, and I forgot that "Can I Kick It" sampled "Walk On The Wild Side." Q-Tip's voice is like Teflon to me; nothing he says sticks in my brain. I feel I gotta take responsibility for this one. This is not an act to listen to while at work, or even casually. You have to be able to take time and sit with it while you listen. And if the COVID results I'm currently waiting on are positive, I'll at least have the time to do that for a few days. As it is now, it's just not sticking in my brain, and I feel it's only fair then to place them at the bottom.</p><div style="text-align: left;">Favorite song: "Can I Kick It"<br />Merits rank: 6<br />Average of ranks: 11.5</div><p><br /></p><p>So by looking at the average ranks given, they average out and rank thus:</p><div style="text-align: left;">1. Dolly Parton<br />2. Beck<br />2. Eminem<br />4. Duran Duran<br />5. Judas Priest</div><div style="text-align: left;"><br />6. Pat Benatar</div><div style="text-align: left;">7. Fela Kuti</div><div style="text-align: left;">8. Eurythmics</div><div style="text-align: left;">9. Devo</div><div style="text-align: left;">10. Lionel Richie</div><div style="text-align: left;">11. New York Dolls</div><div style="text-align: left;">11. Rage Against The Machine</div><div style="text-align: left;">11. A Tribe Called Quest</div><div style="text-align: left;">14. Dionne Warwick</div><div style="text-align: left;">15. Carly Simon</div><div style="text-align: left;">16. Kate Bush</div><div style="text-align: left;">16. The MC5</div><p style="text-align: left;"><br />Looking at the top five averages, it stands to reason that my fan vote should be going to Beck, Duran Duran, Eminem, Judas Priest, and Dolly Parton. And that's sixty percent accurate. As a native Michigander, Eminem and the MC5 are on my ballot. Pat Benatar is the only nominee who, if inducted, would extend my streak of getting names off my aggregate list of hopefuls that I wrote back 2004, before I really understood the Hall. So, she gets my vote. Judas Priest gets checked, because let's get the heavy metal in for crying out loud. And the last vote is going to Dolly Parton. I like Dolly Parton, but I don't worship and obey her blindly. She deserves it, and the Hall absolutely makes room for artists who mostly stay in the lane of a parent genre, but include some pop sensibilities at some point in their careers. Maybe she can smell the Hall trying to cash in on her cache just as clearly as the rest of us can, and she's diplomatically telling the Hall to go fornicate itself. Or maybe she genuinely doesn't or didn't pay attention to how the Hall operates, since she didn't think she'd ever be nominated. Either way, cache-grab aside, Dolly absolutely belongs in the conversation, and I'm still voting for her.</p><p style="text-align: left;">Coming soon, the official predictions. And holy hell, it's a sloppier mess than my ten-day hold. Stay tuned.</p><p style="text-align: left;"><br /></p><div style="text-align: left;"><br /></div>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-3967616599364779732022-04-08T23:52:00.000-07:002022-04-08T23:52:56.858-07:002022 Nominees' Merits<p>After taking much longer than expected, I've now taken it upon myself to rank this year's Rock And Roll Hall Of Fame nominees by merits that make an attempt to be objective. What makes an artist truly worthy? Surely we can't simply stan an artist into the Hall, can we? And yet if the fanbase is large, that does affect my category of Impact. But is that fandom just a moment in time? That's why we have the twenty-five year rule, right? So that it's not just a matter of loving someone hard enough to get them inducted, like some sort of Care Bear stare, emitting love of an artist from our tummies, beaming them directly into the Rock And Roll Hall Of Fame?</p><p>Unfortunately, that is a part of the process, except you have to be one of the insiders shooting off that abdominal adoration arc. That said, it is not completely unchecked; otherwise, the Singles category would have never happened, because Little Steven wouldn't have had to come up with a way to enshrine his temper tanrums. So what keeps the bellicose bushwah at bay? Standards. Everyone has their standards, and that includes me. When it comes to standards for the nominees, I use the I-5 system I created: Innovation, Influence, Impact, Intangibles, and Issues. What did they do that no one else had at the time? Who took their leads from them? How big a name are or were they? What extraneous factors add that certain oomph to a nominee? Why might some, especially members of the voting body, be against this act being nominated? </p><p>It's a significant matter to figure out if an act deserves induction, but it's not a precise science. Sometimes I have been noted to give too much weight to the Impact factor and not enough to Innovation or Influence. I have tried to be a bit more careful, but I do see that some of the less popular pioneers still rank low. So, having done my best, let's look at the ranks of these nominees by merits.</p><p><br /></p><p><b><u>1. DOLLY PARTON</u></b></p><p><b>Innovation:</b> Not s strong category for her, but the pop sensibilities she blended into her brand of country were a somewhat new creation.</p><p><b>Influence:</b> A massively influential star to country music, female artists, and even singer/songwriters of various genres.</p><p><b>Impact:</b> So massive. So many records sold, both singles and albums, and name recognition that is through the roof. If she started a cult, the membership would eclipse scientology within a year, easily.</p><p><b>Intangibles:</b> With all the awards she's received from within the recording industry, her status as a mutlitudinous talent is undeniable. </p><p><b>Issues:</b> While country is recognized as a parent genre of rock 'n' roll, when an artist stays comfortably in the lane of a parent genre, never even considering themselves to have fused any rock elements into their music, it makes conversation about induction into the Rock Hall a tad bumpy. Addtionally, while her agency over her image is a huge step forward, that image flirted with self-parody at times, and the Hall definitely takes itself very seriously and may not want that as part of the narrative they wish to create.</p><p><br /></p><p> <b><u>2. FELA KUTI</u></b></p><p><b>Innovation:</b> His fusion of soul and funk with the music of his homeland Nigeria resulted in a musical and cultural explosion.</p><p><b>Influence:</b> Because he is credited with Afrobeat's creation, and its continued existence and relevance in the musical world, his influence is both massive and consequential.</p><p><b>Impact:</b> Though his sales in colonial cultures aren't nearly as impressive, his sales and name recognition in Nigeria and in fact all of Africa makes this a stronger category than some would expect.</p><p><b>Intangibles:</b> In addition to being a musical and political revolutionary, his songwriting displays a gift for words and analogies that would impress Emerson and Longfellow. </p><p><b>Issues:</b> I wish I could sit here and tell you the chief objection to his nomination is that his band Africa 70 wasn't nominated with him. I really wish I could tell you that. Reggae was influenced by soul music, much like Afrobeat, and recognition of reggae as part of the rock and roll diaspora is an uphill battle. How much more so a style that isn't well-known in the States.</p><p><br /></p><p><b><u>3. DURAN DURAN</u></b></p><p><b>Innovation:</b> First forming in the late '70s, they are one of the first synth-rock bands to break big and solidify the sound.</p><p><b>Influence:</b> How many of the synth-pop bands that followed in the immediate wake were influenced by Duran Duran may be a little hard to tell, but their immediate influence was very palpable until Nirvana came along.</p><p><b>Impact:</b> They have Top Ten hits that could be called Forgotten 45s'; that's how successful they were. You cannot discuss popular music of the 1980s and not mention this band at some point.</p><p><b>Intangibles:</b> Their mutualistic relationship with the budding MTV format saw them as one of the pioneers of the modern music video, in terms of concept and execution.</p><p><b>Issues:</b> Some of their songs haven't aged well, and the overall new wave style of their songs is, or at least was, a punchline for a spell there.</p><p><br /></p><p><b><u>4. BECK</u></b></p><p><b>Innovation:</b> People talk about his music as if they're still trying to identify it with fitting nomenclature. A miasma of paradoxes in styles that still manage to work together.</p><p><b>Influence:</b> In the immediate sense, he helped kick open a door that made the pathway for other artists possible. Long term, he's pretty singular, but still inspirational.</p><p><b>Impact:</b> He has a handful of charted pop singles, and is much more successful on the modern rock charts.</p><p><b>Intangibles:</b> A critic's wet dream. An artist's artist, but would still play in Peoria.</p><p><b>Issues:</b> Perhaps a bit too sporadic and inconsistent. Following your own creative process schedule can be a liability as well as an asset.</p><p><br /></p><div><p><b><u>5. JUDAS PRIEST</u></b></p><p><b>Innovation:</b> They weren't the first metal act, but they were from its formative years, and thus, they played a key part in shaping its sound and textures.</p><p><b>Influence:</b> They weren't Black Sabbath, but they were extremely influential in the field of metal, including a few inductees and nominees.</p><p><b>Impact:</b> Only one charted single, but a dozen or so charted albums and a back catalog that holds high esteem in the pantheons of heavy metal.</p><p><b>Intangibles:</b> While critics weren't kind to metal initially, they've revised their stances on formative acts like Judas Priest. And for lovers of hard rock and heavy metal, this is one of the biggest names missing from the Rock And Roll Hall Of Fame.</p><p><b>Issues:</b> With limited commercial success in the singles category, plus the general uphill battle metal has had to get respected, they are sometimes held in lower esteem overall.</p></div><div></div><p><b><u><br /></u></b></p><p><b><u>6. A TRIBE CALLED QUEST</u></b></p><p><b>Innovation:</b> When you talk about about formative acts of the sound of '90s hip-hop, this outfit is near the top of the list.</p><p><b>Influence:</b> Their influence on hip-hop and rappers to come, as well as on their contemporaries was massive. Widely influential.</p><p><b>Impact:</b> A handful or two of charted singles. Albums charts, four top ten albums with a fifth that is critically well-regarded.</p><p><b>Intangibles:</b> With their level of artistry, and renown of the individual members, they're a synergy, so much more than the sum of the parts.</p><p><b>Issues:</b> 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.</p><div><p><br /></p></div><div><p><b><u>7. RAGE AGAINST THE MACHINE</u></b></p><p><b>Innovation:</b> 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.</p><p><b>Influence:</b> 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.</p><p><b>Impact:</b> A few charted songs on the Album and Modern Rock charts, and a couple charted albums.</p><p><b>Intangibles:</b> There is a sense of authenticity to them, and congruity with their name, their music, and their image offstage.</p><p><b>Issues:</b> Their lyrics are often incomprehensible, so you don't know what they're saying, only that they're angry. Additionally, not big on longevity.</p><p><br /></p><p><b><u>8. EMINEM</u></b></p><p><b>Innovation:</b> Nope, unless you count lyrical content that rappers didn't approach before him.</p><p><b>Influence:</b> Massive influence on the current generation of rappers.</p><p><b>Impact:</b> Immense. Several Top Ten hits, over four dozen pop hits (including the Bubbling Under charts), and he's penetrated our vernacular, giving us the term "stan" that has since been watered down a little to be a hyperbole of fandom. </p><p><b>Intangibles:</b> Despite breaking through later than a lot of rap royalty, he is still listed among them as one of the greatest, most skillful rappers of all time.</p><p><b>Issues:</b> When John Sykes and company talk about "youth culture" as it relates to rock and roll, they mean people who can have a driver's license but can't run for a seat in the U.S. House Of Representatives, and who are still figuring out their own sense of identity and what kind of impact they want to leave upon the world--not an eight year-old boy who doesn't know what he's saying but still carelessly slings naughty words, shocking statements, and violent threats around because it gets him the attention he craves and because he thinks it's funny to see the looks of shock and clutching of pearls from grown-ups. In his songs, Eminem frequently comes off as exactly that.</p></div><div><br /></div><div><p><b><u>9. PAT BENATAR</u></b></p><b>Innovation:</b> Not so much, though hers are some of the earlier "power ballads."</div><div><b><br /></b></div><div><b>Influence:</b> As a successful rock star who wrote most of her own songs, she proved influential for other rocking women to follow in her wake.</div><div><b><br /></b></div><div><b>Impact:</b> Several charted albums, and a solid string of hit singles from the late '70's, including two in the top 5 of the Hot 100.</div><div><b><br /></b></div><div><b>Intangibles:</b> She's an icon as a "rocking" woman who plays the boys' game as well as they do, almost to the point of tokenism.<br /><b><br /></b></div><div><b>Issues:</b> There aren't any really glaring issues with her, except maybe the softer stuff being a bit on the schmaltzy side. Perhaps her lacking in the Innovation category hurts her.<br /><p><br /></p><p><b><u>10. EURYTHMICS</u></b></p><p><b>Innovation: </b>A lot of the synth-rock acts came up together around the same time; so who pioneered what is hard to say. But Eurythmics were definitely unique in their version of it, with the dominant pulsations through many of their songs.</p><p><b>Influence: </b>With Annie Lennox at the helm, Eurythmics were highly influential to many female and female-led acts to come, as well as a lot of dance music acts.</p><p><b>Impact: </b>They had a solid run of pop hits, some dance chart hits, and a handful of charted albums.</p><p><b>Intangibles: </b>Annie Lennox is a solid feminist figure, and Dave Stewart is a producton wizard.</p><p><b>Issues: </b>Not everyone is on board with the legitimacy of synth-pop and synth-rock; plus, Annie Lennox's solo career may detract votes from the "Small Hall" thinkers.</p><p><b><u><br /></u></b></p><p><b><u>11. DIONNE WARWICK</u></b></p><p><b>Innovation:</b> Some might call her '60s records a kind of prototype of the "Quiet Storm" style of music that Roberta Flack and Sade would later grow and popularize.</p><p><b>Influence:</b> In addition to being influential to her inducted cousin, a number of songs she first recorded were later covered by soul singers and groups.</p><p><b>Impact:</b> Just a huge list of charting singles and albums, top ten hits in three consecutive decades.</p><p><b>Intangibles:</b> The songwriters Burt Bacharach and Hal David are heavily respected, despite not being inducted into the Rock And Roll Hall Of Fame either, and Dionne's legacy is strongly entwined with theirs.</p><p><b>Issues:</b> She's the Black artist your racist granny liked, and used her fandom as evidence that she therefore couldn't possibly be racist. The Rock Hall may not want to inadvertently validate the latent audience.</p><p><br /></p><p><b><u>12. LIONEL RICHIE</u></b></p><p><b>Innovation:</b> As a songwriter, his style helped smooth soul in its transition from the disco era into the style that was popular in the '80s.</p><p><b>Influence:</b> He has been an influence to a wide and diverse swath of singers from different genres and genders.</p><p><b>Impact:</b> Five number one hits as a solo artist. Several top tens in consecutive fashion in a short time span, and is a name you still know.</p><p><b>Intangibles:</b> Partially in his Influence column, he has a huge amount of respect from fellow musicians, ranging from R&B to country and beyond.</p><p><b>Issues:</b> The primary issue is that he's jumping his former group, the Commodores, and that an induction here will snuff out any chance of their induction ever. Issues with his solo career itself is that some may find his smooth R&B a little too soft and schlocky to be credible.</p><p><br /></p><p><b><u>13. THE NEW YORK DOLLS</u></b></p><p><b>Innovation:</b> One of the foundational acts of punk rock, shaping its simplicity and catchiness.</p><p><b>Influence:</b> They influenced a lot of punk bands, especially in the New York scene.</p><p><b>Impact:</b> A few charted albums, but nothing in the upper half. No charted singles.</p><p><b>Intangibles:</b> They were also influential in terms of image, and critics loved them.</p><p><b>Issues:</b> Those they influenced surpassed them in terms of influence, commercial success, legacy, and possibly even image. In short, even bigger giants are standing on their shoulders.</p><p><br /></p><p><b><u>14. KATE BUSH</u></b></p><p><b>Innovation:</b> 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.</p><p><b>Influence:</b> 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.</p><p><b>Impact:</b> 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.</p><p><b>Intangibles:</b> Her performances pioneered the usage of headset microphones. More importantly, her overall level of artistry, particularly by Western standards, is extremely high.</p><p><b>Issues:</b> 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.</p><p><b><u><br /></u></b></p><p><b><u>15. CARLY SIMON</u></b></p><p><b>Innovation:</b> Ehhhhh.....</p><p><b>Influence:</b> Influential to fellow singer/songwriters and to artists in the general adult contemporary arena.</p><p><b>Impact:</b> Five top ten pop singles and five top ten pop albums; twenty-five pop hit singles (including the Bubbling Under charts) and twenty-five charted albums on the Billboard 200.</p><p><b>Intangibles:</b> She's an esteemed singer/songwriter from the '70s, and has picked up a few awards along the way, including the Best New Artist Grammy.</p><p><b>Issues:</b> History has not been kind to her legacy, as oldies radio and other "blast from the past" formats often reduce her contributions to a single song, while the rest of it is dismissed as too easy listening to receive commercial airplay.</p><p><br /></p><p><b><u>16. DEVO</u></b></p><p><b>Innovation:</b> They were them. They were around at the genesis of post-punk and constantly pushed the sonic envelope with a style that was still considered ahead of the times twenty years later.</p><p><b>Influence:</b> Not the most widely cited of the post-punk bands, but due in part to their innovation, they were always in the conversation of highly influential bands of that ilk.</p><p><b>Impact:</b> Folks might be shocked to discover that they actually had several hits across the various trade publications, included multiple entries on Billboard's dance music charts. They also charrted several albums.</p><p><b>Intangibles:</b> They're a highly respected band among musicians for their artistry, both visual and sonic.</p><p><b>Issues:</b> "Oh yeah, they had that one song, didn't they? Did they do other stuff too?"--the general public </p><p><br /></p><p><b><u>17. THE MC5</u></b></p><p><b>Innovation:</b> Arguably the first to intentionally and regularly use distortion as an identifying part of their sound. Also widely credited as one of the first punk rock acts, or at least a progenitor of punk rock.</p><p><b>Influence:</b> The entire world of punk rock recognizes the MC5 and claims them as an influence, as do other artists from bands that punk evolved into, including acts like Rage Against The Machine, and fellow nominee Motorhead.</p><p><b>Impact:</b> One charted single, two charted albums, both of which were once on <u>Rolling Stone</u>'s list of most important albums of all time.</p><p><b>Intangibles:</b> Those who argue that rock and roll is more of an attitude than a musical format can point to this band's tireless live performance at the Democratic National Convention as proof of what rock and roll should seek to accomplish. Their origins in Detroit may give them additional credibility as rockers.</p><p><b>Issues:</b> Limited name recognition outside the world of music, plus occasionally indecipherable lyrics due to the distortion, they might not clear everyone's threshold for "Unquestionable musical excellence."</p><p><br /></p><p>Despite the numerous failed attempts to get them into the Hall, I actually have a huge amount of respect for the MC5. They may be the lowest ranked on this list, but they are still extremely worthy of enshrinement. And that's the point. That's how strong this ballot is. When the list of nominees came out, and we heard a lot of familiar names trottled out again, people expressed dismay by saying, "Nothing against the artists themselves." And I think that from reading this ranking, they would double down on that sentiment, only with a more positive tone of voice. No doubt that my ranks ruffle feathers. But no matter who ranks seventeenth on your list, there isn't a name you wouldn't at least begrudgingly admit is worthy of induction. For me, I only am upset that the majority of these artists won't be inducted. </p><p>They all deserve induction, but not all of them are my cup of tea, and soon, I'll be giving the list of personal tastes for these seventeen nominees. Stay tuned.</p></div>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com1tag:blogger.com,1999:blog-3760137241594753268.post-89583897162274972502022-02-21T19:01:00.000-08:002022-02-21T19:01:11.023-08:00Musically Excellent Voices<p>Several years ago, I was lounging about at home, listening to the Music Choice channel for Solid Gold Oldies. Mixed in the playlist of songs I'd heard so many times was a song I'd never heard before. "Hey Jean, Hey Dean" by Dean And Jean (not to be confused with Jan And Dean) came on, and I perked up my ears, as this was something relatively new for me. It's an upbeat song about throwing a party when you're broke and on the verge of losing everything. What I really noticed most about the song was that the heavy lifting in it seemed to be done by the background singers, who carried the entire chorus, as well as the fills in between lines of the verses--which kind of makes sense given the song was co-written by Ernie Maresca. I'd almost bet those background singers had longer careers than either Welton or Brenda, the real names of Dean and Jean--much like Paul And Paula, whose real names were Ray and Jill.</p><p>When the Sideman category was created for the Class Of 2000, it was hailed as a huge success for the institution. The Rock And Roll Hall Of Fame was enshrining the session musicians who left an indelible mark on important records, whose styles of playing were almost as unique as fingerprints. The Hall has inducted drummers, guitarists, bassists, pianists, saxophonists, and even a harmonicist. But an important category of session contributors that has yet to be seriously acknowledged by the Hall is background singers, and that needs to change.</p><p>This is a position I've held even before the documentary <i>20 Feet From Stardom</i> came out, but it's been amplified by it. One of the people interviewed in the documentary (I think it was Lou Adler) went so far as to say the background singers were the record at times. I think my opening anecdote takes that point nearly to the extreme, but there's a lot of truth to that idea. When you think about the songs of the '50s through the '70s, and even beyond, a lot of the appeal, as well as the invitation to sing along, comes from the background singers. If I say "Gimme Shelter," what's the thing you most want to extol about that song? If you said anything other than "Merry Clayton," you're a lying sack a monkey doo. The debate between Dion's solo career and his work with the Belmonts as being the more worthy of enshrinement has a few different facets to it, but I'd wager the work of the Del Satins on "Runaround Sue" giving it such a Belmonts' feel is a bit of a factor. And how many of you have to pause yourself to remember that Curtis Lee was not the bass voice on "Pretty Little Angel Eyes"? Sadly, the world has all but forgotten Arhtur Crier, as well as the rest of the Halos who filled in beautifully on the harmonies. That's not even touching on the careers of the Blossoms or the Andantes. Great backing singers make invaluable contributions to the songs we love, by adding harmonies and/or additional rhythmic cadence to a song, even if it's sometimes with nonsense lyrics. And sometimes, their parts are the most fun to sing along to.