Making The Predictions: The Class Of 2022

 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.  Merits and politics, their sounds and lanes on alleg'd highways.  But more, much more than this, I seed them my way.

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.

1. EMINEM

White rapper, megastar of the early 21st century.  Newly eligible.

Why he might make it:  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.

Why he might not:  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.

Whom he'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

2. DURAN DURAN

New-wave/synth-rock band, most popular during the 1980s.  First-time nominee.

Why they might make it:  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.  

Why they might not:  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.

Whom they'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

3. PAT BENATAR

Female rock star, nominated with her husband and guitarist, Neil Giraldo.  Second-time nominee, seeded #1 for the Class Of 2020.  Oops.

Why she might make it:  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.

Why she might not:  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.  

Whom she'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

4. CARLY SIMON

Singer/songwriter most prominent during the '70s.  First-time nominee.

Why she might make it:  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.  

Why she might not:  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.

Whom she'd pave the way for:  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.

Biggest threats: 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.

In the end:  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%

5. JUDAS PRIEST

Heavy metal band.  Third-time nominee.  Seeded #5 for 2018, and also #5 for 2020.

Why they might make it:  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.

Why they might not:  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.

Whom they'd pave the way for:  Metal, metal metal.  Motorhead, Iron Maiden, Anthrax, Pantera, Megadeth.  All of these could benefit from a Judas Priest induction.

Biggest threats:  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.

In the end:  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%

6. DOLLY PARTON

Country music legend with decades of relevance.  First-time nominee.

Why she might make it:  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.

Why she might not:  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.

Whom she'd pave the way for:  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?

Biggest threats:  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.

In the end:  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%

7. EURYTHMICS

English new-wave/synth-pop duo.  Second-time nominee, seeded #11 for 2018.

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Why they might make it:  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.

Why they might not: 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.

Whom they'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

8. LIONEL RICHIE

R&B legend, formerly of the Commodores, with a major solo career in the '80s and '90s.  First-time nominee.

Why he might make it:  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 American Idol judge.

Why he might not:  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.

Whom he'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

9. BECK

Indie superstar from the '90s.  First-time nominee.

Why he might make it:  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.

Why he might not:  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.

Whom he'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

10. DIONNE WARWICK

Female pop singer with a decades-spanning career.  Second-time nominee, seeded #7 for 2021.

Why she might make it:  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.

Why she might not:  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 The Lawrence Welk Show 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."

Whom she'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

11. A TRIBE CALLED QUEST

Hip-hop act from the early '90s.  First-time nominee.

Why they might make it:  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.

Why they might not:  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.

Whom they'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

12. FELA KUTI

Afrobeat pioneer.  Second-time nominee, seeded #14 for 2021.

Why he might make it:  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.

Why he might not:  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.

Whom he'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

13. RAGE AGAINST THE MACHINE

Politically charged nu metal band.  Fourth nomination, seeded #8 for 2018, #11 for 2019, and #13 for 2021.

Why they might make it:  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.

Why they might not:  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.  

Whom they'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

14. DEVO

Post-punk, art-rock band from Ohio.  Third nomination, seeded dead last at #15 for 2019, and #9 for 2021.

Why they might make it:  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.

Why they might not:  They might be a little too far out there for some, and a one-trick pony to others.

Whom they'd pave the way for:  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.

Biggest threats:  Duran Duran and Eurythmics occupy a similar sonic space, and Kate Bush is also rather high art music, like them.

In the end:  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%

15. THE NEW YORK DOLLS

Early punk-rock band.  Third nomination, unseeded their first nomination, seeded #15 for 2021.

Why they might make it:  They were highly innovative and influential, both in terms of their music and their image, and the critics loved them.

Why they might not:  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.

Whom they'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

16. KATE BUSH

Experimental British musician.  Third nomination, seeded #17 (but not dead last) for 2018, and dead last at #16 for 2021.

Why she might make it:  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.

Why she might not:  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.

Whom she'd pave the way for:  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.

Biggest threats:  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.

In the end:  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%

17. THE MC5

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.

Why they might make it:  They're an extremely innovative and influential band, helping to give rise to punk rock as a subgenre of rock and roll.

Why they might not:  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.

Whom they'd pave the way for:  There are some punk or hardcore punk acts that could get nominated, like Black Flag, or nominated again, like Bad Brains.

Biggest threats:  The New York Dolls, Judas Priest, Pat Benatar, and Rage Against The Machine are the most like the MC5 in terms of sound.

In the end:  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%

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.  

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.

Listening And Liking The 2022 Nominees

 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. 

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.

1. Eminem

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.

Favorite song: "We Made You"
Merits rank: 8
Average of ranks: 4.5

2. Dolly Parton

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.

Favorite song: "Tennessee Homesick Blues"
Merits rank: 1
Average of ranks: 1.5 

3. Devo

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.

Favorite song: "March On"
Merits rank:  16
Average of ranks:  9.5 

4. Pat Benatar

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.

Favorite song: "All Fired Up"
Merits rank:  9
Average of ranks:  6.5

5. Beck

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 Futurama he was on was pretty awesome.