</p><p>So why has the Hall not enshrined these singers? Some of it may be as basic as not thinking of them as musicians. When we talk about musical groups, it includes bands, but if we talk about bands, it won't include all groups. If that previous sentence made perfect sense to you, then you know what I'm talking about here. Even until now, I've intentionally refrained from calling backing vocalists "musicians" for this very purpose. But singers are musicians. Everyone can sing, right? No, and even if everyone could, not everyone can sing well enough to make worthwhile contributions to the rock and roll landscape. You don't need training to be a singer? A lot of instrument players were self-taught. Hell, I can play bass guitar. Not well, mind you, but back in college, when my roommate was at class, I sometimes opened up his case and figured out how to play the bass riff from "With Or Without You." Not with any official hand positions, but just by pushing the right string down in the right place and strumming it. (Sorry Brad!) I even touched on this during the nomination cycle for the Class Of 2012, particularly in reference to the Spinners: if shows like <i>American Idol</i> taught us anything, it's that being a singer does require actual musical talent, and those who are accomplished singers have every right to be called "musicians" as those who specialize in membranophonic, idiophonic, electronophonic, vibraphonic, or other aerophonic instruments. I.M. Pei may have designed the museum to look more like a guitar than a larynx, but not looking like a spinnet hasn't kept Floyd Cramer from induction. So, it's not a good reason to keep Lisa Fischer out either. </p><p>Another possible reason may be that the era of backing vocalists has largely passed. It isn't just because of my own predilections that my examples have largely been from songs recorded before 1970. Modern music has seen a decrease in the usage of session singers in major hit records, and a lot of the big vocal groups of the past thirty years have been prefab, which the critics, and by extension the Rock Hall, have little to no respect for. A lot of this is the decrease in demand, as rap and danceable pop music tend not to necessitate harmonizing, and rock bands are supposed to be as self-contained and in-house as possible in their musicianship (or at least have that image). Some of this decrease is because of the technological advances that have also been able to edge out other varieties of session musicians as well, and some of it is just due to the financial realities of the music industry as it stands now where additional voices are often the easiest and first expenditures to cut when trimming the fat on a recording budget. As the demand for session musicians seemingly nears extinction, the contributions of auxiliary vocalists appear to no longer be contributing to the evolution or perpetuation of rock and roll. It seems to be a character trait of a previous generation.</p><p>That perception becomes especially detrimental in the context of the current era of the Rock And Roll Hall Of Fame. John Sykes is definitely looking to modernize the Hall, as he seeks to promote his definition of "rock and roll" as the "soundtrack of youth culture." To make matters worse, these singers, who would have been excellent candidates for the Sideman category, may have an even tougher time becoming Award For Musical Excellence inductees, as that category teeters precipitously close to being little more than an alternative Performer category because the voting bloc won't do the NomComm and board's bidding. The reimagining of the categories could very easily prevent any more session musicians from getting inducted because all the focus has shifted to using that category to appease Little Steven, Alan Light, Lenny Kaye, or any other member of the Nominating Committee. Maybe not: we saw Randy Rhoads get inducted last year; however, it's also tempting to argue that Rhoads' induction was to placate Tom Morello and other metalheads on the committee as Judas Priest, Iron Maiden, and Motorhead all perennially languish in the voting tallies. We don't know, nor might we ever know, but we do know that the ceremony's real-time run time and subsequent broadcast time tend to play a factor in how many inductees we get. And because of that, the new executions of both this and the Early Influence categories have the potential to stifle further conversations. Again, hypothetically. Much of this is still unknown.</p><p>What is known is that other than Patti Scialfa of the E Street Band, there is no AME inductee whose primary contribution was as a backing vocalist, and that makes backing vocalists another major oversight on the part of the Rock And Roll Hall Of Fame. Given the Hall's love of Elvis Presley, I would seriously argue for starting with the Jordanaires. Hell, they were credited on many of his records of the '50s and '60s. They could even be retconned as a Performer inductee like the Famous Flames and Midnighters were in 2012, but I believe that AME is much more likely given that they did session work for so many singers besides Elvis. Also, part of me wants to see them in because they'd then be the only grouip to be inducted into the Country Music Hall Of Fame, the Gospel Music Hall Of Fame, the Vocal Group Hall Of Fame, and the Rock And Roll Hall Of Fame. That'd be wicked awesome, in my opinion. But in addition to the King's singers, let's add the Queen Of Rock And Roll's backing singers, the Ikettes (I know, the irony, but still). The Cookies would be a great selection too. So would the Dreamlovers, if we can ever get some love for the Cameo-Parkway legacy.</p><p>Since LL Cool J was an Award For Musical Excellence inductee last year, I'm guessing the subcommittees that decide the other categories' inductees won't meet until after the voting deadline passes and all the votes are tallied. And because this is a category decided entirely by a subcommittee, this is truly a matter where the Rock Hall could simply do it if they wanted to, presumably not answering to anyone. So while the votes are still being cast and counted, I want to challenge the Award For Musical Excellence subcommittee to take a hard look and strongly consider inducting backing vocalists as part of the Class Of 2022. It's a glaring oversight that you have the simple, unique, and presumably absolute power to correct. They've spent their whole careers in the wings and shadows. Long past time to bring them out and give them a few minutes of the spotlight at your ceremonies.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-14570915707398800832022-02-06T23:20:00.000-08:002022-02-06T23:20:16.856-08:00Pleasantly Disappointed: The 2022 Ballot<p> With the ballot having come out this past week for the Rock And Roll Hall Of Fame's Class Of 2022, the general consensus is a resounding, "Eh." I'll admit, that for me, much of the sentiment on my part is that which I've already expressed. Most of the acts I love most have already been enshrined, and of the ones that haven't, many I agree probably don't pass the bar, and those that I think do, the Hall has clearly moved on from that era. If I were a one-man veterans committee, wielding the level of power they gave Little Steven when they first tried the Singles category, you'd think the Hall was really playing catch-up. Five Satins? In. Jesse Belvin? In. Jan And Dean? In. Lesley Gore? Retroactively inducted in 1990. That's just a start.</p><p>Anyway, some thoughts on this ballot:</p><p><br /></p><p><b>Great minds think alike:</b></p><p>We all knew Eminem was going to be on the ballot, most of us picked Duran Duran and Rage Against The Machine too. The only other correct prediction I got was Pat Benatar. I wasn't really thinking she'd show up, but was just expressing my dumbfoundedness from when she previously missed. It worked.</p><p><br /></p><p><b>There's deductive reasoning... there's deja vu.....</b></p><p>One thing about this ballot to note is that there are more return nominees than first timers. That doesn't happen too often, and that's often why it's so hard to guess the ballot. The NomComm tries to keep a healthy number of new names on the ballot, and there are still several, but this ratio is a little heavier than it usually gets.<br /><br /></p><p><b>"Nothing against the artists themselves..."</b></p><p>Between the three podcasts hosted by members of the community, when listening to their ballot reveal and reflect episodes this past week, if I'd done a shot every time someone said words to that effect, I'd've been picked up by the police after trying to proposition a statue in a park somewhere. And every utterance of that sentiment says the same thing that many of us have said: the system is flawed. Broken? Nah, bruh. The Hall was founded by gatekeepers who wanted the number of enshrined small and predominantly at their discretion. The system is working exactly as designed. Worthy, revolutionary artists have become ennui because the Hall continues to think too small. They saw how well received the large class was this past year, and they appear to be digging in their heels. Maybe not. We don't know how many will get in, but all the press seems to indicate that the Performer category is going to remain narrow for the foreseeable future. And to address Mark's point, it isn't because of Sporcle, it's because the Performer category has that extra level of validation. When you go in one of the other categories, you have the approval of the people inside the room. When you go in as a Performer, you have the approval of not just them, but a larger body of peers. To be fair, if the ballot simply let voters vote for as many acts as they wanted, the level of respect and validation that these acts actually have would be more accurately reflected. The Hall's process is so flawed that it has yielded contempt upon itself and its institution--by the institution itself. The usage of the other categories corroborates that. And while I am rehashing old discussions and arguments, the point I'm trying to make is, that's why this happens. Term limits of NomComm members, fresh faces, and even adding diversity to the Assembly Of The Hoagie isn't going to induct the names that deserve it. In fact, the very opposite is what happens: it tells those acts that they don't matter. End of sentence. It'll get new names on the ballot, but it won't put things to right. Bigger classes are the answer. Rock and roll spreads out in too many valid and important directions to be kept to classes this small. Yeah, maybe that means letting in acts like the J. Geils Band, but it also means having Judas Priest and the New York Dolls already in by now too. To add a clause beginning with "more than" to the question "Do they deserve induction?" presents a faulty paradigm as the reality we're now stuck with.</p><p>Which brings us to the idea of wasted space on the ballot. That's what's being said about the MC5, the New York Dolls, and even Fela Kuti, and on the flipside, the lack of Chaka Khan on the ballot. If last year was the writing on the wall, as many believe, than the MC5 and possibly the New York Dolls will be getting enshrined in the Early Influence category for their legacy as punk progenitors, while Fela might get enshriend as an Award For Musical Excellence inductee. So many are asking, "Why bother nominating them when they'll just be inducted in aother category regardless? It's wasting a spot on the ballot, right?" Well, I think that's exactly why they did it. They don't see it as wasting space. They see it as making one final stab before being graced into the Hall. It's not a wasted space. This is how they make it look on paper that they are inducting a higher percentage of nominees every year. Whether or not they'll do this every year or just until they can reduce the number of Past Nominees who haven't been enshrined to a much lower number, we shall see. But this is to make the percentages look better. It's called lying with statistics. But hey, just as long as the eventual obituary leads with "Rock And Roll Hall Of Famer," right?</p><p><br /></p><p><b>Culturally crossed</b></p><p>One of the more interesting side stories since the announcement has been the fan ballot, namely, Fela Kuti going from near top of the heap last year, to currently dead last. Last year, the Rock Hall site received an unusally high influx of traffic from Africa, all to vote for Fela Kuti in the fan ballot. And then Fela didn't get inducted. Those of us in the watching community weren't really fazed or shocked by it. And to be honest, we thought it was old hat. We had seen the Dave Matthews Band finish first but fail to get in, and it's not like the top five in the fan ballot have ever all gotten in. But the Hall is also an American institution. And we watchers are mostly American, too. To us, agreeing to receive promotional emails from the Hall as a condition to voting is business as usual, par for the course. Apparently, that is one way the world wide web is not universal. The African base that voted for Fela last year was not thrilled. They felt they'd been played for suckers, and weren't having it a second time. They didn't appreciate business as usual. And they let us know how they felt about it. This puts another spin on the fan ballot. What the Western world just takes to be backdrop is not seen that way everywhere apparently. Maybe the Hall should take that into consideration next time they nominate an artist not from the U.S. or U.K. And maybe lay off the slick-as-slime spiel in their promotions. Doubtful it'll happen though. All they saw was the number of clicks. Rock on Fela fans; like the Who, you won't get fooled again.</p><p><br /></p><p><b>Step forward, step back</b></p><p>We still don't have a female rapper nominated. The number of women on the ballot is a lower percentage. It's a small consolation to see Duran Duran nominated, an act that I'd seen multiple women on Twitter advocating for. Then again, Duran Duran is a band that the Hall was most likely going to have to deal with eventually, so maybe not progress. But I don't expound on it as thoroughly as the women in our community. Go read what Michelle Bourg and Evelyn McDonnell write about it. Listen to Mary on Hall Watchers. But it is interesting to see Dolly Parton get nominated. And less surprising to see Carly Simon, but still unexpected. Another shot for Dionne Warwick, Kate Bush, Eurythmics, amd Pat Benatar. No Alanis though. </p><p><br /></p><p>It's not a bad ballot. Some pleasant options. And also congrats to Beck, Lionel Richie, A Tribe Called Quest, and Devo for getting nominated this time around. May the fortunes be ever in your favor.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-71790304096098775792022-01-30T17:32:00.000-08:002022-01-30T17:32:50.780-08:002022 Ballot Predictions<p> If the news is true, the Nominating Committee for the Rock And Roll Hall Of Fame has already met and we are now awaiting the ballot for the Class Of 2022. So, being a little late to the party, let's do this quickly. A fellow hobbyist said the three main ways to formulate a ballot are to "read the tea leaves," to pick whom you personally want to see, or to make a protest ballot. I'm going to blend all three together this time and pick a bit of all three. So whom do I slot in the categories of Predict, Prefer, and Protest?</p><p><br /></p><p><u>Predict:</u></p><p><b>Eminem</b>: As problematic as he is and has been, he's a lock. First name you see when you point your telescope to the stars to look at the future. </p><p><b>Duran Duran</b>: I don't know how much John Sykes personally likes Duran Duran, but this has to be an act you have to keep an eye out for to see how thoroughly he is executing his vision of moving forward and really working on the MTV-era artists.</p><p><b>Rufus featuring Chaka Khan</b>: There's a question of whether they'll nominate some iteration of this star's career again, or just keep her off and induct her in the Award For Musical Excellence category. I think her advocates aren't quite ready to give it a rest yet. And I think it'll be the group's turn again.</p><p><b>Rage Against The Machine</b>: I see the Hall making efforts to clear the lane for their friend Tom Morello, to make sure he gets in.</p><p><b>Alanis Morissette</b>: With the 25th anniversary of <i>Jagged Little Pill</i>, the documentary about her (even if she's upset about it), and the ongoing demand for more women in the Hall... it's gotta add up right?</p><p><b>Meat Loaf</b>: Only because of the proximity of his death and the meeting of the Committee. I'm sure he had to be on someone's mind at the meeting.</p><p><br /></p><p><u>Prefer:</u></p><p><b>Sheryl Crow</b>: Not one you'd think of me as being a fan of--even I'm a little surprised to be honest, but with two of my appointment-listening podcasts having Sheryl Crow episodes recently, I've gone back and realized, yeah, she should be on there.</p><p><b>Jewel</b>: I've been in love with her voice ever since I first heard it: I was in the laundry room in Landon Hall in 1999, and it was in a TV commercial on CTN where she was promoting her then-new album, available at Target. Admittedly a longshot, but hey, we can have a left-field pick, right?</p><p><b>"Weird Al" Yankovic</b>: Despite some naysaying going on, he's an MTV-era artist, he's a generational chameleon who is for all ages, and he's really a cultural zeitgeist kind of artist. If you know more than the food songs, you're probably a fan of his, regardless of how you feel about his merits.</p><p><b>the Pointer Sisters</b>: Now that Carole and Tina have their second inductions, and the Go-Go's are in, this seems to be the female act we as a community should be rallying around to get inducted, expending our energy towards. We all want them in, let's make it a focus. </p><p><b>the Spinners</b>: Not my favorite '70s soul group, but they are an awesome group that needs to get in. So many great smooth, yet funky tunes. </p><p><b>the Monkees</b>: My bread and butter is the AM gold of the '60s and the Monkees were a big part of that, as well as having a Renaissance in the '80s in the early days of MTV. Sykes could have a soft spot for that, right?</p><p><br /></p><p><u>Protest:</u></p><p><b>Pat Benatar</b>: I'm sorry, how the hell did she miss last time she was nominated?</p><p><b>the Marvelettes</b>: The early years of the Hall really focused on rock and roll as an elevation of Black culture. The Sykes era so far seems to be focusing on rock and roll as the rise of youth culture. Motown was the first record industry empire that really found a way to marry the two together, and it would be a huge insult to that legacy to induct any act from this legendary family of artists as an Early Influence, and that includes the pride of Inkster, Michigan.</p><p><b>the Crystals</b>: Having just watched the documetnary <i>20 Feet From Stardom</i>, I'm even more glad Darlene Love got in as a Performer, when you consider how her rise to stardom was suppressed by an abusive egomaniac. The Ronettes and the Crystals were both also suppressed by this man who wanted to make sure he was thought of first. The Ronettes and Darlene have gotten their due, let's get these women in too, and let's include the Blossoms as included members. All three eras.</p><p><b>Salt-N-Pepa</b>: Both the ideas that we can have only one rapper Performer inductee a year is absurd, and so is the notion we can't have any female rappers in. Let's shoot them both down by trying to get this outfit in.</p><p><b>Chubby Checker</b>: Seemingly, the only African-American musician important enough to be included in the musical Cold War synopsis called "We Didn't Start The Fire," as well as the only rock-era artist with a song to hit #1 on the Hot 100 in two separate chart runs, the first rock and roll star to play the Superbowl halftime show, and respected enough by his peers to be invited onstage to jam with them at the first Rock And Roll Hall Of Fame induction ceremony. The man deserves much more than the Singles category treatment.</p><p><b>Diana Ross</b>: It's important that we support getting more women inducted, but I believe it's also important to up the representation of women in the Clyde McPhatter Club. There are still several women worthy of being inducted twice, and Diana Ross is the most likely and most obvious choice to be the next one.</p><p><br /></p><p>It's hard to call this a ballot prediction, and I admit that having Meat Loaf as the closest thing to a representative of what constituted "classic rock" when I worked in radio is a bit of a gamble. But I tend not to do too well in predicting the ballot anyway, and I couldn't decide on a single direction. But who said I had to? It's been a spell since we've had eighteen names on the ballot, so it seemed like a good number to go with. There are names I wanted to include, but in the interest of keeping it evenly divided between the three divisions, cuts had to be made. Had I gone more with more "Predict" choices, there'd be some more repeat nominees listed, and even some heavy metal. More "Prefer" choices would have seen a bigger swelling of '60s and even '50s acts. More "Protest" picks would have basically been <a href="https://rockhallmonitors.blogspot.com/2019/09/ballot-for-2020-protest-verson.html">a repost of previous thoughts,</a> though Carole King and Tina Turner are now off that list. All that's left is to sit by and wait for the announcements.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-64839706885315878052022-01-26T14:30:00.000-08:002022-01-26T14:30:16.049-08:00Songs Of Proof: The Class Of 2021<p>Having created a playlist of songs that were just fun to string together, it's time to now come to a list of songs that are actually more meaningful. At last it's time for the Songs Of Proof for the Rock And Roll Hall Of Fame's Class Of 2021. It's time to add another thirteen songs to the great playlist. Some have been on the Previously Considered or Past Nominees' lists, and are now moved into the Inductees folder. A couple of them have even changed, from where they were on those lists, if you can believe that. Some have stayed the same, and some were never a thing anyway until now. But they're all official, and you'll see something before that you hadn't previously seen. Since there's a lot of ground to cover, let's get started.</p><p><br /></p><p><b>Clarence Avant:</b> As I said in my comments about the induction ceremony, if you read the Wikipedia page about Clarence Avant, you do not get an accurate idea of why this man mattered. On paper, and maybe even by the old standards of the Hall, this man would probably not merit induction. The old standards of the Hall, when it came to the Non-Performer category, focused on creative matters, such as songwriting, producing, and the ability to appreciate quality enough to facilitate large-scale distribution or exhibition. I think to some degree that's a fair thing to focus on. That said, nothing in life truly happens in a vacuum. While I'm still not sold on the idea of inducting those who were primarily critics (gatekeepers, really?), the idea that shaping an artist's image helps shape their sound is something we saw with Oldham and Epstein. And taking care of one's clients so their minds are free to be more creative is something that was introduced with Azoff last year. The induction of Clarence Avant is perhaps a widening of that idea, and I'd even argue that the social justice battles that have made major headlines the past couple years helped fuel this. The idea that financial stability allows for greater creativity and taking creative risks is something that sounds almost patently obvious now, and yet many are only just waking up to it. Who could conceivably imagine decadent sundaes that has been denied even the slightest taste of vanilla ice cream? Clarence Avant has been a man who helped all people really, but especially the African-American artists in the music industry stand on their own feet and take care of themselves, teaching that it is in fact possible to be too humble about one's sense of self-worth. Watching <i>The Black Godfather</i> just made me wish I could have gotten to be involved in the music industry and meet this man. As for a song to represent this man, I'm sure a lot of people are thinking along the lines of Bill Withers' "Use Me" or "Lean On Me," since Withers was easily Avant's biggest success as a record executive. Well, in addition to "Lean On Me" already being used for Bill Withers himself, I think both of those songs are more algined with giving a man of fish, whereas Avant may have done that, but he was ultimately more consequential in teaching others how to fish. I think of how he coached others, and taught them to be patient for an actual good deal. I think ultimately his advice and words of wisdom can be crudely compacted to the idea that you should "Take Your Time (Do It Right)," and since the S.O.S. Band was on Avant's lesser-known label, Tabu, that makes this a better fit, albeit less obvious, than either of the Bill Withers songs. So, we're adding a little disco, and some more female lead vocals to this playlist.</p><p><br /></p><p><b>Foo Fighters:</b> The journeymen of this year's class. Much like the '50s, helping to maintain a certain connotation of what defined "rock 'n' roll" has been seen as an important task in the perpetuation and evolution of rock 'n' roll. In the case of Foo Fighters, because they are a more contemporary outfit, that could also be seen as dragging of one's feet, trying to hinder the evolution of the music. I don't see it that way, though. There's really no reason why any style of music necessarily needs to die out, so if there's a style that's kept relevant by an act with some kind of musical savvy, then that is something to celebrate. And if they can keep doing it consistently, and for long enough, it's worth enshrining. It's in that spirit that I chose "Monkey Wrench" as the song for this group. It's catchy, from the time when they were really just starting to catch fire, and is possibly my favorite Foo Fighters song of all. There are a few for contention, including some surprises, but overall, I think this is an ideal song given what I believe they represent. The further beauty of this is that even if you agree with the ethos and process with which I chose this particular song, you could come to a completely different song just because it's one you like a lot better. And that's the beauty of the subjectivity of it. This is truly where we can agree to disagree. Unless you chose "This Is A Call." "Fingernails are pretty, fingernails are good" is just lazy songwriting.</p><p><br /></p><p><b>The Go-Go's:</b> The problem with the length of time between inductee announcements and the ceremoniy in this new schedule is that feeling that everything has already been said by the time you get to the Song Of Proof. This is an act I first arched my eyebrow at when they were bandied about in the community, mainly for their lack of longevity. Not that it's a dealbreaker, but when you have it, it really bolsters your case. That said, what's important to note is that their influence has been downplayed to the point of suppression. Moral of the story: keep an open mind and keep learning. The more I learned, the more I was rooting for them, even if they were a painful last cut when I would submit my fan ballot on the website. When it comes to the selection here, it's a balancing act to choose a song like "We Got The Beat." You don't want to appear to be saying the Go-Go's got inducted solely on the accomplishment that was the success of <u>Beauty And The Beat</u>, but you also can't deny its significance either. And you also can't deny what a banger of a song it is. Its punk-tinged energy is absolutely infectious, but it's also family friendly, lyrically. No seriously, the now-defunct children's radio network Radio AAHS used to play this song. Make of that what you will, it's an awesome song that can unite generations. That's how I look at it. And listen to it.</p><p><br /></p><p><b>Jay-Z:</b> In a rare moment, I'm actually going to use a song I don't like all that much for the Song Of Proof. This time, I'm going with the smash hit "Dirt Off Your Shoulder." It's the high-pitched synth line/sample that just irritates me. It gets really old really fast. But this isn't about me. Jay-Z has a number of songs I like or at least find interesting, including "D.O.A. (Death Of Auto-Tune)," which I almost used. Dave Chappelle made a good point though. Sometimes we need that reminder that it's not about us. Jay-Z's excellence and significance is rooted in and all about the elevation of rap music and the African-American community at large. That's where and why he matters, and if his lyrics are good enough for President Obama, it's more than enough to be on this playlist. My personal comfort be smote this time, it's too important a song to not use. And no way in hell was I going to use "Hard Knock Life."</p><p><br /></p><p><b>Carole King:</b> When I first talked about this project, I said these Songs Of Proof were set in stone. And at least they were burned onto CD-Rs. That said, stone tablets can break. Just ask Moses. So, in that spirit, I'm changing an earlier Song Of Proof. When I first chose "I Feel The Earth Move" for Carole's song for her 1990 induction as a Non-Performer, it was with heavyhearted resignation that she would never get her proper recognition as a recording artist. Now, I'm elated to yoink that song out of the 1990 list and transplant it here. And if you go back to the 1990 entry, you'll see it has been edited to show that I've implanted "It Might As Well Rain Until September" for her 1990 induction. It just makes sense. That song is her debut hit as a soloist, but it's from her days as a Brill Building songwriter and just reads and feels like one, so it makes sense to use that one for her 1990 induction. Meanwhile, "I Feel The Earth Move" is from her landmark album, was one half of the double-sided #1 hit single, and has a strong feel that really showcases both her rock and roll credibility and that personal touch that her later songs truly had. Shuffling some songs around isn't something I usually do, but in this case, it's the right call. </p><p> </p><p><b>Kraftwerk:</b> Because I log Songs Of Proof for the Past Nominees, I intend to keep using "Planet Rock" for Afrika Bambaataa, so I feel it would be disingenuous to use "Trans-Europe Express" for the German outfit. The video package focused pretty heavily on this band's influence on hip-hop. And honestly, that is a pretty important aspect, as rock and roll music itself is a major social accomplishment that also continues to achieve major social accomplishments at its finest. Their influence on pop music and electronica music, however, is also massive, and of massive importance. To that end, I still feel it is prudent to use "Autobahn," a song that is incredibly innovative and holds a fair amount of influence as well. And just to be clear, I am using the full twenty-three minute album version of the song, not the single version. This is the longest Song Of Proof in the entire library, about as long as the entire Class Of 2007's Songs Of Proof combined. With Kraftwerk actively working to remaster their entire catalog with cutting edge technology, finding the song as it sounded in the '70s in a digital world is not easy; so if you have to listen to the 21st century remaster, well, it's still a pleasant listening experience. Enjoy it either way.</p><p><br /></p><p><b>LL Cool J:</b> Don't call it a comeback, he's been here for years... on the ballot that is. But no more. LL Cool J is an inductee. Asterisk. Sorry, not sorry. Since his induction in the Award For Musical Excellence category was evidence that the category is ultimately the "Because We Fucking Said So, That's Why!" category, easily manipulated to induct by fiat, I feel there's really no need to change his Song Of Proof from what it was when he was a nominee for the Performer category. They certainly gave him the full treatment at his induction, so why not? For an overall sense of importance, I could have easily gone with a song from a little later in his career, the middle section, one could say. It's really important to note that his music was an important bridge connecting hip-hop to the more contemporary R&B of the time, a mission continued by the likes of Mary J. Blige, who will defintely have another nomination at some point. Not sure if it'll be this year, but we'll see. At the end of the day, though, being the first major solo artist of hip-hop to break big is an important first step toward accomplishing all that, and that is why his Song Of Proof remains one of the early touchstones of his career, "Mama Said Knock You Out."</p><p><br /></p><p><b>Charley Patton:</b> Like a lot of the Hall watching community, my ressponse to news of Patton's inclusion was, "See, this is the Hall doing its job correctly! Teaching people about important artists!" And I'll go out on a limb and say that like a lot of the Hall watching community, that was because I also knew pretty much nothing about the man either, and definitely couldn't name a song of his at all. A lot of that has to do with the haphazard way recorded media has been treated, with the possible exception of cinema film. When you consider that Monty Python was one of the first troupes of British television to purchase and preserve their own masters to prevent them from being recorded over, as was traditionally done at the time, it certainly is understandable that early media of the music industry would be even more difficult. From wax cylinders, to magnetized wire, to really old 78 RPM records, plus the late start we got on trying to preserve it all, it's amazing that we've been able to preserve any of it at all. But this also presents an opportunity for the Hall: to really get back to educating people about these artists, and to induct a lot of these early musicians whose music had a palpable importance on the generations to come, even if not always appreciated in their day. Since Patton's heyday predates Billboard magazine, let alone the advent of the "Harlem Hit Parade" charts, and since pre-Billboard chart metrics didn't treat very many artists of color well, he didn't have any hits to draw on, so we have to go to the word of historians as to what the significant records were. And thanks to them, the Song Of Proof for this man is "High Water Everywhere."</p><p><br /></p><p><b>Billy Preston:</b> I personally would have loved to have seen him as a Performer inductee, but I'm pretty okay with this one. He was a true sideman, after all. I just thought the appeal and quality of his records as a recording artist could have been enough. While members inside the room are willing to admit that things like influence matter, the Hall ultimately falls back on "unquestionable musical excellence" as what matters most, and I thought his records had it. Billy Preston is the sole inductee from my old list of names that I created back in 2004, back when my understanding of the Hall was more naive and my vision was more oriented toward makers of hit singles (with some understated R&B names too). Anyway, Billy continues the streak, so I'm celebrating that. If you look back at my list of Songs Of Proof for the Previously Considered, and we're still not sure what that even means, you'll notice that I had planned to use "Will It Go Round In Circles," one of his two number one pop hits. However, his induction in the Award For Musical Excellence category recognizes his accomplishments as a player of the keys. It's important to acknowledge that also. So, with that in mind, the selected track for Billy Preston is "Outa-Space," his simplistic but catchy instrumental hit that got all the way up to #2 on the Hot 100. Fun fact, Billy Preston came within one chart position of being the second artist to have both a #1 instrumental and a #1 vocal song in the rock era. Les Baxter did it in the mid-50's, back when there were multiple pop charts that were all considered equal and they all looked like a melange of all kinds of styles. Herb Alpert would instead be second achieve that feat, first topping the Hot 100 in 1968 with "This Guy's In Love With You" and then had a #1 instrumental in 1979 with "Rise." I'm not sure any other artist has accomplished that feat since. Also fun to note: Billy's two pop #1 hits were vocal records that did not hit #1 on the R&B charts, and his two #1 hits on the R&B charts were instrumentals that did not hit #1 on the Hot 100. Anyway, besides being more pleasurable for me to listen to than "Space Race," I also think the noodling on this track makes more sense to showcase his wizardry. That's the decision.</p><p><br /></p><p><b>Randy Rhoads:</b> In some ways, it's amazing that the Hall inducted Randy Rhoads before Ozzy Osbourne as a soloist. But then again, with Black Sabbath in, the impetus for solo Ozzy is probably lessened, and lessened even further by the backlog of metal acts that are more deserving of induction. Meanwhile, a session man can be more easily ushered in via a special committee. That's not to speak ill of the man, only to further explicate the depths to which the induction process is broken. As a session musician, the only real strike against his merits for induction is his virtual exclusivity as a hired axman for Ozzy. On the other hand, the induction of Randy Rhoads may ultimately prevent Ozzy from getting a second induction, since the metal guitar on his seminal records has been enshrined. Pontifications aside, we are going with the obvious selection of "Crazy Train." Randy's melodic hook and rhythmic patter that flowed from his fingers on that record have both been extremely influential, and the song itself is a well-known classic, and thus the right choice.</p><p><br /></p><p><b>Todd Rundgren:</b> I said it then, I'll say it again, I ain't changing the Song Of Proof for Todd Rundgren one iota. It is still "Bang The Drum All Day" because who doesn't love a good rock and roll polka? I know that the hardcore fans among the mul-todd-tude don't have a lot of love for this song, but I think the themes of this song are pretty universal: the abilities of toddlers to amuse themselves, of children developing a passion, the frustration of the daily grind, the love of a good melody that is fun to rally around. And really, I think the production values of the song hold up too. It's somewhat quirky too, and that suits Todd to a tee. And given how upset some of the fans are about Todd shunning the Rock And Roll Hall Of Fame, especially on the night of his induction, it may even be fair for them to turn on him and choose a song they might deem a little too accommodating of the great unwashed. Maybe. Anyway, I still love the party vibe of the song, the bouncy polka-like beat, the solo... pretty much everything about the song.</p><p><br /></p><p><b>Gil Scott-Heron:</b> If reimagining the Early Influence category to get Kraftwerk in is any indicator as to how broken the induction system is for the Rock And Roll Hall Of Fame, I'd have to say Gil Scott-Heron is even more so, because he never even got on the ballot. Obviously, not knowing what goes on in the room, we are only left to guess how strenuous past efforts were to get him on the ballot. Nevertheless, from outside the room, it looks like all hope was abandoned from the get-go, which is a shame. That said, Gil Scott-Heron's unique and somewhat eclectic blend of jazz influences and beat poetry recital helped lay a funky foundation that made him an influence on hip-hop in more ways than merely the delivery style of flow. He did that for sure, but his musical arrangements were important too. That is one of the main reasons why I did not choose the seemingly obvious "The Revolution Will Not Be Televised." I wanted to celebrate his arrangements, his singing, his social and political conscientiousness, and his poetic delivery. And while the singing is slightly downplayed on my choice, it's still there, and the best selection, in my limited research, is the minor R&B chart hit that clocks in at over twelve minutes, "B-Movie."</p><p><br /></p><p><b>Tina Turner:</b> As we come to a close on this list with our alphabetically last inductee, it's important to remember how we've pined for inductees like her, and Carole, and the Go-Go's, and the energy we have exerted. I'm admittedly not a firm believer in the concept of "manifesting" things into being. It feels a little new-age-hokey for me, almost like a punchline. And as an armchair critic whose influence and ability to commit time has waned over the past few years, I certainly don't feel I've made any significant contributions, though in the past I've certainly pitched my share of ideas on how to improve things. But with the rise of the podcasters in our community, all of them, it's also not hard to believe that getting these three particular names on the ballot is the result of our community being able to rally around a cause and put in the work to get it done. It is that spirit that leads me to believe that as long as there's a unified spirit, inductions for Carol Kaye, Estelle Axton, and the Pointer Sisters are imminent, just to name but three. As for Tina Turner, her solo career is simultaneously timeless and of its time. The music of the commercial zenith of her solo career is unmistakably 1980s in its instrumentation and production values, yet her catalog endures and stands the test of time. I feel that no song of hers depicts that quantum duality better than "Better Be Good To Me." I think it does the job better than "The Best" and even "What's Love Got To With It." And it comes with an important message to go forward with as we strive for stronger representation and inclusion in the Rock And Roll Hall Of Fame. Better be good to all the subgenres that are part of the rock and roll diaspora, all the directions that youth culture spans into and kneads the music into its very being, and all the peoples that are included in the gestalt that rock and roll invites into. Better be good to them. The Queen Of Rock And Roll said so.</p><p><br /></p><p>And that closes out the Class Of 2021. Some songs are the same as they were from of old, some have changed, and even a radical change. Do you agree? Where do you disagree, and why? Let's keep the discussion going. Post your thoughts in the Comments section below. And summing up, our list goes:<br /><br />Clarence Avant: "Take Your Time (Do It Right)" by the S.O.S. Band<br />Foo Fighters: "Monkey Wrench"<br />the Go-Go's: "We Got The Beat"<br />Jay-Z: "Dirt Off Your Shoulder"<br />Carole King: "I Feel The Earth Move"<br />Kraftwerk: "Autobahn"<br />LL Cool J: "Mama Said Knock You Out"<br />Charley Patton: "High Water Everywhere"<br />Billy Preston: "Outa-Space"<br />Randy Rhoads: "Crazy Train" by Ozzy Osbourne<br />Todd Rundgren: "Bang The Drum All Day"<br />Gil Scott-Heron: "B-Movie"<br />Tina Turner: "Better Be Good To Me"</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-17969050465335009592021-12-12T21:15:00.000-08:002021-12-12T21:15:17.866-08:00Eine Kleine Fanfic: A Rock Hall 2021 Playlist Wars PlaylistAs we are putting a bow on the Class Of 2021, part of that is unveiling my Songs Of Proof for all the inductees, As I type this, I'm pretty sure I know what all the songs are going to be, but I've decided to do something else this time in addition to that. So this isn't going to be the revelation of my Songs Of Proof for the Rock And Roll Hall Of Fame's Class Of 2021. Stay tuned for that.<div><br /></div><div>But this is going to be a list of songs of sort. One of the podcasts I've been enjoying, among others, is the Playlist Wars podcast, hosted by Brian Colburn and Gomez. It's a fairly basic premise: take an artist or a topic, create a ten-song playlist of what you think are the best songs from that artist or on that topic, then the two hosts and their guest reveal their playlists and why those songs were chosen. Afterwards, they open it up to the listeners to vote for the winning playlist. It sets itself up as a competition, and sometimes there's some playful smack talk, but it is ultimately a celebration of the music. You frequently hear a lot of praise for songs chosen by the competition, and there's often a lot of crossover between the lists, sometimes a song being on all three. The passion for the music comes through with every selection made. There is one disclaimer that I must give for those readers who are from the Rock And Roll Hall Of Fame watching community: it tends to skew pretty heavily toward album-oriented rock and its progeny (modern rock, hard rock, etc.). To be fair, I can sense the hosts' desire to branch out into other styles and genres, but this is generally their wheelhouse. But for the sheer passion about the music, including the bits of trivia presented throughout the episodes, I recommend this podcast. If you can get geeked out on other people's geeking out, this is a podcast for such a music lover. This is also a fun podcast to play along with. I have built playlists of my own that I have in my YouTube library built out of their episodes. Some of my playlists have little to no depth, while some have some fantastic forgotten gems. I've even created three playlists for episodes that don't exist at all. They are what you might call "fanfiction" playlists (hence the title of this entry). </div><div><br /></div><div>One of those three playlists is one about the Rock And Roll Hall Of Fame's Class Of 2021. I pitched this episode to them, and since they prefer their guests be fellow podcasters, I suggested a couple from the hobbyist community. Truthfully, Brian and Gomez have had so many ideas pitched to them, I can understand this one falling through the cracks. And maybe getting a guest wasn't in the cards. Whatever happened, I would have loved to hear what songs they would chosen and why. And because I'm a privileged white male, I'm going to go ahead and share my list, even though nobody asked or cares. I'm sure there's also a lesson in here concerning those who prepare for a war that is never going to come. Seriously though, this is a celebration of great music, and I hope this playlist is as enjoyable for you as it was for me to create and listen to multiple times. For those readers who are fellow Playlisteners, this blog recognizes that "rock and roll" is much, much more inclusive and includes soul, hip-hop, reggae, and even electronica, as well as the popular connotations that include metal, prog, thrash, and alternative. Dem's da rulz in this house. And as a note to Brian and Gomez, even though this list is topical, the number artists is limited. There were thirteen inductees, so the possibilities are relatively limited, compared to other topical episodes, so I would say that the crossover and trifecta rules apply at the song level, not the artist level like in other topical episodes. Onto the list:</div><div><br /></div><div><br /></div><div><b>Track 01: "It's Time For War" by LL Cool J</b></div><div><b><br /></b></div><div>First off, it's Playlist Wars and this annoiunces that it's time for war. A little on the nose, but that's not always a bad thing. Second, this song is entrance music. This is a song that plays as a prize fighter enters the ring or the octagon. Stylistically, this is a song to use to make an entrance, and so it's perfect to use to kick off the playlist. But if that weren't enough, this is the perfect song to use for this playlist for a third reason. This is a playlist about the Class Of 2021 for the Rock And Roll Hall Of Fame, and the lyrics of this song are LL Cool J's way of making his case for induction. True, this song and the album <u>Exit 13</u> came out before he was eligible, but he's putting his credentials out there in this one. In fact, when evaluating his merits for the nominnees' merits rankings the last couple times he was nominated, I considered simply lifting lyrics from this song and using them to explain his Innovation, Influence, Impact, and Intangibles. He's telling you what makes a Hall Of Fame artist and that he is one. This is the perfect song to kick off the playlist.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ENwpDa7hluU" width="320" youtube-src-id="ENwpDa7hluU"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Track 02: "We Got The Beat" by the Go-Go's</b></div><div><b><br /></b></div><div>Keeping with the credentials, the ladies represent strongly with this one. The Go-Go's play what has long been considered a boys' game, play it the boys' way, and shatter the glass ceiling with the vibrations caused by them kicking down the door. They play rock and roll music the way the staunch purists try to narrowly define the genre, and prove that they belong. A solid, driving, pounding song with great elan and gusto. It makes you feel good and makes you feel like moving. Whether you define rock and roll as a genre of music or as the spirit of youth culture, the Go-Go's are patrolling that beat quite ably. They got the beat.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_Wvue2OT-FA" width="320" youtube-src-id="_Wvue2OT-FA"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Track 03: "Walk" by Foo Fighters</b></div><div><br /></div><div>I respect the way Brian and Gomez keep the rules relatively simple, but if I were going to add one more rule for this particular episode, I would add that the lists must include at least one song from each of the six Performer inductees. Think of the Performer inductees as the pre-requisites, and the other categories as electives. This rule would be more about making sure rock and roll is respected in its diversity, but for me, it would mean making sure to include a Foo Fighters song. That's not to say I hate this band. Indeed, I made a point to go through all their Modern and Alternative Rock Charts' hits to make a shortlist of possibilities, and even that shortlist was... everlong (just for you, Brian). Ultimately, my sense of programming flow led me to this selection, though "All My Life" was a close second. I liked the placement of the other songs in their places on my list, so the Foo Figthers song chosen had to fit in this slot. Despite the low-key entrance, I felt this song was the best by this band to serve as a link between between "We Got The Beat" and the next track. And it's a pretty catchy song as well. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8J5PYzkzDQI" width="320" youtube-src-id="8J5PYzkzDQI"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Track 04: "The Train From Washington" by Gil Scott-Heron</b></div><div><b><br /></b></div><div>I discovered this song by binge-listening to Gil Scott-Heron after listening to the episode about him on the Who Cares About The Rock Hall? podcast. I don't think this song was listed among the better known or historically significant songs from this man. But as soon as I heard this song, I fell in love with it. It's a funky, jazzy song with the spoken intro, and a singing voice that is simply amazing. This was a song that I had to have on my list. It's a great song to remind people that there was more to this man's catalog than just "The Revolution Will Not Be Televised." I frequently catch myself singing the lines, "You can depend on folks and gravity, both of them will bring you down," and "You can depend on the first two numbers, but damn if the last one comes through."</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/v9QC33os-uY" width="320" youtube-src-id="v9QC33os-uY"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Track 05: "Better Be Good To Me" by Tina Turner</b></div><div><b><br /></b></div><div>On the Playlist Wars podcast, they always talk about the playlists both as digital playlists and as analog media, like a vinyl LP or a cassette tape. So, I wanted my fifth song to work both as a midway point in a digital format that would keep on playing, and as a great way to end the first side of a medium that needed to be turned over. This song is that song. The song opens up very theatrically, evoking a mental picture of Tina emerging from the fog created by smoke machines until her silhouette is filled in with her features and she starts singing. The Big Country-esque guitar licks, the background singers, and Tina's delivery all make this a great song, and the way it tapers off at the end makes it a great song to finish the first side of a cassette or record.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vDrVyauFyCo" width="320" youtube-src-id="vDrVyauFyCo"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Track 06: "Bang The Drum All Day" by Todd Rundgren</b></div><div><b><br /></b></div><div>As much as I tend to operate on a different wavelength from other people, this is one song I am convinced would be a trifecta, maybe even a bingo. If you were listening to this list playlist on a CD or just streaming it in programmed sequence, this song would lead out fantastically from "Better Be Good To Me," and if this was on a cassette or record, this would recapture the energy and momentum that briefly drops when you have to stop and flip it over to the second side. It's a great song to kick off the second side, it's a fun song that is fun to jam to, and it sort of touches back on the idea of rock and roll both being a musical styling (defined by a rhythm or beat) and the spirit of youth (both in terms of feel and reverting back to childhood tendencies to deal with adulthood). And really, who doesn't love a good rock'n'roll polka? A rock'n'rollka? </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8LdLIqkmMB0" width="320" youtube-src-id="8LdLIqkmMB0"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Track 07: "Nothing From Nothing" by Billy Preston</b></div><div><b><br /></b></div><div>When I play along at home and make my own playlists, I find I like to make the seventh track my "clean-up hitter." In baseball, it's the fourth batter, but in my playlists, it's number seven. Sometimes it's because it's my favorite song on the list, sometimes it's a song that's special to me, and sometimes it's because it's a strong selection that others might not have seen coming. This song bats clean-up for that last reason. Stylistically, it leads out pretty well after "Bang The Drum All Day," and even though it's pretty well-known song, I feel like this is a song others might not expect me to choose. Granted, I briefly tried swapping it out for the stirring and moving "That's The Way God Planned It," but that substitution didn't work well with the overall feel and gestalt of this playlist. So, I put this one back. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8HqyEHqEYho" width="320" youtube-src-id="8HqyEHqEYho"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Track 08: "It's Too Late" by Carole King</b></div><div><b><br /></b></div><div>As much as I tried to maintain a nice steady flow to this list, I felt an abrupt shift isn't entirely uncalled for. And we didn't really have a slow, mellow song yet. There are some other songs from this legendary singer-songwriter I could have used, but somehow, this slightly brooding opus really gives this playlist a special flavor, and I have to keep it. It's a great song and a reminder it doesn't have to be frenetic with a guitar solo to be rock and roll. Plus, it's from her landmark album <u>Tapestry</u>, so it's not like one could go wrong choosing a song from that album.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VkKxmnrRVHo" width="320" youtube-src-id="VkKxmnrRVHo"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Track 09: "99 Problems" by Jay-Z</b></div><div><b><br /></b></div><div>I'm not one for numerology, but having the ninety-nine as number nine was too good to resist. Admittedly, I feel it's a little bit of a disservice to Mr. Carter to go with the Jay-Z-only track that is most likely to get White people turnt, but it is infectious. And again, this isn't the Songs Of Proof list; this is a side thing for fun. I also enjoy that it kind of bucks the credo of "sex, drugs, and rock and roll," in a very rock and roll way, with a very rock and roll attitude, and with a very rock and roll sample. And when the track ends, you really get a feeling that you're not quite at the end of the playlist, but that you are nearing it. Besides, no way was I going to use "Hard Knock Life."</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PDe9NoL28B4" width="320" youtube-src-id="PDe9NoL28B4"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Track 10: "Kommetenmelodie 2" by Kraftwerk</b></div><div><b><br /></b></div><div>Without rehashing previous conversations, there are ten inductees in this class that could have been inducted in the Performer category, and in my opinion, should have been. This list was intentionally programmed to include and enjoy all ten of those artists. This instrumental track from this internationally renowned German outfit isn't representative of their body of work, but it is a really good song. I love it, and it works amazingly well as a closer. If these songs were scattered throughout a movie, this song would start up in the last few seconds of the story and play over the credits, and is so good the audience would stay in their seats to listen to it. Listening to this song at the end gives an amazing feeling of satisfaction and completion. The party's over, but it's okay. It didn't need to go any longer. You're not sad it's over; you're just glad you had the time together to listen and celebrate, and hasn't it been a blast? It almost gives a secular kind of feeling of shalom. I like to use the German word <i>zufrieden</i> to describe how I feel after listening to this list of ten and ending with this one. Very celebratory and closes out beautifully.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/hlHFlrXZmKQ" width="320" youtube-src-id="hlHFlrXZmKQ"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Hidden bonus track: "Hang It On The Wall" by Charley Patton</b></div><div><b><br /></b></div><div>That said, imagine listening to this playlist on a CD. You're lying on your bed or couch as "Kommetenmelodie 2" finishes. You're lying there for another ten to thirty seconds, thinking the CD player has stopped, but you're just feeling too contented and peaceful to get up juuuussst yet. Then you hear what sounds like an old-tyme Victrola-era song, complete with crackles and lyrics you can't quite make out because of the age of the recording, but from what you can make out, it sounds like the man is singing about his one-eyed wonder weasel. That would be this song. And yes, it really is that old. This is the one inductee that even the category purists like me agree is a true Early Influence inductee. The song itself has a sort of back and forth feel to it, with its inflections on the "Ahh"s after multiple lines, the chorus with its suggestions on what to do with it... the whole song sounds like a silly little ditty; however, since I can't fully make out the lyrics, I can't be certain. Nonetheless, this seems like a song that would play in the background of the comedic post-credits scene of a movie. And with Patton being the only other inductee that had either charted hits or historically significant songs as a credited recording artist, I felt this was a nice way to sneak him in as well. The playlist is still amazing without this as a bonus track, but it definitely adds one last dash of panache.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oSFM-B8ypUc" width="320" youtube-src-id="oSFM-B8ypUc"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Possible honorable mention: "Crazy Train" by Ozzy Osbourne (honoring Randy Rhoads)</b></div><div><b><br /></b></div><div>Ozzy hasn't been inducted as a solo artist, but his guitarist Randy Rhoads was inducted in the Award For Musical Excellence category. In recent episdoes, Brian and Gomez have added the official "honorable mention" that didn't make your list, but made it onto a competing playlist, possibly both of them. As I mentioned previously, the hosts love music, and they particularly love classic rock. So, I have to imagine that one of them, probably both, would choose to include a song that Randy Rhoads played guitar on. This is the song he's most famous for playing on, and I have to believe this song would be on both of their lists. I haven't added it to the YouTube playlist that I listen to, and I doubt that I will. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Djrl6fu8myo" width="320" youtube-src-id="Djrl6fu8myo"></iframe></div><br /><div><br /></div><div><br /></div><div><b>Possible honorable mention: "Lean On Me" by Bill Withers (honoring Clarence Avant)</b></div><div><b><br /></b></div><div>It's also entirely possible that Gomez or Brian would take a quick look at who Clarence Avant is, see that Bill Withers was an artist whose career Avant had a significant part in launching,, and throw this on. It wouldn't be a bad selection either. "Lean On Me" is a fantastic, timeless song. There is a reason that this song is one that is being passed on to subsequent generations, and I hope that will never change. As for not being on my list, as I said, the original intention of my playlist was to focus on the ten artists that I felt should have been inducted in the Performer category, a snapshot of how diverse and far-reaching the concept and genre of "rock and roll" really is, and that all of it should be celebrated. That is certainly no slight on Clarence's contribution, or Randy's, or Charley's. I just had a specific theme for the original ten tracks made.</div><div><b><br /></b></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qkaexjc-1os" width="320" youtube-src-id="qkaexjc-1os"></iframe></div><br /><b><br /></b></div><div><br /></div><div>So those are the songs that are on my Playlist for an episode that is not to be. And that's okay. This was a fun exercise. I believe that I put together a playlist that not only has great songs, but also flows well. I feel this is a playlist that Brian's former cohost from his previous podcast would agree was "programmed" well. And I hope you enjoyed reading about it, and even took the time to listen to it. For the Rock Hall hobbyists, I will soon have my official Songs Of Proof laid out. For the fellow Playlisteners who are wondering what Songs Of Proof even refers to, <a href="https://rockhallmonitors.blogspot.com/2018/01/say-it-with-song-great-playlist.html">the concept is explained here,</a> and the subsequent thirty-five or so posts go through each year of the Rock And Roll Hall Of Fame, and their inductees. Give a looksee if you're interested. And to Brian and Gomez, we may not meet on this battleground, but I'll definitely take you guys on for a Simon And Garfunkel episode. Or the Paranoid Style. Or the Pointer Sisters. Or Ringo Starr's solo career. Let the battle begin. </div>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com0tag:blogger.com,1999:blog-3760137241594753268.post-50438507179911563112021-11-28T17:11:00.001-08:002021-11-29T13:47:57.711-08:00Thoughts on the 2021 induction ceremony<p> Much has been said about the Rock And Roll Hall Of Fame induction ceremony for the Class Of 2021, and I hope my thoughts won't be too redundant. My hope is to say things that haven't already been said; so if I blow right by one segment of the ceremony, it isn't that it wasn't enjoyable or edifying, it's just that I don't have any new observations. Also, I only got to watch the ceremony twice these past nine days. I really thought they would keep airing it across the various HBO channels throughout this week like they did with the special last year. They haven't been. Maybe I'll catch it again soon. Maybe I can bring it up On Demand. My memory may miss a step or two; bear with me.</p><p><br /></p><p><b>Carole King:</b> To me, this was the most disappointing, compared to what I would have hoped or wanted. Untapped potential. Taylor did a great job, as did Jennifer Hudson and Carole herself. For me, the problem was the overall handling of it. Carole King is one of the two most quintessential singer/songwriters of the 1970s that are responsible for the connotations we still have to this day of what it means to be a "singer/songwriter." But so much of her segment seemed to dwell on the latter part of that label. It was almost like they were recycling her 1990 Non-Performer induction merits and reusing them this time. The video package did a good job of showing the performing part of her legacy. Taylor's speech mentioned the singing and how it resonated with her, but there were several lines in the later part of her speech that were ambiguous and could just have easily been said at King's 1990 induction. The imbalance of her renown as a songwriter to her amazing voice and playing on her albums felt staggering. The performances reflected that too. Yes, all the songs that were performed were on <i>Tapestry</i>, but they were also all songs that her versions are not the big hits, best-known, or most revered. Heaven forbid that Taylor Swift kick things off with the energetic "I Feel The Earth Move," or that "So Far Away" find its way in there. Or "Nightingale" or "Jazzman" to remind us Carole King had so much amazing music after <i>Tapestry</i>. In the room itself, the only musical moment that felt distinctly about her solo career was when they played "I Feel The Earth Move" as Carole got up on stage to accept her induction. Obviously I don't know who decided on the setlist. Maybe it was Carole herself. But it really feels like the Hall inducting her as an artist was done in a very left-handed way, like they're saying, "Yeah okay, we'll acknowledge her as a recording artist... but really, naahhhhh." Still, I loved Carole's speech, and I'm really happy for her. Major injustice rectified, and kudos to Carole for gently but powerfully calling out the Hall for not giving a tribute to Aretha Franklin immediately. Maybe Jennifer Hudson's performance was selected to serve a dual purpose..</p><p><br /></p><p><b>LL Cool J:</b> My hypothesis is that the reason LL Cool J got so much real estate was as a mea culpa for not being able to get him in as a Performer, and to give the middle finger to all those who refused to vote for him. His set almost felt like watching a Superbowl halftime show, with the appearances of Eminem and Jennifer Lopez. It'll be interesting to see if Jennifer Lopez ever gets any love from the Hall. </p><p><br /></p><p><b>Randy Rhoads:</b> Good speech from Tom. The video package did a great job of showing his importance and influence. And I love that they got a clip of the man speaking. That makes it more meaningful, in my opinion. It's a shame they couldn't give any of his family a moment onstage to give a thank you speech. Also a shame he didn't get to work with more people or get his demos released.</p><p><br /></p><p><b>Billy Preston:</b> I know they had to keep it tight, but I wish this package was a little longer. I think Ringo did a good job with his speech, but I'm a bit of a stan for Ringo, so take that for what it's worth. I'm glad they showed how Billy did more than just the <i>Let It Be</i> sessions. Again, wish a living family member could have accepted for him and said a quick thank you. Just to show there are people there who care. If I'd been there, Billy is the male inductee I would have been cheering for the loudest.</p><p><br /></p><p><b>Tina Turner:</b> If it had been for anyone else, I'd have found Angela Bassett's delivery style overwrought. But this is Tina Turner. It fit perfectly. I'm glad the package featured Lizzo. If I could think of a current artist directly descended from Tina's solo career, it's Lizzo. Glad to see Cher too. I wanna see her as a double inductee, but so much time has passed, that getting Sonny And Cher in at all is a pipe dream at this point. Being the age I am and growing up when I did, one of the first things I learned about Tina, even before any of her songs, was for having/being "the best legs in the business." So, in a way, I'm glad that they had video footage showing how she got that accolade, but even more glad that nobody talked about it, because it must remain about the music. And unlike with Carole, you knew this was entirely about her solo career. Loved her simple yet heartfelt acceptance speech from her home. Gotta admit though, the performances didn't thrill me. They were good, but "It's Only Love" was one of the overplayed Adult Contemporary songs from my radio days, and "What's Love Got To Do With It" has never been among my favorite songs (but it's iconic, it's got to be there, and hey, H.E.R. and Mickey Guyton slayed their performances). Christina did a pretty good job with "River Deep - Mountain High," and I like how they were reclaiming that song back from her previous career. Still could've done without the flourishes at the end though.</p><p><br /></p><p><b>Clarence Avant:</b> Of the male inductees who were there, this is the one I would have been cheering for the loudest. I loved Lionel Richie's speech, too. Especially when he started by throwing some shade at the Wikipedia page for Clarence. If you read that page, you really don't get a sense of his importance at all. Having watched <u>The Black Godfather</u>, I just feel like he's someone I'd want to meet too. I want him to be made Postmaster General once DeJoy is gone. And of course, gotta love the wit and sincerity of Clarence's acceptance speech.</p><p><br /></p><p><b>Todd Rundgren:</b> Patti Smith was the perfect inductor for him. An artistic genius inducting another artistic genius. The video package was phenomenal, and I love how they closed it with his famous line against the Rock And Roll Hall Of Fame. Still, I would have loved it if he had shown up, just played the morbid and offbeat "Flappie," and then wordlessly walked offstage. That'd have been the best compromise we could have gotten for the fans while still giving the middle finger to the institution. But then again, Todd in the video package said why he doesn't like to compromise.</p><p><br /></p><p><b>Charley Patton: </b> Hey, you work with what you got. Almost no photographs of the man, no video footage, few people alive who ever met him (if any), little footage about his influence from those who were influenced by him. Gary Clark, Jr. did well. Although, living near the Nooksack River, the song "High Water Everywhere" hits a little too close to home right now. I'm okay though, but many are not right now. Just a sidebar if you're looking for people to pray for or send positive thoughts and energy to.</p><p><br /></p><p><b>Kraftwerk:</b> I loved the video footage of them performing. I knew they were known as the robots, but I didn't realize that it really permeated, like watching Shields And Yarnell, or Arte Johnston and Judy Carne on "Laugh-In," but serious. And seeing the instruments they played on and the engineering equipment they used brought it home further. And then add the way Kraftwerk records influenced hip-hop. Just a shame that they couldn't have been voted in the regular way.</p><p><br /></p><p><b>The Go-Go's:</b> I said it in the second paragraph of my "Dryer And The Rock Hall" post, but this is the group that should have headlined. I loved Drew Barrymore's enthusiasm in her speech and while watching the Go-Go's' performance. I loved the video package, but maybe ran a little long. Mainly because the women were actually there. I think that's a good rule of thumb to follow. If the inductee is there, and especially if performing, go with a shorter video package. But I liked the moment when Jane Wiedlin said, "Yeah, sisters that stabbed each other in the back." Just another example of sexism in the industry. Women in groups have to behave like some preconceived notion of what sisterhood means. No one asks that of the guy bands, do they, if they're really all brothers together? I mean, some say they're like family, but it's hokey to ask if they're like siblings. Loved the speeches, and their performance kicked ass. One subtle moment I caught was at the start of their second song, when Jane walked right up to her monitor/amp to check her sound in it while they were playing. That's a true musician's move. Anyone who wants to downplay their credibility, that's just a simple thing that was subtly done, but it speaks volumes of their professionalism and dedication to putting on an amazing show. And if they'd been the headliner, you can bet we'd have gotten to the actual all-star jam.</p><p><br /></p><p><b>Gil Scott-Heron:</b> Common did a smooth job with the speech, and the video package showed how Gil's recordings are still important and relevant, which is both amazing and disheartening. Overall, I'm frustrated that the NomComm never even tried putting Gil Scott-Heron on the ballot (but he was Previously Considered, so somebody tried), and also frustrated that he probably would have still needed the "category treatment" if they had. If they had to do it with a hip-hop pioneer and a pioneer that got sampled in hip-hop, they'd have to do it with a political and vocal delivery progenitor of hip-hop too. I'll be looking forward to Joe Tex and the Last Poets getting inducted as Early Influences in the next few years (eyeroll).</p><p><br /></p><p><b>In Memoriam:</b> Not much else to be said that hasn't already. "Bye Bye Love" would have been too on the nose for the tribute performance, and "On The Wings Of A Nightingale" was too minor and late of a hit in the Everly Brothers' catalog to have worked. "All I Have To Do Is Dream" was the right choice.</p><p><br /></p><p><b>Jay-Z:</b> After the message from Barack Obsma, we got the tribute performance: others reciting the Jay-Z lyrics that were meaningful to them or important overall. I admittedly have no consciousness of the news right now, little time for social media, so I was unaware of Dave Chappelle's current situation. I thought his speech was great. It felt genuine and was defensive against the appropriation of African-American culture by the Caucasian community at large. Solid video package, and wonderful speech from the man himself, though admittedly a little redundant. I guess the moment just moved him to say it again.</p><p><br /></p><p><b>Foo Fighters:</b> It's a mixed bag. The video package was better than Paul McCartney's speech. I honestly would have rather had P!nk do the honors. I know Joe Kwaczala said it should have been Jack Black, but honestly, I'd be happy to never see or hear that professional manchild ever again (Jack, not Joe). The video package really did justice to the other members of the band, and Paul's speech was the patent reminder that we absolutely had to induct the Foo Fighters because... Dave Grohl. </p><p><br /></p><p>But I'll say this now: I'm glad that Foo Fighters have been inducted. This was something I wanted to write about for awhile, but this induction gives me an opportunity to say it hopefully succinctly. Foo Fighters are a good inductee due to their popularity as hitmakers (albeit on the Mainstream and Modern Rock charts and less so the Hot 100), without being innovative or hugely influential. The Hall Of Fame is about recognizing those, both musicians and not, who contributed to the perpetuation and evolution of rock and roll music. Get that? Not just evolution, but also perpetuation. And even then, when you recall your high school biology classes, evolution requires adaptation to stimuli, that occurs over a pace of multiple generations. In other words, evolution also requires proliferation. A species that reproduces sexually can't evolve without some good old-fashioned "sticking two together" as Outkast would say. In terms of a cultural evolution, something has to remain popular to evolve, whether it's rock and roll, movie franchises, fast food menus, or Mario video games. Economic principles come into play here, but then again, they kind of do when it comes to human evolution too. The '60s are revered as the golden decade of rock and roll for a few reasons, but one of those was simply because of how popular it was. People sometimes say rock is dead today because it's not the most popular part of the contemporary hits radio format, and rock radio stations aren't as ubiquitious as Top 40 stations. Remaining popular is a valid piece of rock and roll's evolution, and it's okay to recognize and enshrine Foo Fighters for it. Just as it would be equally valid to induct Paul Revere And The Raiders for their string of hit rock and roll singles, or even Motley Crue for their number of hits and renewed popularity. Those acts won't rank high on my "Merits Ranks" listings (unless the ballot is weak that year), but they will get a passing grade from me if we simply use a "Pass/Fail" litmus test that I believe we should be using, which could ostensibly help create bigger classes and help clear the backlog without having to resort to surreptitious shenanigans that undermine an instituion that by its very mission, whether they realize it or not, purports itself to be a historical society. Okay, that was longer than intended, but shorter than the whole entry that it could have been.</p><p><br /></p><p>Wrapping up, it's clear the video packages from last year's televised special worked so well because it was pretty much the best we could do. Now that we can assemble again, we don't have to use them as a crutch. They work well in a pinch, and if an inductee is dead or otherwise can't or won't show up (even with a recorded thank-you speech), it's okay to rely on them and have them go a little longer. But if an inductee is there, let them do more of the talking. Maybe the people making the packages should try coordinating with the presenters and find out what they plan to say. That way, they can trim down the packages to prevent unnecessary redundancies. Some redundancy is okay, when it's done for emphasis, but trim the fat where you can. </p><p>And for crying out loud, do the freggin' all-star jam. Even if you have to start with it and move it in post to the very end. </p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com3tag:blogger.com,1999:blog-3760137241594753268.post-89031695419157562592021-07-22T10:30:00.000-07:002021-07-22T10:30:36.219-07:00Songs Of Proof: The Class Of 2020<div style="text-align: left;"> It was the year that nobody wants to relive. The death toll was insane. Fashion included new facial wear. Everyone became proficient in making sourdough bread. Japan officially granted Godzilla citizenship. Civil rights unrest so incindiary, it almost felt nuclear. By the end of the year, the whole world knew it was a boy, there were fewer baby girls being named "Karen," and the murder hornets didn't even make the highlight reel. It was a year so traumatic that it still feels like it's that year. A year so bad, we've all but completely stopped saying, "Hindsight is 20/20."<br /><br /></div><div style="text-align: left;">But if you were looking at the Class Of 2020 for the Rock And Roll Hall Of Fame when they were announced at the end of 2019, you might not have suspected it'd be so bad. The downsides were the continuing trends of poor representation of women and people of color (especially living) and the claws of cronyism still firmly inserted in the Non-Performer category. The upsides though, included electronic music finally gaining some ground, and the move to represent the '80s seeming to be succeeding. Eight inductees, and there were a lot of high hopes for the ceremony, as new things were expected to be tried. In all fairness, new things were tried too, just not what was hoped to be attempted. In any event, it was a class of inductees that most people had some degree of excitement for, and in my little tradition of making a great playlist and program out of it, it is time to honor each of these inductees with a single song either by them, or that relates to them in some way.<br /><b><br /></b></div><div style="text-align: left;"><b>Irving Azoff:</b> My choice for Big Shorty is a rather amusing one. Indeed, when I read that he would be an inductee, I immediately took to looking up who some of the bigger name artists that he managed might be. It didn't necessarily have to be a big name, but it would help. Honestly, my choice of song for this man was pretty much set in stone early on. My choice of artist is partially a protest, but it is also sincere in its own right. There's an additional irony that the artist I chose was managed by Azoff at the time I did my research, which was after the announcement of Irving as an inductee, but who by the time the HBO broadcast aired, was on the way out the door, if not already out. Regardless, I'm sticking with this song because it otherwise checks all the boxes. This is an artist that Azoff managed for two decades, that he may have had to flex his business muscle to free out of an unfavorable contract situation, and was the manager of at the time this song was popular. This artist was also chosen as a protest against the lack of female representation in the Hall. Finding the right song was serendipitous. Even in my own playlist, this is the third song by a female artist to represent a male inductee in this category (unless you count the Teddy Bears representing Phil Spector). But the song chosen, primarily for the title, speaks to Azoff's clout in the industry. This is a man who can get things done. If you want an image change, Azoff will usually nurture it. If there was a contract you wanted out of, he could break it for you. And if you thought anyone could do it as quickly, efficiently, or as powerfully as Irving Azoff, well... "Ain't No Other Man." Christina Aguilera debuts in this great passion project of mine.<br /><b><br /></b></div><div style="text-align: left;"><b>Depeche Mode:</b> For the longest time, my choice of song for Depeche Mode was "Just Can't Get Enough," because it's so iconic and catchy. What it is not, however, is representative of their sound. I don't always do it that way, but after some consideration, I decided to change the Song Of Proof for this band. As a truly innovative band that drew inspiration from the most bizarre places, always looked for ways to update their sound, and largely had a dark and brooding feel to many of their songs; it seemed like the best choice was something that at least attempted to reflect all those things. In that vein, I thought "Strangelove" would be an appropriate choice for them, but not the original. So often we prefer the original, but in this case, I chose the 1988 version, a slightly bigger hit on the pop charts, but the much lower charting version on the dance music charts.. Still, doing new mixes and updating their sound in new ways is part of how they've stayed cutting edge and is a better reflection on why they deserved their enshrinement into the Rock And Roll Hall Of Fame. Side note: their acceptance speech Zoom conference was the highlight of the HBO special for me.<br /><b><br /></b></div><div style="text-align: left;"><b>The Doobie Brothers:</b> It's not a Rock And Roll Hall Of Fame induction class without some semblance of classic rock, it seems. This year, it was the Doobie Brothers. And I'm actually glad they got in. "Yacht rock" is a derogatory term of hindsight for what was, at that time, was a hodgpodge of singer/songwriter, blue-eyed soul, and an evolution from the hippie love-in style of the '60s. The truth is a song like "Takin' It To The Streets" was soulful enough to have been covered by the O'Jays or the Spinners, in my opinion. Same for "Minute By Minute." Earlier songs like "Black Water" and "Long Train Running" maybe weren't quite as soulful, but they weren't cookie cutter, either. It's okay to have a purely populist pick, and the Doobie Brothers were a good selection for that slot this time around. My choice for this band is unchanged from what it was back when they were still only "Previously Considered." "Jesus Is Just Alright" has a great rock and roll feel to it, with a hint of soul that comes through in the lyrics, harmonies, and doo-wop-like lines between chorus and verses. It's nowhere near their biggest hit, but it's one people know and generally like. Solid song from a solid band.<br /><b><br /></b></div><div style="text-align: left;"><b>Whitney Houston:</b> An absolute powerhouse of talent and memorable songs, it's embarrassing that it took this long to get Whitney Houston inducted. Maybe the powers-that-be thought her torch ballads were a little too saccharine or too prominent in her catalog, Other than maybe "I Will Always Love You," I'd say that's a patently absurd argument, and even with that song, it's really more the inescapability of that song when it was topping the charts that made people sick of hearing it, similar to "All I Want For Christmas Is You" every December. But when you just stop and think that this is someone who took a national anthem into the pop charts, that's just so implausible that the fact it happened speaks volumes about the quality of the performer. That's not even getting into the danceable jams that made her a staple of R&B in the late '80s. So grab your favorite being and flail around this strange planet, because the song for this legend is the fourth of her seven consecutive #1 hits, "I Wanna Dance Somebody (Who Loves Me)." One of four songs that recharted after her death in 2012, it still cracked the Top 40, and despite its unquestionably 1980's production values, it's still as fun to play at your party, and maybe even attempt at karaoke night. Not that I've ever tried that. Seriously, I haven't, it's just fun and catchy enough that someone you know has attempted it at some point. <br /><b><br /></b></div><div style="text-align: left;"><b>Jon Landau:</b> As much as I wanted to use another female artist to protest the lack of representation, I also felt it would have been really disingenuous to use a Shania Twain or Natalie Merchant song for this man. I thought that would have been corroborating or legitimizing the skewed storytelling that the Hall tried to feed us in the video package for him during the HBO special. I've already expressed my disdain for the general idea of inducting critics into the Hall for their work as critics, and his production credits are too sporadic and minor to go that route. It's about his work as a manager, and whereas it's legit to use a female artist for Azoff, because he's famous for representing a multitude of acts and talents, Landau, by contrast, is ultimately famous for managing one act, period. That's without even getting sinister about his place in the Foundation organization, but we're here to pay tribute to Caesar, not bury him. It has to be the Boss. As was the case with Irving Azoff, the title of the chosen song just really lends itself naturally to honoring Landau. And as a bonus, it's a song that Landau had a hand in producing. Not that I'm throwing a bone to his defense, it just happened to work out that way. A good manager takes care of their artists, covers them, one might say. It's also one of my favorite songs by Springsteen and company; so crank it up for "Cover Me."<br /><b><br /></b></div><div style="text-align: left;"><b>Nine Inch Nails:</b> This was actually the very last Song Of Proof for this class to be chosen. Much of that had to do with the fact that what I wanted to believe archetypal industrial music sounded like and what a good chunk of Nine Inch Nails' music actually sounds like are two different things. Basically, I wanted "Head Like A Hole," but faster and even more brash and cacophonous. Needless to say, I needed to reprogram my understanding of this music. I feel like I went a little bit cliche, but it's still a solid pick. I can't really describe why this seems to be the best choice, given everything I was looking for, but the serendipity of this song being in a movie soundtrack was just icing on the cake. It feels really experimental. The perfect blend of pace and emotional feel, the perfect marriage of technical and technological wizardry, the perfect mental picture painted by the lyrics to describe Nine Inch Nails, the perfect song to use, really.... "The Perfect Drug."<br /><b><br /></b></div><div style="text-align: left;"><b>The Notorious B.I.G.:</b> The choice for Biggie was "Big Poppa." It might not be quite as famous as "Hypnotize" or "Juicy," but it was still a pretty big hit for him. It really gives an overall feeling to the general gestalt of Mr. Wallace's music. It has some real pop sensibilities, but it also still has a little bit of a street feel to it. It projects an overall vibe of the man, demonstrates his flow rate, and firmly establishes his claim as one of the all-time greatest rappers. The choice of sampling is impeccable, and it is a song that you can either relate to or just chill while listening to. It's uniquely his, even to the point of being the only artist of credit on the song, but it feels like a song that's for everyone to some degree. Great song overall.<br /><b><br /></b></div><div style="text-align: left;"><b>T. Rex:</b> In terms of legacy, T. Rex is a rather odd band. Marc Bolan was clearly at the helm, and yet, it definitely wasn't all about him. Their music had very strong hints of bubblegum music from the '60s, but it was more than that. There were sometimes hints of folk, psychedelia, and harder-edged rock. They were also considered by many, especially in the United Kingdom, as pioneers of both glam and punk. I personally don't hear the simplicity and rawness of punk in their songs, but if they were influential to punk and post-punk bands, then I certainly won't attempt to argue. Calling T. Rex "bubblegum" is unfair, but not without merit. I think of them more as Tootsie Pops. There's the really sweet, fruit-flavored layer to it, but underneath lies the darker-flavored chocolate of their distortion and palpable bass. Yet that part of it is also sweet, but a different kind of sweetness. And while I was strongly considering "20th Century Boy" and "Metal Guru," I ultimately concluded that it isn't necessarily playing up to Americentric biases in the Hall's Foundation to keep "Bang A Gong (Get It On)" as the choice for this band. It might be a little grittier than some of the other songs, especially "Ride A White Swan," but it still has the elements there of all that T. Rex was said to be influential upon. So it stays. <br /><br /></div><div style="text-align: left;">And with that, we have reached the end of the Class Of 2020. Eight inductees, eight songs. We'll never know what the live broadcast would have looked like, but the presentation we were given was pretty awesome. As vaccinations are taking place, it's looking more and more like there might be an actual gathering for the Class Of 2021. I don't think I'll be able to attend this year, unfortunately. Having the ceremony in the fourth quarter of the year, which is the first quarter of my work calendar, certainly doesn't help, but I do hope to join all my fellow hobbyists at a ceremony one of these years. Meanwhile, until then, I'm not officially committing to any song for any of those thirteen inductees. As for 2020, do you have any thoughts on these eight selections? Any songs you would have used instead? Feel free to chime in; the Comments section awaits below. And as a recap:<br /><br /></div><div style="text-align: left;">Irving Azoff: "Ain't No Other Man" by Christina Aguilera<br />Depeche Mode: "Strangelove" ('88)<br />the Doobie Borthers: "Jesus Is Just Alright"<br />Whitney Houston: "I Wanna Dance With Somebody (Who Loves Me)"<br />Jon Landau: "Cover Me" by Bruce Springsteen<br />Nine Inch Nails: "The Perfect Drug"<br />the Notorious B.I.G.: "Big Poppa"<br />T. Rex: "Bang A Gong (Get It On)"</div>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com1tag:blogger.com,1999:blog-3760137241594753268.post-21893602996477964542021-05-18T10:41:00.002-07:002021-05-22T19:59:14.797-07:00The Dryer And The Rock Hall<p> For some time, the dryer in the hosue where I live has been dying. The only heat cycle that worked was the low heat, and even then only sometimes. Then last Tuesday, I did a load of laundry, out of the washer by late morning and into the dryer. And there that load stayed until the next morning. The final heat cycle had crapped out. Despite telling my landlord about it, we couldn't get it taken care of that night, so I had to just keep running it on no heat. The drum still spun, and I guess air was still blowing inside it, but the laundry would just not dry properly. Said following morning, after nearly a full 24 hours in the dryer, I removed the load out of resignation. It was finally dry enough to fold and put away, and my landlord said no problem then! My clothes were dry, so I shouldn't be upset! But I was upset. I had another load to do that included towels and denim. I was upset that we weren't going to have a working dryer in the house to take care of the rest of my laundry. I was upset that what should have taken an hour took a day, and that he's going to flip out when he realizes that having to run the dryer so many times is going to wreak havoc on the electric bill this month. I was upset that I had to do laundry for months with a dryer that wasn't working the way it was supposed to, and now is completely broken. And I was getting upset that I was being told I shouldn't be upset about it because my clothes were finally dry. I should be happy my clothes were dry, and forget about the fact that the dang dryer is broken.</p><p>On a relatively unrelated note, the Rock And Roll Hall Of Fame announced their Class Of 2021 last Wednesday, the same day that first load was finally dry. First off, a little bit of a cheer. At the most petty level, boo-yah. Six for six. My seventh pick was a 50-50, might-or-might-not-happen scenario, but the top six... nailed it. I feel pretty good about it, especially since I've had years where I only got two correct. This was a much-needed win for my confidence. Onto the inductees now, I'm absolutely stoked about <b>Tina Turner</b> and <b>Carole King</b> getting their second inductions. They are both so absolutely deserving of the honors. I currently am unable to access the old file I had of my list of 100 inductions I wanted to see, but I'm reasonably certain Carole King was on it. I know Tina wasn't, because when I wrote the list back in 2004, I didn't realize her first release as a soloist was in the 1970s. I thought her solo career hit the ground running with "What's Love Got To Do With It" and that she had a few more years to wait. Not much to say about <b>Foo Fighters</b> getting in. It's yet another reminder that the Hall's pecking order is not sorted chronologically, but we all know that already. Congratulations to Dave Grohl becoming the first living double first-year-eligible inductee. I'm extremely thrilled that <b>the Go-Go's</b> made it. Not just because of their contribution in the battle for representation in the Hall, but because they just have an awesome energy to their music, even if I don't glomp on every track. They really are a fantastic example of unquestionable musical excellence. This band could be the headliner, not just because they rock, but their music embraces positivity in such an upbeat and peppy way that would bring down the house: something that the distortion pedals of Foo Fighters, the braggadochio of Jay-Z, the sass of Tina Turner, the offbeat quirk of Todd Rundgren, and the comparatively mellow style of Carole King all don't have. Not that any of those acts wouldn't make great closers, but to be able to end the night with such cheerful and revelrous vibes would be epic. I'm officially casting my vote that no one will care about; I want the Go-Go's as the headliners. Of the six inductees, <b>Todd Rundgren</b> seems to be the one people are disappointed in. Maybe it's because they didn't predict him; maybe it's because they know he won't show up for the ceremony. Maybe it's because people wanted his work behind the scenes to be included in his induction in a little box with a bow and a tag that read "Award For Musical Excellence," but whatever the reason, watchers have been kind of grumbling about this one slightly. I say give his records another listen. And despite not having a huge string of hit singles, he had a good output of albums, and he genuinely deserves his induction as a Performer. Again, I can't be sure, but he might have been on that list of 100 I had. He might not have though. Lastly, congrats to <b>Jay-Z</b> on also getting in. I'm a little surprised that my "deferred induction" thought generated any conversation on Twitter, but it was cool to at least discuss. I will confess, I didn't really think it was going to happen, as evidenced by the fact I still predicted him to get in this year, but it was a fun little way to guess how the Hall was going to try to have it both ways. And really, was it so hard to imagine? Things seem like nonsense until the Rock Hall does them. Then they seem like nonsense BECAUSE the Rock Hall does them.</p><p>Which brings us to the other categories. Well, maybe not the Ahmet Ertegun Award category, other than the fact that it's still named after a notorious womanizer. But there is certainly no controversy around the induction of <b>Clarence Avant</b> in this category. As far as anyone can tell, there's no insider baseball kind of cronyism surrounding this induction. Although I now wonder if maybe someone attached to the Hall is involved with the documentary. Maybe it's best not to peek under that rock and just enjoy this induction as worthy of happening. And absolutely no static from anyone about <b>Charley Patton</b> receiving an Early Influence induction. This is the kind of education that the Hall does when it's doing its job right. I plan to spend some time listening to his catalog soon and getting a feel for his importance. <b>Randy Rhoads</b> is going to receive an Award For Musical Excellence induction, and that makes sense. An incredible heavy metal guitarist who probably wouldn't be included in the Quiet Riot induction that is never going to happen anyway. But his contributions to metal cannot be ignored, and thankfully, they won't be. Getting a little muddier, I have mixed feelings about <b>Billy Preston</b> being given the Award For Musical Excellence induction. True, he was a very important session musician, but he also had a substantial recording career, and the Hall has inducted Performer inductees that weren't as successful as Preston, and arguably not as influential either. Still, I can respect the argument that his session work was more important. Besides which, this harkens back to when they first renamed the Sideman category to Award For Musical Excellence to honor Leon Russell, another session man with a career as a featured artist that was worth at least peeking into. So.... okay. And I know for certain that Billy Preston was on that list of 100, so I get another year added onto the streak, that the Zombies and Doobie Brothers kept alive the past two years.</p><p>But of course, it's the other three that are causing the arching of eyebrows. I won't rehash the entirety of what I've said on Twitter, but inducting <b>Gil Scott-Heron</b> and <b>Kraftwerk</b> in the Early Influence category when there were a few nominees for the Performer category who predate them is, to put it mildly. inconsistent. And of course the Hall went ahead and redefined the parameters of the category. And for all those who wanted the Rock And Roll Hall Of Fame to have a Veterans Committee category, congratulations, you got it. It's called "Early Influence," because the Hall had to take a simple task and find a way to screw it up. I'm personally disgruntled because rock and roll is a style of music to me. It is a style of music that is the product of a multitude of sources, and is constatnly evolving and incorporating other influences to keep making wonderful and varied subgenres, but it is still a style of music. With their redefinition of the category, the Hall has pretty much conceded the definition of "rock and roll" as "the music of youth culture." To be completely fair, <a href="http://rockhallmonitors.blogspot.com/2013/07/a-huge-but-tacit-part-of-equation.html">I have gone on record</a> to talk about how youth culture was a catalyst for the rise and domination of rock and roll. But I also <a href="http://rockhallmonitors.blogspot.com/2015/04/i-hate-these-blurred-lines.html">have opined at great length</a> about how history has benchmarks that are immutable. This is not something that I can lay entirely at the feet of John Sykes, as the idea has been getting batted about for some time now. But this is very much in keeping with John Sykes' promise to move the Hall forward to reach the younger generations. I'm certainly all for that, but as I've stated before, it's hard for a pop cultural institution to reach a generation that is younger than the career of even the most newly eligible candidate for said institution. That's not denying there are teenagers interested in music made before they were born (that was me, after all), but it's not the norm. So unless the Rock Hall is officially changing the dictionary to define "youth culture" to mean "parents who aren't yet strenuously recommended to get annual mammograms or prostate exams," maybe they need to try a different approach. In any event, calling something pre-rock when it isn't is wrong and calling something "pre-movement" or "pre-moment" is just.... ew.</p><p>And if that makes you feel icky, arguably worse than that is the induction of <b>LL Cool J</b> in the Award For Musical Excellence category. As I stated above, this category was the phoenix that rose from the ashes of the murdered-young Sideman category. Unlike most of the other inductees in this category, there's really nothing about LL's career in rap that wasn't Performer. What's galling about this though, is I have a strong suspicion how the Hall is going to frame the video package. Last year, the induction package for Jon Landau tried to frame him primarily as a producer, a critic second, and a manager third; while the truth is any real credentials beyond being on the Nominating Committee is from being Springsteen's maanger first and far away, and producer and critic so far behind that it doesn't matter which one ranks second and which third. Same with Ringo Starr, whose video package dwelt heavily on how he revolutionized rock and roll drumming. So with LL Cool J, look for the video package to focus on two things: one, the importance of Def Jam records, and thereby LL Cool J; two, his overall celebrity and how it elevates rap and the African-American community at large. Well, a Rock Hall induction isn't an NAACP Award, and the Rock Hall certainly doesn't have enough moral footing to extol the latter predicted focus. And the entirety of his importance to Def Jam records was as a recording artist.</p><p>So why care? As has been said, in six months, when someone asks, "Is Kraftwerk in the Rock And Roll Hall Of Fame?", we'll be able to say, "Yes." Well, you'll be able to say, "Yes." I'll be sucking in air through my teeth and exhaling, "Technicallllyyyyyyyyy...." It's like the dryer. Is my laundry dry? Perhaps, but I still have the right to be mad that it took 12-16 hours of the drum turning to get it dry; that my situation is such that as long as one heating cycle is operating, my landlord is going to ignore all advisory that the darn thing is on its last leg; that at one point the plan was to transplant the plug off the old dryer and put it on the upstairs dryer so that it could run downstairs (which apparently is a thing, but just sounds sketchy and unsafe). At the end of the day, I'm upset that I'm having to deal with that which is broken. It shouldn't be this hard to get a load of laundry done at home. It shouldn't be this hard to induct LL Cool J into the Rock And Roll Hall Of Fame as an artist of the rock and roll era whose music is part of the rock and roll diaspora. Same with Kraftwerk. Same with Chaka Khan, Devo, Queen Latifah, Iron Maiden, Wanda Jackson, Judas Priest, Fela Kuti, Jethro Tull, Lesley Gore, Tina Turner, Eurythmics, Soundgarden, Barry White, the Stylistics, Chubby Checker, the Shangri-La's, the Marvelettes, and a myriad of other artists. (And yes, the inclusion of Tina Turner was intentional, because when the discussion of Tina as a solo artist was mentioned on the "Who Cares About The Rock Hall?" podcast, the response of the three guests was surprising, to say the least.) It's upsetting that the system is broken and the solution in place is patchwork and jury-rigging. We want to be able to respect the process as well as the institution. I said on Twitter that it must be true that fans always care more about canon than the institutions themselves, and that has proven true again (proof: futurerocklegends.com is a better resource for Rock And Roll Hall Of Fame information than the official website of the Rock And Roll Hall Of Fame). Part of the reason we didn't care as much before is the information wasn't as readily available as it is now. </p><p>The Rock Hall did a great job with the Performer category this year, and though it would have been great to have more, these six by themselves ain't bad. And to be fair, the majority of the inductees in the other categories are either spot on or reasonable. And getting Early Influence or Award For Musical Excellence is a hell of a lot better than getting pigeonholed for one song in the Singles Category. But I'm apprehensive about what it means down the road. Calling Kraftwerk and Gil Scott-Heron "Early Influences" is explicitly calling them "Not rock and roll." Same with putting LL Cool J in the AME category. It's saying what he brought to the table was important to rock and roll, and maybe a part of rock and roll <i>culture</i>, but it's not rock and roll <i>music</i>. This is how the rockists win. This is how the Performer category eventually kowtows to the narrow-minded who believe if it ain't an all-white, all-male guitar band, it ain't rock and roll. This is how the Hall caters to those who will never (and maybe can never) visit the museum, and even if they do, they'll only go to the exhibits about their favorite bands because they have absoltuely no interest in the educational aspects of the institution, only that the music that fuels their BDE (or SPR more accurately) is validated. And as far as I'm concerned, this is how the Hall codifies the stratification of artists of color or any gender other than male that should be Performers, but get told, "Well, not quite." I don't like how asserting that LL's AME nod is not a consolation prize has eerie echoes of things I'm not even comfortable saying on this blog. The Hall has never really acted with integrity, but if it really can do whatever it wants, what does it say that it wants to do it this way?</p><p>But can the Hall? The longer this goes on, the more I see what I believe are the limits of the Foundation's power. In the past, I've said that if induction by fiat really was a thing, Chic would be in. But now, we know what induction by fiat really looks like. It would appear the Hall is accountable to other interests when it comes to the main draw: the Performer category. This in no way is meant as a mea culpa for the above paragraph either, make no mistake. The Rock Hall should be able, and maybe used to be able, to tell exhibition outlets like HBO, "Here's what we're doing. Work around it." It would appear that now, in an age where audio exhibition is dominated less by purchases than it is by ad revenue on streaming services, and where artists can no longer make it on album sales but have to have either a hugely successful tour and line of merchandise or endorsement deals to sustain themselves, the Hall has to rely on the HBO presentation of the ceremony as its major fundraiser (and the event itself), which gives HBO the leverage to call the shots. And it appears they are trying to format the event like a television show, apparently right down to how much airtime an act is worth. It seems like a living Performer inductee is worth as many minutes of airtime as two AME inductees and a Non-Performer. I mean, maybe LL Cool J really did finish that low in the vote totals, but the Hall's lack of transparency would have been the perfect cover for calling him a seventh Performer inductee. No one would have known, and only those most upset about Iron Maiden missing out would have been upset at having two rapper Performer inductees. Maybe the Hall really respects their voting process that much, it just seems like the less likely reason for this. Future Rock Legends suggested giving the Nominating Committee their automatic inductee, (<a href="http://rockhallmonitors.blogspot.com/2016/12/so-close-and-yet-so-wrong.html">which I also suggested once,</a> but in all fairness, my suggestion of it was a few sentences buried in a long paragraph in an extremely long post), and at this point, I'd welcome that. HBO probably wouldn't approve, but no one would have to tell them that's what the Hall's doing either. </p><p>The sad reality is, as long as television formatting for the ceremony dictates how the classes are shaped, we're never going to get bigger classes with more Performer inductees. The only way to make that happen within some semblance of those parameters... is to do away with individual performances. Bring it back to the old days where all the speeches and video packages are done, and have some instruments onstage aftwerards, and then whoever wants to jam together can make some musical magic together in a frenzied free-for-all of rock and roll energy. You can edit the speeches down all you want, and limit who talks for how long, but the musical performances are where the time is going to be eaten up, between setting up, performing, and striking to transition. More inductees will necessitate fewer performances, which nobody wants. Even I don't want it, though growing up without MTV or any opportunity to see concerts--where if it wasn't played on commercial radio, it didn't exist--would at least make me more able to adjust to it. There's also talk of multiple ceremonies, the logistics of which would be a mess, and other hybrid suggestions of these things. I hope we can find a way to once again have nine or ten Performer inductees a year. There is no perfect system because what the fans want and what it takes to make these things happen are seemingly at odds against the backdrop of the crony capitalistic dystopia that envelops the millennial lives and awaits to haunt the younger generations. Such things are beyond the power of the Hall's powers-that-be.</p><p>However, these side categories are completely under the control of the Rock And Roll Hall Of Fame. That's why there are so many inductees in them this year, because their inductions will presumably take less time, and so the Hall can operate independently in deciding these categories. And this is where the failure truly does belong to the powers-that-be in the Foundation. As both the "Who Cares About The Rock Hall?" and the "Hall Watchers" podcasts pointed out, as have multiple blog posts, there are literally no women in any of these other categories. Not one. This is the third year where there have been more inductees outside of the Performer category than in it (2000 and 2010 being the other years), and for all of that, they couldn't induct any women. The only three women in Non-Performer category are songwriters who were inducted with their historic songwriting and marriage partners. The only woman inducted in the Award For Musical Excellence category is a member of a large backing band that but for her is all men. The Hall's extensive use of these categories this year suggests a unilateral control over inductions into these categories. This is where we really can say that if they wanted to do it, they would. And they didn't. We still don't have Estelle Axton. We still don't have Ella Fitzgerald. We still don't have Carol Kaye. We still don't have the Three Degrees. We don't have all these women who should be in already. The Hall just didn't do them, but instead chose to reword the categories' parameters. If putting in LL Cool J in the Award For Musical Excellence category, thereby getting him off the ballot, is what it takes to finally get Salt-n-Pepa on the ballot, then at least some good will have come out of it. But I have a pesky feeling that unless some personnel changes are made on these subcommittees, it's not gonna happen. Last year's inductions of Irving Azoff and Jon Landau served as a reminder that the Hall, despite all the good it has done over the years, was originally an institution for the people in the room, where selections were made by the people in the room, to celebrate the people in the room for being the people in the room. This year is a softening of that stance. And maybe they meant it as a middle finger to HBO saying, "Only six Performers, well fine, but we're doing SEVEN in the other categories!" But it still also serves as an enforcement of the patriarchy of the institution. The Hall needs to induct more women, they need more women on the NomComm and in the voting body, and we men all need to listen to women more. Last year, on "Who Cares About The Rock Hall?", when Evelyn McDonnell discussed her ballot, she mentioned how she felt torn because there were male acts she wanted to vote for, but felt it would be a betrayal of her cause if she did. It shouldn't be like that. We need to get to where a nomination and vote for Duran Duran (an all-male band whose nomination and induction I've seen advocated for by women on Twitter) won't be seen as betrayal, but rather the result of listening to women. I'm guilty of it too, and spectacularly so (rereading things I'd previously written make me cringe at the carelessness of wording, for starters), but I'm trying to get better. We can't give up though. There was another analogy involoving chicken nuggets to make, but Kristen Studard said it right, where maybe we should just have a ballot without white men. Amen. And awomen to that, too.</p><p>Nelson Mandela said the wheels of government grind slowly, and that really applies to bureaucracy of any kind. Maybe we're mad because the change isn't coming as immediate as our Amazon Prime packages. Those of us who are upset are definitely upset because it didn't happen the way we feel it should have in a more utopian environment. But there were some good surprises too. This is an overall good class, and it's important to remember than of the thirteen inductees, nine or ten of them most of us have little quarrel with. Progress was made, and it's important to treat that progress as a beginning rather than laurels to rest on. Maybe we'll even learn to be more gentle and encouraging to the Hall. Anything is possible. This has been a good start, and we'll move on up a little higher next season. But for now, I'm going to go bang the drum all day, forget about the ninety-nine problems, and the monkey wrench the Hall is using to try and fix them. Maybe I'll go see a private dancer, because apparently, it's too late for me to do any better with my social life. Or maybe I just need a vacation. </p><p>And in case you're wondering, I got my other load of laundry done, thanks to friends from church who showed me grace. Still don't have a dryer yet, so we'll see what happens this week. </p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com2tag:blogger.com,1999:blog-3760137241594753268.post-68908019183679412642021-05-10T07:03:00.000-07:002021-05-10T07:03:04.591-07:00Prediction for the Class Of 2021<p> Coming now to the main event, predicting who will be inducted. We've examined the merits, as well as the pleasure, and now it's time to predict who makes the cut. As many have said, it's a great ballot, and a shame that we have turn away the majority of them. As a community, we have been saying it's almost impossible to have a bad class from this batch. Honestly, that makes me reel a little, because we said the same thing about the ballot for the Class Of 2016. We got a good class, but one that was a little too homogeneous, and a little socially tone deaf, to be honest. The Hall almost made it mathetmatically impossible to duplicate that level of letdown, but as Eddie Trunk demonstrated when he filled out his ballot, it is still possible. The fun thing about the predictions is that I can now work in the politics of the Hall, because that deals more with the "will" as opposed to the "should" of it all. So it is with that sense of optimistic trepidation, I proceed to predict the inductees for the Class Of 2021 for the Rock And Roll Hall Of Fame.</p><p><br /></p><p><b><u>1. TINA TURNER</u></b></p><p>Rock and roll singer, previously inducted in the duo Ike And Tina Turner. First-time nominee as a solo artist.</p><p><b>Why she might make it:</b> She has an amazing legacy as a singer and an all-around entertainer. Her comeback as a soloist in the 1980s made the world forget she had been in a duo, and she is well-connected in the industry.</p><p><b>Why she might not:</b> Her "imperial reign" as a solo singer was not terribly long, and the music from that time, except for a few songs, hasn't aged the greatest. Some even say that her most important work was in the duo, not in the '80s. </p><p><b>Whom she'd pave the way for:</b> Though stylistically different, an induction for Tina could indicate possibilities for someone like Tracy Chapman. It will hopefully also get the Hall to look at more women who would make great dual inductees, like Diana Ross.</p><p><b>Biggest threats:</b> Carole King is the other woman vying for a second induction after being inducted with her ex-husband in the early '90s. Chaka Khan and Mary J. Blige could also steal away some votes from her, as could Dionne Warwick.</p><p><b>In the end:</b> Between the documentary, the ceiling shattered by Stevie Nicks, the outcry for representation, and her connections in the industry (even in the Hall, she was at those early ceremonies, folks), it's happening. A storybook coda, but maybe not quite epilogue for this legend. Odds of induction: 95%</p><p><br /></p><p><b><u>2. CAROLE KING</u></b></p><p>Iconic singer/songwriter, previously inducted as a Non-Performer for the songwriting duo of Gerry Goffin & Carole King. Second nomination as a solo artist; her first nomination was befoore I'd even heard of the Rock And Roll Hall Of Fame, so of course she's previously unseeded.</p><p><b>Why she might make it:</b> She is a legend, with just about every presitgious honor the music industry could bestow upon her. Her songwriting skill is legendary, and her songs have stood the test of time.</p><p><b>Why she might not:</b> Some don't think her landmark album <i>Tapestry</i> is enough, and that album is the sum total of her credentials, despite how many other hit albums and songs she's had. Additionally, there are those who still feel that dual inductions are redundant and overkill, despite the two dozen such occurrences there already are. Plus, the Hall has a bad habit of digging its heels at times and doubling down when it shouldn't.</p><p><b>Whom she'd pave the way for:</b> A revisit to '70s singer/songwriters could probably get the Hall to finally nominate Carly Simon or Jim Croce, maybe even Don McLean or Anne Murray. A little outside-the-box thinking could also show that Dolly Parton could follow behind her. Even further away from the box, maybe inducting Carole in a second category could get another nomination for King Curtis, but this time include His Noble Knights in the nomination.</p><p><b>Biggest threats:</b> Tina Turner is the other woman vying for a second induction after being inducted with her ex-husband in the early '90s. The Go-Go's are also well-reputed for writing their own music, and Dionne Warwick is another Oldies artist that could be enshrined this year. And don't overlook Kate Bush or Todd Rundgren as competent singer/songwriters as well.</p><p><b>In the end:</b> In my opinion, Carole King should have been the first woman inducted twice into the Rock And Roll Hall Of Fame and the first person inducted in two categories (and Ringo should have been inducted as a Performer, but I've tilted at that windmill enough for now), and they both should have happened before Y2K. If <i>Tapestry</i> is enough to get the producer of that album inducted--and sure he's done other stuff, but his induction package focused on that outing--then it is damn well sufficient to induct the artist who wrote and recorded it--and she had several more commercially respectably successful albums besides. And it's gonna happen. Odds of induction: 90%</p><p><br /></p><p><b><u>3. THE GO-GO'S</u></b></p><p>All-female rock and roll band. First-time nominee</p><p><b>Why they might make it:</b> They've been gaining momentum over the past couple years as the muscle of <u>Rolling Stone</u> has atrophied. Their achievement of the first all-female rock band to have a #1 album is a massive accomplishment, and they are a trailblazing band, both in terms of breaking the glasss ceiling and in bringing post-punk sensibilities to the mainstream.</p><p><b>Why they might not:</b> Because the height of their popularity was short-lived, they might be seen as not having done enough. Plus, the old guard at the Hall still have a mild distaste for the decade of the '80s, to say nothing of the fact they don't get along with those still cozy with Jann S. Wenner.</p><p><b>Whom they'd pave the way for:</b> All-girl bands like Bikini Kill or the Bangles might be next in the queue. You could also look to post-punk acts like Sonic Youth or X.</p><p><b>Biggest threats:</b> Sonically, Devo is the most similar to them and could nab a few votes that might otherwise go to the Go-Go's. The New York Dolls are a punk act that could detract from a punkish sounding post-punk band. Tina Turner is another solid figure of the '80s, and Carole King has a pretty strong reputation for the creation of her own music.</p><p><b>In the end:</b> The Go-Go's are one of the bands the Hall needs the most, especially in the context of what John Sykes says his vision for the future of the Hall looks like. I think there will be enough voters who concur with that sentiment. Odds of induction: 75%</p><p><br /></p><p><b><u>4. FOO FIGHTERS</u></b></p><p>Hard-rock band. Newly eligible, and thus first-time nominee.</p><p><b>Why they might make it:</b> They're a hard rock band in the tradition of post-British Invasion rock. Additionally, who doesn't love Dave Grohl?</p><p><b>Why they might not:</b> Their candidacy is reminiscent of Green Day's back in 2015: a newly eligible solid rock band with steady output, hit songs, acclaim, and that has a good relationship with the Hall... but aren't really the most deserving act on the ballot. They're seen as having helped with the continued perpetuation of rock and roll, but not so much in helping the evolution of the art.</p><p><b>Whom they'd pave the way for:</b> Most of the acts they'd open the door for aren't eligible yet: big name rock bands like the White Stripes, Franz Ferdinand, and Queens Of The Stone Age.</p><p><b>Biggest threats:</b> Rage Against The Machine is another '90s rock act with a member on the Hall's Nominating Committee. Iron Maiden is another strong name for harder rock.</p><p><b>In the end:</b> It's who you know and who knows you. The Hall will likely have three new members of the Clyde McPhatter club this year. Still, it's not as strong a lock with these guys. Odds of induction: 60%</p><p><br /></p><p><b><u>5. TODD RUNDGREN</u></b></p><p>Musical utility-player and producer extraordinaire. Second-time nominee, seeded #3 for 2019 and #13 for 2020.</p><p><b>Why he might make it:</b> Todd is well-connected in the industry, with strong ties that reach pretty far. He sings, plays instruments, writes, produces, and even innovates listening opportunities.</p><p><b>Why he might not:</b> The Hall loves those who love them, and Todd does not love them. Additionally, those who want the Hall to rectify the backlog want the Hall to induct Todd either as a Non-Performer for his production wizardry, or Award For Music Excellence as an umbrella for his production, musicianship, side projects, and all-around innovation--mostly just to get his name off the ballot. By not voting for him, those voters are trying to force the Hall's hand on the matter.</p><p><b>Whom he'd pave the way for:</b> He doesn't open up too many tributaries, but maybe others that are well-loved within the industry have a shot, like Big Star, or a second nomination for John Prine down the line.</p><p><b>Biggest threats:</b> Carole King is the bigger name for singer/songwriters. Kate Bush and Devo are also well-known for sonic experimentation.</p><p><b>In the end:</b> Based on what was said about Judas Priest's past nominations, it can be extrapolated that Rundgren's third consecutive nomination is because each time he's come close. Third time should be the charm. Odds of induction: 55%</p><p><br /></p><p><b><u>6. JAY-Z</u></b></p><p>Rapper, producer, all-around entrepreneur. Newly eligible, first-time nominee.</p><p><b>Why he might make it:</b> Quite possibly the biggest name in the entertainment industry over the past twenty-five years not named Beyonce. He is influential, creative, makes amazing music, and just carries an all-around cache to his name. In short, too big to ignore.</p><p><b>Why he might not:</b> There are actually a few reasons. His business and brand can be interpreted to symbolize the death of a music industry where musicians didn't have to have side hustles and endorsement deals to make a living, and the Hall might be resentful of that. The ceremony's in Cleveland, and the Hall's schedule before the global pandemic was almost certainly tailored to induct Jay-Z in his hometown of New York City on his first year of eligibility. Now that that's out the window, they may wish to induct him in the Big Apple rather than on his first year of eligibility. Lastly, his "Hova" persona presents as being as detached and uncaring as the real Jehovah was thought to be by the Israelites while they wandered in the desert. The Rock Hall is an institution that wants inductees who play ball with them. Even when he has played ball, the result was one of the standards of bad induction speeches, until the 2016 induction of Steve Miller, at least.</p><p><b>Whom he'd pave the way for:</b> Eminem is newly eligible next year and was considered a gimme at one point. It'll be interesting if the Hall goes back for the solo careers of rappers like Chuck D, Dr. Dre, or Ice Cube as well.</p><p><b>Biggest threats:</b> LL Cool J is another rapper on the ballot, and Mary J. Blige occupies a lot of the same space as Jay-Z, too. Foo Fighters are the other newly eligible act, and Todd Rundgren is a musician and production wizard too.</p><p><b>In the end:</b> Okay, this is where it gets convoluted. Whether or not Jay-Z gets inducted this year, in my opinion, will depend on whether we can realistically expect herd immunity by the time of the ceremony. The Hall won't want to do an event that isn't packed due to social distancing requirements. They'd rather do another documentary induction like they did for 2020. And the Hall has made it clear that the next live induction ceremony is going to be in Cleveland, regardless of how long it takes for that to happen. But if they are able to have a live, packed ceremony in Cleveland this year, I think they will do something extremely unusual: they will announce Jay-Z as a top finisher, but will defer his induction to 2022 (possibly at his request), so they can do what they planned to all along, while also avoiding the backlash that not inducting Jay-Z immediately would otherwise likely have. In other words, that's how they'll have their cake and eat it too. However, if they cannot do a live ceremony, and have to do the documentary induction again, I think they'll just induct him this year, because they won't want to defer his induction more than one year. The question is, taking into account all the work crews involved in making it happen, having a general admission section, and even having a week or so in Cleveland to hype up the event, thus having to figure in herd immunity in the state of Ohio--does the Rock And Roll Hall Of Fame believe enough people will be vaccinated to have a safe, profitable event in Cleveland this year? I think they'll err on the side of caution once more, do another documentary, and act so as not to have to worry about whether the Carters would deign to make appearances in Cavalier country. Which means he'll be enshrined this year. Odds of induction: 52%</p><p><br /></p><p><b><u>7. DIONNE WARWICK</u></b></p><p>Female pop singer with a decades-spanning career. First-time nominee.</p><p><b>Why she might make it:</b> She has a lengthy career, has worked with a lot of big names, and is having a huge resurgence in popularity due to Twitter. The Hall does like to strike while the iron is hot.</p><p><b>Why she might not:</b> Most of her big hits were either hits on the Adult Contemporary charts, or could have been. Songs she made popular could have fit very comfortably on <i>The Lawrence Welk Show</i> back in the '60s, which is to say some have trouble considering her all that "rock and roll." For crying out loud, even Perry Como covered "That's What Friends Are For."</p><p><b>Whom she'd pave the way for:</b> An induction for Warwick would probably lead to the induction of the songwriting duo of Burt Bacharach & Hal David in the Non-Performer category. Stylistically, she could help Roberta Flack or Sade get some notice. Because of her collaboration, she could help the Spinners get nominated again, or maybe get nominations for other women of the earlier years, like Connie Francis.</p><p><b>Biggest threats:</b> Carole King's singer/songwriter catalog has a very soothing style not unlike Dionne's, making her direct competition. Chaka Khan is also close, in terms of space occupied.</p><p><b>In the end:</b> It'll depend on how close the voting tallies go. Between first nominations being the best chance in general, and the internet being a fickle culture that can't guarantee she'll still be the Queen Of Twitter next year, this is maybe her only real shot. If there's a live event, you can bet Stevie, Elton, and Gladys would all show up to sing "That's What Friends Are For" onstage with her, as one of those moments that only the Rock And Roll Hall Of Fame can make happen. Will it? Even if there isn't a live event, they may want to just usher her in. It's a split decision. Odds of induction: 50%</p><p><br /></p><p><b><u>8. LL COOL J</u></b></p><p>One of hip-hop's first solo superstars. Sixth nomination, seeded #8 in 2010 and 2011 each, #4 for 2014, #13 for 2018, and #8 again for 2019.</p><p><b>Why he might make it:</b> He's a legend in rap music, paved the way for other rappers to make it big, while making it big himself. He was the original mold for the male braggadochio show that rap was and still is, for better or worse.</p><p><b>Why he might not:</b> He just can't seem to clear the bar. Rappers he helped make possible are in the Hall now and he's not. It's like he passed the torch and got left out in the cold as a result.</p><p><b>Whom he'd pave the way for:</b> He could help clear the path for others like Ice-T and Snoop Doggy Dogg at some point.</p><p><b>Biggest threats:</b> Jay-Z is the clear and present competitor. Mary J. Blige could also steal away a lot of votes from him too.</p><p><b>In the end:</b> Remember that scenario I posited earlier with Jay-Z? If there is a live ceremony this year, and they defer Jay-Z's induction until 2022, the Hall won't want to keep falling behind on inducting rappers. That's really the only way I see LL Cool J making it this year: at a live ceremony in Cleveland. They could represent hip-hop with Blige as well, but LL has been waiting longer and has been let down harder more often. But I'm betting he'll be let down again when they do another documetnary and let Jay-Z in this time, and not him. Hard to say though. Odds of induction: 48%</p><p><br /></p><p><b><u>9. DEVO</u></b></p><p>Post-punk, art-rock band from Ohio. Second nomination, seeded dead last at #15 for 2019.</p><p><b>Why they might make it:</b> The Hall loves to reward artistic creativity, and these guys had it. Addtionally, if they can pull off a live ceremony in Cleveland this year, they'll want native Buckeye Staters there to make it more meaningful.</p><p><b>Why they might not:</b> They might be a little too far out there for some, and a one-trick pony to others.</p><p><b>Whom they'd pave the way for:</b> They might pave the way for an avant-garde act like They Might Be Giants to get inducted. Their music is fun at parties too, so maybe acts like the B-52's or Violent Femmes.</p><p><b>Biggest threats:</b> The Go-Go's are the most sonically similar to Devo. Kate Bush is also uniquely artistic, as is Todd Rundgren.</p><p><b>In the end:</b> Like LL Cool J, a live ceremony in Cleveland is the only scenario in which Devo gets in this year. And I'm thinking nope. Odds of induction: 45%</p><p><br /></p><p><b><u>10. IRON MAIDEN</u></b></p><p>Heavy metal band most popular during the 1970s and '80s. First-time nominee.</p><p><b>Why they might make it:</b> Heavy metal is a genre that many feel is in sore need of greater presence in the Rock And Roll Hall Of Fame, and voters might rally to them. And who doesn't want to see Eddie on the stage, right?</p><p><b>Why they might not:</b> The Hall just can't seem to stop doing metal dirty. Two misses for Judas Priest, one for Motorhead, eight nominations for Black Sabbath before getting them in, and Iron Maiden only now nominated. Metallica's waltzing right in is about the only real moment of ease for metal getting in. Also, they're a band you've heard of, but most probably can't name more than a couple songs they did.</p><p><b>Whom they'd pave the way for:</b> The field of metal is pretty open. An induction for Iron Maiden could ramp up momentum for Judas Priest again, or maybe open the door for Pantera or Megadeth, just to name two of the more obvoius examples.</p><p><b>Biggest threats:</b> Rage Against The Machine is the most metal of the other nominees. Foo Fighters are hard rock, and the New York Dolls are driving punk. All can make competition for this band.</p><p><b>In the end:</b> It's weird to see me seed them this low. My prevailing theory was previously, "If you want to assure that a white rock band gets in, make them the only white rock band on the ballot." Iron Maiden is not the only such act on the ballot, but there are few enough of them that the rockist contingent will have no trouble coalescing in unity behind the same five acts, for the most part. That could spell trouble for those who are expecting this class to embrace the idea of representation mattering. Despite haunting echoes of the ballot for the Class Of 2016, the promise of thinking and moving forward from John Syke,s and the apparent listening by the Nominating Committee to the outcry from those of us who've been calling for wider representation in the Hall both have me thinking in won't be a repeat of 2016, and that metal will indeed be done dirty again. We'll see though. Odds of induction: 40%</p><p><br /></p><p><b><u>11. CHAKA KHAN</u></b></p><p>R&B songstress, former lead singer of Rufus. Third nomination as a solo artist. Seeded #11 for 2016 and #17 for 2018.</p><p><b>Why she might make it:</b> She has a long career as a singer with many strong ties in the music industry. Additionally, her preseence on <i>The Masked Singer</i> has sparked a strong amount of support for her.</p><p><b>Why she might not:</b> Her solo career might be a little too easy listening for some voters, and those who think a person should only be inducted once are more likely to withhold support in favor of voting in Rufus the next time they are nominated. Still others just want her to be inducted in the Award For Musical Excellence category as a catchall for everything Chaka and call it done.</p><p><b>Whom she'd pave the way for:</b> She could help get more of the classic disco acts recognized, ranging from Gloria Gaynor to KC And The Sunshine Band, and she could also clear the path for Mariah Carey or Celine Dion.</p><p><b>Biggest threats:</b> Dionne Warwick is the most similar to Chaka in terms of sound, and Mary J. Blige owes a lot to Chaka but could steal votes from her. As could Tina Turner.</p><p><b>In the end:</b> I genuinely hate the idea of giving Chaka Khan an Award For Musical Excellence induction. Doing so would result in the same empty, hollow feeling that introducing the Singles category did in 2018. And it will only make people angrier that it happened that way as time goes on. I hope she gets inducted twice. I would be thrilled if the first one happened this year, but I do not expect it. Odds of induction: 35%</p><p><br /></p><p><b><u>12. MARY J. BLIGE</u></b></p><p>Pioneer of hip-hop/soul. First-time nominee.</p><p><b>Why she might make it:</b> Of all the nominees on this year's ballot, she might be the paragon of the promise of a forward-thinking Rock And Roll Hall Of Fame. She was pretty much unexpected, represents a style of music that is largely, if not completely, unrepresented in the Hall, and was just an overall breath of fresh air when her name was announced as being on the ballot.</p><p><b>Why she might not:</b> The conglomeration of radio, the rise of autotune, and the domination of more electronophonic music may make hip-hop/soul look more like a fad than a part of the evolution of music.</p><p><b>Whom she'd pave the way for:</b> An induction for Blige would open the way for artists like Brandy, Ashanti, Aaliyah, Toni Braxton, and maybe even blow up the dam holding back female rap acts like Queen Latifah, MC Lyte, and Salt-n-Pepa, just to name a few.</p><p><b>Biggest threats:</b> Those who prefer a chronological approach to the Rock And Roll Hall Of Fame may insist that Chaka Khan must go in before Mary J. Blige. Rappers LL Cool J and Jay-Z could probably keep votes out of her column too.</p><p><b>In the end:</b> Between Tina Turner, Carole King, and the Go-Go's, and the story arcs that each of their inductions would be among the apices for, Mary J. Blige will simply get lost of the shuffle, because we need to make sure Foo Fighters and Jay-Z get in too. Odds of induction: 33.3%</p><p><br /></p><p><b><u>13. RAGE AGAINST THE MACINE</u></b></p><p>Politically charged nu metal band. Seeded #8 for 2018 and #11 for 2019</p><p><b>Why they might make it:</b> The insider nature of the Hall bodes very well for this band, with guitarist Tom Morello being on the Nominating Committee. Additionally, the Hall loves politically charged music, and they were that. They were also innovative in their sound.</p><p><b>Why they might not:</b> They are a band you know the name of, and may even relate to the ethos of the name itself, but you might not know any of their actual songs. </p><p><b>Whom they'd pave the way for:</b> With Morello's love of metal, bands like Slayer and Pantera could be reached back for and nominated. </p><p><b>Biggest threats:</b> Foo Fighters are another hard rock band with a Nominating Committe member as a band member. It also wouldn't surprise me to learn that Tom Morello pitched Iron Maiden before biting into the giant hoagie and that even he expects them to draw votes away from his band.</p><p><b>In the end:</b> I think the band members themselves would be glad to miss out on induction again if it was because the machine that is the Hall was being reprogrammed to have better and wider representation. Either way, though, they're missing out again. Odds of induction: 30%</p><p><br /></p><p><b><u>14. FELA KUTI</u></b></p><p>Afrobeat pioneer. First-time nominee.</p><p><b>Why he might make it:</b> One thing that a nomination for the Rock And Roll Hall Of Fame will do, and that the Hall does right in this regard, is bring greater awareness to great artists that the general populace is unfamiliar with. The curiosity of the name has sparked curiosity of the music, and the interest has been sparked in many.</p><p><b>Why he might not:</b> Aaaanndd there have been many others who have dug in their heels, doubled down on the willful ignorance, insisting being big in the U.S. is the bar to clear. What percentage of those people are in the voting bloc may be higher than we wish to acknowledge.</p><p><b>Whom he'd pave the way for:</b> A whole continent of musical greatness awaits. The most likely would probably be Yassou N'Dour, who has worked with a few names well-known to the English-speaking world, like Peter Gabriel. King Sunny Ade and Sun Ra could get some recognition as well.</p><p><b>Biggest threats:</b> His own obscurity in the United States. For the sake of what this heading is supposed to mean, let's say Mary J. Blige's hip-hop/soul is a funky enough style to draw votes away from Kuti.</p><p><b>In the end:</b> As Joe Kwaczala said, even Award For Musical Excellence seems to be a bad fit for Kuti. They may have to create an International category to induct him. I hate this idea because it would only empower those with a closed-minded definition of rock and roll, who are probably closed-minded in other regards. But as long as the tail wags the dog, and the Hall keeps the classes unreasonably small, he's probably not getting in as a Performer. But the chatter his nomination has created at least keeps him from being seeded last this time. Odds of induction: 25%</p><p><br /></p><p><b><u>15. THE NEW YORK DOLLS</u></b></p><p>Early punk-rock band. Second nomination, previously unseeded.</p><p><b>Why they might make it:</b> They were a highly innovative and influential, both in terms of their music and their image, and the critics loved them.</p><p><b>Why they might not:</b> Outside a few of the big names, punk rock really isn't having an easy time getting into the Hall. Additionally, they really never had major commercial success, and their circle of influence attentuates sharply the further you get from New York City.</p><p><b>Whom they'd pave the way for:</b> Maybe getting them in first will help get the MC5 in? Beyond that, we could start looking at bands like the Dead Kennedys or Black Flag.</p><p><b>Biggest threats:</b> Iron Maiden and Todd Rundgren are the only other acts that could really fit in the "classic rock" box with any level of comfort and are thus the most direct. Foo Fighters and Rage Against The Machine are also hard-edged bands. And oh yeah, don't forget the clear punk influences in the Go-Go's' music.</p><p><b>In the end:</b> Like Carole King, the New York Dolls are returning to the ballot after a long absence. Unlike Carole King, there hasn't been nearly the amount of outrage over their omission, nor have they raked in the number of accolades she has to bolster their case. Odds of induction: 20%</p><p><br /></p><p><b><u>16. KATE BUSH</u></b></p><p>Experimental Britih musician. Second nomination, seeded #17 (but not dead last) for 2018.</p><p><b>Why she might make it:</b> The Hall loves the artistic, experimental musicians, and Kate is most definitely that and thensome. Additionally, the inductions of Roxy Music and T. Rex show that the Americentric bias in the ranks of the voting bloc is starting to erode and crumble. Lastly, remembering how the tail wags the dog with the Hall, if an induction documentary is how business will be handled again this year, this is the optimal chance to induct her and possibly get her to appear (for want of a better word) for her induction, via a pre-recorded acceptance from wherever she feels comfortable giving it.</p><p><b>Why she might not:</b> There's still a strong Americentric presence in the Hall, and artists who work on their own timeline with no deadlines have trouble staying in the spotlight. Not that she coveted it, but we're discussing what helps and what hurts getting into the Hall.</p><p><b>Whom she'd pave the way for:</b> Tori Amos is the most direct descendant of Kate Bush, stylistically, and thus would benefit the most. Bjork is another artist in that vein who could get some consideration.</p><p><b>Biggest threats:</b> Carole King is the singer/songwriter most directly in her way, followed by the Go-Go's. For experimental, you've got Todd Rundgren, Devo, and even Mary J. Blige to contend with. And when it comes to the gift of metaphors in the lyrics, Fela Kuti is no slouch either.</p><p><b>In the end:</b> Because the tail wags the dog so much with the Hall these years, the prospect of a second documentary induction is probably the biggest plus factor for her. With Carole, Tina, and the Go-Go's all having narratives that seem to lead to this moment, the buzz for Kate Bush has been minimal in comparison, and with the seeming inevitability of Foo Fighters and Jay-Z, there just doesn't seem to be room for her in this class. I'd love to see it happen, mainly to see if she does show up at a live ceremony, but it's just too unlikely. Maybe John Sykes will use his power and just say, "Put them all in!" Yeah... Odds of induction: 15%</p><p><br /></p><p>And with that, we conclude our predictions for the Class Of 2021 for the Rock And Roll Hall Of Fame. Like a few others, I think there is a strong possibility of there being an Early Influence inductee. I have no idea who, but I'd love to see it be Ella Fitzgerald or the Carter Family, and would hate to see that category repurposed as a Veterans' Committee type of thing. But if Dionne Warwick doesn't make it, maybe the Hall inducts Burt Bacharach & Hal David in lieu of her, possibly to try and build momentum for her return to the ballot next year. My predictions look very similar to a lot of other people's, but hopefully there's some good conversation mixed in with the rationales. Feel free to comment below and give your opinions of my opinions.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com4tag:blogger.com,1999:blog-3760137241594753268.post-10035771212656671872021-05-08T07:27:00.001-07:002021-05-08T08:29:09.166-07:00My Musical Tastes Vs. The 2021 Nominees<p> I'm gonna have to keep this short and sweet to try and get everything in under the deadline. I already have my official predictions written up, just in case I don't get this one done in time first. That list is more important, but trying to maintain the way I always have done things, I'm now going to quickly whisk through the rankings of the nominees for the Rock And Roll Hall Of Fame's Class Of 2021, according to how much I personally enjoy listening to them. As always, the main reason I do this is because it is honest to do so. We've heard from actual members of the voting bloc that their own personal tastes come into play when it comes to sneaking that fifth vote in, or choosing to not mark a vote for someone. As much as everyone has their own sense of metrics that they feel is at least an attempt to be objective, the truth is we don't always stick to those comparatively dispassionate ranks. The heart wants what the heart wants, and that most certainly affects our votes sometimes. So, for the sake of honesty, I'm ranking these artists by my personal taste, giving my favorite songs by each, and averaging out the ranks between this list and the merits' list, and seeing how things stack up. On with the list!</p><p><br /></p><p><b>1. Carole King</b></p><p>Like Janet Jackson two years ago, I knew this was my favorite of the nominees because there were too many songs vying to be named as my favorite. If all Carole had was <i>Tapestry</i>, she'd rank a bit lower. That's not meant as a slight to that landmark album either; it's just that she's expressed such a full range of emotion, experience, and humanity over her distinguished career that even <i>Tapestry</i> couldn't contain it all. Check out her debut album <i>Writer, </i>or the amazing <i>Wrap Around Joy</i>, and even have some fun rocking out to her interpretations of her Brill Building songs on <i>Pearls</i>. I swear it is impossible to remain unhappy while listening to her catalog. She's like the Seekers that way for me. Honorable mention to "Child Of Mine."</p><p>Favorite song: "Wasn't Born To Follow"</p><p>Merits rank: 3</p><p>Average of ranks: 2</p><p><br /></p><p><b>2. Todd Rundgren</b></p><p>I think I can really credit his continued rise in this list to repeated listens. Sometimes when I jam out to random stuff on YouTube, I put on "Hodja," "Zen Archer," "I Think You Know," and the favorite listed below. Also, if Todd gets inducted, I think it'd be hilarious if he showed up, got on stage; and instead of giving a speech, he just sat at the piano, played and sang "Flappie" without accompaniment, and walked off the stage without saying anything else. That would be the most Todd Rundgren way to thank his fans while still giving the Hall as much respect as he thinks it deserves. I don't think hoping for this scenario makes me a dark, twisted person--but I do think it's pretty indicative that I already was one.</p><p>Favorite song: "Mountaintop"</p><p>Merits rank: 9</p><p>Average of ranks: 5.5</p><p><br /></p><p><b>3. Devo</b></p><p>As I said about them last nomination: they're weird; I like them.</p><p>Favorite song: "March On"</p><p>Merits rank: 15</p><p>Average of ranks: 9</p><p><br /></p><p><b>4. Kate Bush</b></p><p>A friend of mine said she didn't think Kate Bush was rock and roll. She said she didn't really know what she considered Kate to be other than "weird and boring." I have to admit, it takes a certain mood for me to really enjoy her, and to really grasp the way she infused musical theater into her overall style, along with all her other influences. Some songs it does take a few listens to appreciate, I'll grant you, but I do appreciate her more than I did before.</p><p>Favorite song: "Eat The Music"</p><p>Merit rank: 13</p><p>Average of ranks: 8.5</p><p><br /></p><p><b>5. LL Cool J</b></p><p>New nominees have the better odds of getting inducted, but multiple nominations allow an artist to grow on me more continuously. I didn't grow up with his brand of hip-hop, but there was some hip-hop in my ears growing up, so I'm able to enjoy a good groove and smooth flow. Admittedly, listening this time to some of the lyrics made me cringe a little, but I can't deny how much I enjoy the jams.</p><p>Favorite song: "The Do Wop"</p><p>Merits rank: 1</p><p>Average of ranks: 3</p><p><br /></p><p><b>6. Chaka Khan</b></p><p>Chaka jumps up a lot higher than she was in previous lists. I think much of this has to do with when I listen to her. Usually I listen to the nominees while working in the office, and Chaka's solo career isn't all that conducive to the daily grind. Listening to her outside of work is much different, and much more pleasant. I wish it didn't have to come down to this sometimes, but there are only so many hours in day.</p><p>Favorite song: "Love You All My Lifetime"</p><p>Merits rank: 14</p><p>Average of ranks 10</p><p><br /></p><p><b>7. The New York Dolls</b></p><p>This one was admittedly a mixed bag. If you binge-listen on Spotify, you are going to be inundated with the later albums, where David Johansen's voice sounds very damanged, and the style is much bluesier. After I got over the shock though, I was able to appreciate it for what it was.</p><p>Favorite song: "Personality Crisis"</p><p>Merits rank: 12</p><p>Average of ranks: 9.5</p><p><b><br /></b></p><p><b>8. Fela Kuti</b></p><p>Call it a cultural chasm. I like jamming on Afrobeat, but I have an American attention span. But there are some really great songs. </p><p>Favorite song: "2000 Blacks Got To Be Free" (featuring Roy Ayers)</p><p>Merits rank: 2</p><p>Average of ranks: 5</p><p><br /></p><p><b>9. Mary J. Blige</b></p><p>Some of her samples are truly amazing and serve as fantastic springboards to the songs that she created out of them. "Everything," "You Bring Me Joy," "No More Drama," and more. This is an artist that sneaked up on me. <br /></p><p>Favorite song: "Ooh!"</p><p>Merits rank: 5</p><p>Average of ranks: 7</p><p><b><br /></b></p><p><b>10. Iron Maiden</b></p><p>The lead vocals don't always sit great with me, but overall, their sound is really solid. I can see why this is a band people love with a fiery passion.</p><p>Favorite song: "Where Eagles Dare"</p><p>Merits rank: 4</p><p>Average of ranks: 7</p><p><b><br /></b></p><p><b>11. Jay-Z</b></p><p>Doing my research, I was actually surprised to find out that for all his commercial success, he actually has relatively few Top Ten hits. I also decided that not only should the favorite song be one where he is a lead artist, as opposed to a featured artist, it should also be a title that is okay for me to type out. So if there was a song with Foxy Brown that I really liked, ain't no way I could tell you. Fortunately, my actual favorite song is a different one. I also decided the favorite song had to be one of his official songs, which is sad, because I really love the mash-up someone made of his "December 4th" and the Four Seasons' "December 1963 (Oh, What A Night)." Seriously, go check out "December 4th, 1963 (Oh, What A Night)." I would love to see Gerry Polci and Frankie Valli come out on stage with Jay-Z and pull that off with Paul Schaeffer's help. It'd be one of those magical moments only the Rock And Roll Hall Of Fame could make happen. For this list, he suffers because of what earworms "Hard Knock Life" and "Empire State Of Mind" are. Sorry.</p><p>Favorite song: "99 Problems"</p><p>Merits rank: 6</p><p>Average of ranks: 8.5</p><p><br /></p><p><b>12. The Go-Go's</b></p><p>The hits were hits for a reason. But the non-hits weren't hits for a reason too. Their surf-influenced flavor really provided some good build-up, but without the very commercial hooks, I feel like there's not an emotional peak to a lot of their album cuts, and I love that cathartic release that comes with the peak of crescendo, be it in terms of decibels or passion of inflection. That said, I also feel somewhat seen by the song, "Girl Of 100 Lists," for some reason. Also, is it just me or does the piano intro on "Head Over Heels" feel more appropos to the energy and enthusiasm of "Vacation"? Maybe I'm just overthinking again.</p><p>Favorite song: "We Got The Beat"</p><p>Merits rank: 11</p><p>Average of ranks: 11.5</p><p><br /></p><p><b>13. Dionne Warwick</b></p><p>My favorite era of her music is the period that Joe Kwaczala called her "lost period," and even some of her later stuff is pretty good, especially her <i>Heartbreaker</i> album. And to be fair, I don't hate all of the Bacharach And David stuff. The songs with a "girl group" kind of sound are cool. But the songs that sound like they could be (or sometimes were) played over the opening title sequence of a popcorn flick back then... ugh. </p><p>Favorite song: "Once You Hit The Road"</p><p>Merits rank: 10</p><p>Average of ranks: 11.5</p><p><br /></p><p><b>14. Tina Turner</b></p><p>I'm actually surprised she's this low too! I really love the songs by her that I love. But a lot of her solo songs have that distinctive '80s sound that hasn't aged all that great, and I wasn't big on to begin with. She's still an icon though.</p><p>Favorite song: "Better Be Good To Me"</p><p>Merits rank: 7</p><p>Average of ranks: 10.5</p><p><br /></p><p><b>15. Rage Against The Machine</b></p><p>I would say the repeated nominations have forced me to develop a greater familiarity with their music, given me a better appreciation, and helped get them off the bottom of the personal ranks list. I don't hate them; I'd even say I don't dislike them at this point. Will I ever love them? That remains to be seen, I guess.</p><p>Favorite song: "Testify"</p><p>Merits rank: 8</p><p>Average of ranks: 11.5</p><p><br /></p><p><b>16. Foo Fighters</b></p><p>This is probably a band I need to spend more time with. Peeking behind the curtain, my time for listening has been very limited this season. I've been training a new substitute (which is very much in violation of our labor contract, but that's a matter for another type of blog entirely), so I can't listen to music while working with them, and I absolutely do not listen to music while I'm out on the road during my workday. That's the main reason I'm so late in getting these entries in. That said, "Best Of You" kind of annoys me, and a few of their songs had a very "bro" feel to them, even to the point where I could see them being covered by Florida-Georgia Line. Conversely, that may be what gives them an edge with the voting body this year. They are this year's Doobie Brothers, Journey, Bon Jovi, etc. They're the most "bro" act on the ballot, and the voting bloc, especially with the living inductees who vote, is still a very strongly "bro" body.</p><p>Favorite song: "Monkey Wrench"</p><p>Merits rank: 16</p><p>Average of ranks: 16</p><p><br /></p><p>So looking at my averages of ranks, Carole King, LL Cool J, Fela Kuti, and Todd Rundgren should be the locks, with a split between Mary J. Blige and Iron Maiden for the final spot. And that wouldn't be a bad ballot. That's also been halfway accurate to how I've been voting. I have been voting for Carole King and Tina Turner because they are freaking legends and absolutely deserve their second inductions. They've been criminally overlooked for too long. I've also been voting for Todd Rundgren and Chaka Khan because I don't want to see either of them getting the back door induction treatment. And lastly, I've been voting for LL Cool J because he's just too important. The Go-Go's were the last, painful cut to make that I would have gladly voted for if I could have gone for six. I'm glad they're doing well with other voting members and made the official fan ballot. Next up, the official predictions with seedings!</p><p><br /></p><p><br /></p><p><br /></p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com2tag:blogger.com,1999:blog-3760137241594753268.post-26053749132686437752021-04-14T10:31:00.000-07:002021-04-14T10:31:20.474-07:00Merits Of The 2021 Nominees<p> After an extended period of time, it is now time for me to attempt to rank the nominees on the ballot for the Rock And Roll Hall Of Fame's Class Of 2021 by merits. It is an attempt to be objective, although it can never be completely. The values attached to those which we call merits are themselves subjective, let alone the weighted importance of criteria, or the choice to weigh them equally. So why bother doing it at all? The question itself has been raised, and truth be told, given that my litmus test is a basic pass/fail, and that I apparently have a much lower bar than several others in the hobbyist community, it seems almost ludicrous for me to try--and none of that even taking into account that few of these nominees are in any way within that which could be called my wheelhouse. That almost gives me an advantage, as I have less emotional attachment, or decided detachment, regarding these artists. But it also means that I have the most catching up to do; so it still seems odd for me of all people to try. Nevertheless I do try for two reasons: one, because the Rock And Roll Hall Of Fame makes a point to keep a narrow gate, it creates an artificial narrative demanding only the most deserving artists are inducted (though I'm happy if all inductees pass my standards); two, I have a compettive nature, conflictist at times, to use the term I learned in high school sociology. Makling ranked lists is just part of my personality. I even once ranked the twenty tracks of my Four Preps Greatest Hits CD in order of how I liked them. So ranking will commence. </p><p><br /></p><p>It's no small task this year either. To use the jargon of Joe and Kristen, there are almost as many lanes as there are nominees. They are so different this year, that saying any two occupy the same space borders on the ridiculous. There are a couple places where it can possibly be said. It almost requires a judgment call between the worth of subgenres, though I've tried to avoid that. The other major reason it was so difficult for me this time is the nomination of Fela Kuti. Whereas one can usually either extrapolate or ignore global significance of a nominee because their strongest sphere is either in the United States, the United Kingdom, or both; that is simply not the case with Kuti, and trying to account for the importance on a thoroughly different culture requires a lot of adjustment in the way we approach this task. Hopefully I didn't louse it up too badly though. </p><p><br /></p><p>As always, I'm using my I-5 system: Innovation, Influence, Impact, Intangibles, and Issues. Four positive categories, one negative. Because of the stark differences between so many of the nominees, the Intangibles category has an increased importance this year. Three last things to keep in mind, too. First, just as in a dash race, the difference between first and last place can be one or two seconds, so to the difference between first and sixteenth can be razor thin. Second, when I talk about the Innovation and Influence categories, I refer to direct musical innovation and influence. "Changing the game" is not included in either of the categories, unless it's the music itself that changed the game. Otherwise, I generally file those things under Intangibles. The last important pre-game note is that most, if not all, of the reservations regarding nominations mentioned in the Issues category do not reflect my own personal feelings regarding the nominee's selection. It's just a potential problem that someone either could raise or has already raised. In fact, I already know my rebuttal to most of those reservations, but fleshing the issues themselves out in the written word gives a more well-rounded evaluation of an artist. Let's begin.</p><p><br /></p><p><b><u>1. LL COOL J</u></b></p><p><b>Innovation:</b> In addtion to obsolescing the DJ from rap music, he helped make it a solo braggodocio show, replacing rap outfits. Additionally, he's also widely recognized for making rap more accessible via shorter songs, which help increase radio airplay, and for creating the bridge of R&B stylings between rap and non-rap R&B.</p><p><b>Influence:</b> As an early successful solo emcee, he was a massive influence on rappers that followed. </p><p><b>Impact:</b> He had a steady stream of hit R&B singles and several albums that sold quite well. Additionally, his name recognition factor is quite high.</p><p><b>Intangibles:</b> It wasn't just his music that was influential, but also his image.</p><p><b>Issues:</b> The current social climate makes some of his older lyrics a little cringeworthy, if they weren't already. Additionally, the longer he remains outside the Hall, the more his legacy looks like a torch that has already been passed.</p><p><br /></p><p><b><u>2. FELA KUTI</u></b></p><p><b>Innovation:</b> His fusion of soul and funk with the music of his homeland Nigeria resulted in a musical and cultural explosion.</p><p><b>Influence:</b> Because he is credited with Afrobeat's creation, and its continued existence and relevance in the musical world, his influence is both massive and consequential.</p><p><b>Impact:</b> Though his sales in colonial cultures aren't nearly as impressive, his sales and name recognition in Nigeria and in fact all of Africa makes this a stronger category than some would expect.</p><p><b>Intangibles:</b> In addition to being a musical and political revolutionary, his songwriting displays a gift for words and analogies that would impress Emerson and Longfellow. </p><p><b>Issues:</b> I wish I could sit here and tell you the chief objection to his nomination is that his band Africa 70 wasn't nominated with him. I really wish I could tell you that. Reggae was influenced by soul music, much like Afrobeat, and recognition of reggae as part of the rock and roll diaspora is an uphill battle. How much more so a style that isn't well-known in the States.</p><p><br /></p><p><b><u>3. CAROLE KING</u></b></p><p><b>Innovation:</b> She was a defining figure of the singer/songwriter movement in the 1970s, helping to define it as a musical movement all its own, with connotations that continue to this day.</p><p><b>Influence:</b> Arguably the most influential of the singer/songwriters from that era, she is also the reason there's a difference in the meanings are evoked when one says "singer/songwriter" versus "musician who writes their own songs."</p><p><b>Impact:</b> Her name recognition as a musician eclipses her legacy as a Brill building songwriter partnered with her then-husband. <i>Tapestry</i> remains a landmark album, and she had several other albums in the Top Ten of the Billboard 200.</p><p><b>Intangibles:</b> She's been recognized for her lifetime of work with other presitigious awards and honors.</p><p><b>Issues:</b> Is <i>Tapestry</i> enough? Critics of her nomination say her musical legacy is a one-trick pony, and though the Hall has inducted other artists for whom the same thing can be said, it's still a relevant question, provided one believes that her entire nomination and case for induction hinges on that album.</p><p><br /></p><p><b><u>4. IRON MAIDEN</u></b></p><p><b>Innovation:</b> 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.</p><p><b>Influence:</b> Easily one of the most influential bands in heavy metal and hard rock.</p><p><b>Impact:</b> 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.</p><p><b>Intangibles:</b> 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.</p><p><b>Issues:</b> 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. </p><p><br /></p><p><b><u>5. MARY J. BLIGE</u></b></p><p><b>Innovation:</b> She is a seminal figure in the creation of the hip-hop/soul merger, as a distinct and persistent style.</p><p><b>Influence:</b> She is cited as an influence by R&B and pop singers ranging from Beyonce to Taylor Swift, and beyond.</p><p><b>Impact:</b> She has at least a baker's dozen albums that made the Top Ten and a few dozen entries on the Pop charts, even more on the R&B charts.</p><p><b>Intangibles:</b> Royalty nicknames can be part of a marketing ploy, but when they endure, such as "Queen Of Hip-Hop/Soul," it's more than just marketing. That's serious business.</p><p><b>Issues:</b> The endurance hip-hop/soul, as developed and defined by Blige, has been diminished by the rise of modern EDM, and the way rappers have jumped on that bandwagon. Blige has adapted, but she no longer has home field advantage</p><p><br /></p><p><b><u>6. JAY-Z</u></b></p><p><b>Innovation:</b> He helped redefine East coast rap, modernizing it.</p><p><b>Influence:</b> Easily one of the top three most influential rappers of the past twenty-five years, if not the most.</p><p><b>Impact: </b> The biggest commercial act on the ballot in terms of sales and chart presence, both in terms of singles and albums. Overall name recognition is through the roof.</p><p><b>Intangibles:</b> As one-half of one the biggest power couples of the 21st century, plus his endorsement and side businesses, he is as much a brand as a musician.</p><p><b>Issues: </b> Being as much a brand as a musician has a tendency to be as much of a liability as it is an asset. Plus, having dalliances bad enough to warrant an entire album from his wife, he has marred his own cache just a bit.</p><p><br /></p><p><b><u>7. TINA TURNER</u></b></p><p><b>Innovation:</b> Her solo records didn't break much new sonic ground, unfrotunately, but it did allow her to modify and maybe even reinvent her style of singing into something different.</p><p><b>Influence:</b> Her style of rock singing has been extremely influential to rock singers, both male and female (and maybe singers of other genders too).</p><p><b>Impact:</b> She has several instantly recognizable songs that were major hits, and hers is a household name.</p><p><b>Intangibles:</b> Her comeback in the '80s is legendary, and her live stage presence was known for being electric.</p><p><b>Issues:</b> The production values of her solo records are unmistakenly '80s and haven't aged well. Also, if her induction as a solo artist is justifiable, then said justification requires that the merits of her solo career and records be completely separated from those of her career in the duo, rather than subsuming the latter under the former. There is still an argument to be made, but it takes extra effort because of the extra work put in vis-a-vis the separation process.</p><p><br /></p><p><b><u>8. RAGE AGAINST THE MACHINE</u></b></p><p><b>Innovation:</b> 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.</p><p><b>Influence:</b> 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.</p><p><b>Impact:</b> A few charted songs on the Album and Modern Rock charts, and a couple charted albums.</p><p><b>Intangibles:</b> There is a sense of authenticity to them, and congruity with their name, their music, and their image offstage.</p><p><b>Issues:</b> Their lyrics are often incomprehensible, so you don't know what they're saying, only that they're angry. Additionally, not big on longevity.</p><p><b><u><br /></u></b></p><p><b><u>9. TODD RUNDGREN</u></b></p><p><b>Innovation:</b> Due to his experience in the control booth, he has found new ways to create unique sounds and make them his own, which was heard on his records. He's one of the most experimental artists on this ballot.</p><p><b>Influence:</b> Because he's worked with a lot of artists who respect him, his influence has been able to circulate widely, even if not necessarily terribly strongly.</p><p><b>Impact:</b> His name recognition factor is very high, due to both his critical respect and his work with others. As a musician, he's had several charted singles and a respectable amount of album sales.</p><p><b>Intangibles:</b> Not only one of the most experimental artists on the ballot, he's also one of the most versatile. He can do multiple styles and sing in multiple ways. That's not always a strong selling point for the Hall, but it is a tasty cherry on top.</p><p><b>Issues:</b> This nomination is for his work as a solo artist, a musician. It's not always so simple to parse out his musicianship from his other credits, which may blur the ability to evaluate his actual output fairly.</p><p><br /></p><p><b><u>10. DIONNE WARWICK</u></b></p><p><b>Innovation:</b> Some might call her '60s records a kind of prototype of the "Quiet Storm" style of music that Roberta Flack and Sade would later grow and popularize.</p><p><b>Influence:</b> In addition to being influential to her inducted cousin, a number of songs she first recorded were later covered by soul singers and groups.</p><p><b>Impact:</b> The second biggest singles and albums act among this year's nominees, just a huge list of charting singles and albums, top ten hits in three consecutive decades.</p><p><b>Intangibles:</b> The songwriters Burt Bacharach and Hal David are heavily respected, despite not being inducted into the Rock And Roll Hall Of Fame either, and Dionne's legacy is strongly entwined with theirs.</p><p><b>Issues:</b> Those who defend rap's inclusion into the Rock And Roll Hall Of Fame by insisting that rock and roll is more of an attitude, a sense of rebellion, and a culture of youth might just find themselves backpedaling at breakneck speeds to justify the nomination of a singer whose music, both lyrically and stylistically, is much more mature, and not a "Rated X" kind of mature--more like a "meticulously scrutinizing the details of potential life insurance policies while ingesting your daily bowl of high fiber cereal, which reminds me, you've got a colonoscopy coming up next month" kind of mature. Emotional maturity, I mean. Her rise to stardom on Twitter is her strongest ever connection to the youth culture.</p><p><br /></p><p><b><u>11. THE GO-GO'S</u></b></p><p><b>Innovation:</b> They weren't the first post-punk band, but they were early enough in its evolution to have played a sizeable part in its formation.</p><p><b>Influence:</b> As one of the first bands of their style to achieve major commercial success, they were able to influence other bands that came after them, including pop-punk acts like Green Day.</p><p><b>Impact:</b> Four big singles that have endured, and a few others, plus a landmark album to their credit.</p><p><b>Intangibles:</b> The Hall loves to honor the rebellious troublemakers and rule-breakers; so naturally, they're falling all over themselves for the chance to induct this glass-ceiling-shattering band, right? Right?</p><p><b>Issues:</b> While the Hall has no qualms about inducting acts that were short-lived, longevity is a great asset to have in the arsenal, and this band simply doesn't, having burnt out too soon.</p><p><br /></p><p><b><u>12. THE NEW YORK DOLLS</u></b></p><p><b>Innovation:</b> One of the foundational acts of punk rock, shaping its simplicity and catchiness.</p><p><b>Influence:</b> They influenced a lot of punk bands, especially in the New York scene.</p><p><b>Impact:</b> A few charted albums, but nothing in the upper half. No charted singles.</p><p><b>Intangibles:</b> They were also influential in terms of image, and critics loved them.</p><p><b>Issues:</b> Those they influenced surpassed them in terms of influence, commercial success, legacy, and possibly even image.</p><p><br /></p><p><b><u>13. KATE BUSH</u></b></p><p><b>Innovation:</b> 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.</p><p><b>Influence:</b> Big Boi from Outkast is a noted fan who took songwriting cues from her, as do a lot of singers and songwriters, as well. The most direct descendants of her sounds would be artists like Tori Amos, Dido, and Annie Lennox.</p><p><b>Impact:</b> 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.</p><p><b>Intangibles:</b> Her performances pioneered the usage of headset microphones. More importantly, her overall level of artistry, particularly by Western standards, is extremely high.</p><p><b>Issues:</b> 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.</p><p><b><u><br /></u></b></p><p><b><u>14. CHAKA KHAN</u></b></p><p><b>Innovation:</b> Her collaborative efforts with other artists featured infusions of various styles with hers.</p><p><b>Influence:</b> After Donna Summer, she was probably the most influential of the disco songstresses, influencing a lot of female singers who followed, including those who have been nominated for and inducted into the Rock And Roll Hall Of Fame.</p><p><b>Impact:</b> She has two very well-known songs, along with about a dozen other charted singles, along with some charted albums, and her name recognition is extremely high.</p><p><b>Intangibles:</b> She has worked with and rubbed elbows with a lot of people in the industry, plus the legacy she has as the front person in Rufus adds to her cache.</p><p><b>Issues:</b> The Hall's penchant for false dichotomy makes one believe that either her solo career or that of Rufus will be inducted, not both, and many would prefer it be Rufus.</p><p><br /></p><p><b><u>15. DEVO</u></b></p><p><b>Innovation:</b> They were them. They were around at the genesis of post-punk and constantly pushed the sonic envelope with a style that was still considered ahead of the times twenty years later.</p><p><b>Influence:</b> Not the most widely cited of the post-punk bands, but due in part to their innovation, they were always in the conversation of highly influential bands of that ilk.</p><p><b>Impact:</b> Folks might be shocked to discover that they actually had several hits across the various trade publications, included multiple entries on Billboard's dance music charts. They also charrted several albums.</p><p><b>Intangibles:</b> They're a highly respected band among musicians for their artistry, both visual and sonic.</p><p><b>Issues:</b> "Oh yeah, they had that one song, didn't they? Did they do other stuff too?"--the general public </p><p><br /></p><p><b><u>16. FOO FIGHTERS</u></b></p><p><b>Innovation:</b> They helped define harder and alternative rock in a post-grunge world.</p><p><b>Influence:</b> Presumably influential in the hard rock community.</p><p><b>Impact:</b> Steady major success on the Album and Mainstream Rock charts, with some decent crossover to the Hot 100, along with seven Top Ten albums.</p><p><b>Intangibles:</b> In addition to being called "the last great rock and roll band," Dave Grohl's general likeability has translated in a general positive perception of the band, translating into reach.</p><p><b>Issues:</b> Foo Fighters need to be inducted because... Dave Grohl? That seems to be the crux of a lot of people's arguments, and it just doesn't sell. Also, when you're called "the last great" anything, it suggests the tributary has run dry, and when you're up for honors from an institution that claims to be about recognizing and celebrating the perpetuation and evolution of something, it's not a ringing endorsement.</p><p><br /></p><p><br /></p><p>And with that, we conclue our look at the merits of the sixteen nominees for this year's class. This was not an easy task by any means, and I'm still agonizing over it. Nothing looks right or feels right, but any adjustments just make it worse. In a simple "pass/fail" litmus test that I generally use, all sixteen of these get a pass from me, even those I may have balked at at one point. When trying to write up these ranks, I also tried to separate their merits from the separate rankings list that AlexVoltaire has called "bottom line." I tried to separate the idea of the Hall needing them, as he put it. The Hall needs most if not all of these artists; whether it's representation of race, gender, geography, generations, or genre; the Rock And Roll Hall Of Fame needs what each of these nominees bring to the table, the table with a giant hoagie on it. So that's where this list leaves off. Hopefully soon, it'll be a ranking of artists as I enjoy listening to them.</p>Philiphttp://www.blogger.com/profile/08292012228944104037noreply@blogger.com5