Favorite song:  "Mixed Bizness"
Merits rank: 4
Average of ranks:  4.5

6. Eurythmics

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.

Favorite song:  "When Tomorrow Comes"
Merits rank:  10
Average of ranks:  8

7. Judas Priest

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.

Favorite song:  "Nightcrawler"
Merits rank:  5
Average of ranks:  6

8. Duran Duran

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.  

Favorite song:  "Ordinary World"
Merits rank:  3
Average of ranks:  5.5

9.  Lionel Richie

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.

Favorite song:  "Angel"
Merits rank:  12
Average of ranks:  10.5

10. New York Dolls

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.

Favorite song:  "Personality Crisis"
Merits rank:  13
Average of ranks:  11.5

11. The MC5

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.

Favorite song:  "American Ruse"
Merits rank:  17
Average of ranks:  14

12. Carly Simon

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.

Favorite song:  "You're So Vain"
Merits rank:  15
Average of ranks:  13.5

13. Fela Kuti

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.  

Favorite song:  "It's Highlife Time"
Merits rank:  2
Average of ranks:  7.5

14. Kate Bush

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.

Favorite song:  "Love And Anger"
Merits rank:  14
Average of ranks:  14

15. Dionne Warwick

My appreciation for the Bacharach/David tunes that could easily have fit in the setlist for The Lawrence Welk Show has not grown.  (And I like The Lawrence Welk Show, by the way.)  My appreciation for her '70s songs though, has not diminished. So it balances out.

Favorite song:  "Once You Hit The Road"
Merits rank:  11
Average of ranks:  13

16. Rage Against The Machine

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.  

Favorite song:  "People Of The Sun"
Merits rank:  7
Average of ranks:  11.5

17.  A Tribe Called Quest

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.

Favorite song:  "Can I Kick It"
Merits rank:  6
Average of ranks:  11.5

So by looking at the average ranks given, they average out and rank thus:

1. Dolly Parton
2. Beck
2. Eminem
4. Duran Duran
5. Judas Priest

6. Pat Benatar

7. Fela Kuti

8. Eurythmics

9. Devo

10. Lionel Richie

11. New York Dolls

11. Rage Against The Machine

11. A Tribe Called Quest

14. Dionne Warwick

15. Carly Simon

16. Kate Bush

16. The MC5

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.

Coming soon, the official predictions.  And holy hell, it's a sloppier mess than my ten-day hold.  Stay tuned.

2022 Nominees' Merits

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?

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?  

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.

1. DOLLY PARTON

Innovation:  Not s strong category for her, but the pop sensibilities she blended into her brand of country were a somewhat new creation.

Influence:  A massively influential star to country music, female artists, and even singer/songwriters of various genres.

Impact:  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.

Intangibles:  With all the awards she's received from within the recording industry, her status as a mutlitudinous talent is undeniable.  

Issues:  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.

 2. FELA KUTI

Innovation:  His fusion of soul and funk with the music of his homeland Nigeria resulted in a musical and cultural explosion.

Influence:  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.

Impact:  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.

Intangibles:  In addition to being a musical and political revolutionary, his songwriting displays a gift for words and analogies that would impress Emerson and Longfellow.  

Issues:  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.

3. DURAN DURAN

Innovation:  First forming in the late '70s, they are one of the first synth-rock bands to break big and solidify the sound.

Influence:  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.

Impact:  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.

Intangibles:  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.

Issues:  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.

4. BECK

Innovation:  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.

Influence:  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.

Impact:  He has a handful of charted pop singles, and is much more successful on the modern rock charts.

Intangibles:  A critic's wet dream.  An artist's artist, but would still play in Peoria.

Issues:  Perhaps a bit too sporadic and inconsistent.  Following your own creative process schedule can be a liability as well as an asset.

5. JUDAS PRIEST

Innovation:  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.

Influence:  They weren't Black Sabbath, but they were extremely influential in the field of metal, including a few inductees and nominees.

Impact:  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.

Intangibles:  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.

Issues:  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.

6. A TRIBE CALLED QUEST

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

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

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

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

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

7. RAGE AGAINST THE MACHINE

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

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

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

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

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

8. EMINEM

Innovation:  Nope, unless you count lyrical content that rappers didn't approach before him.

Influence:  Massive influence on the current generation of rappers.

Impact:  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.  

Intangibles:  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.

Issues:  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.

9. PAT BENATAR

Innovation:  Not so much, though hers are some of the earlier "power ballads."

Influence:  As a successful rock star who wrote most of her own songs, she proved influential for other rocking women to follow in her wake.

Impact:  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.

Intangibles:  She's an icon as a "rocking" woman who plays the boys' game as well as they do, almost to the point of tokenism.

Issues:  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.

10. EURYTHMICS

Innovation:  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.

Influence:  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.

Impact:  They had a solid run of pop hits, some dance chart hits, and a handful of charted albums.

Intangibles:  Annie Lennox is a solid feminist figure, and Dave Stewart is a producton wizard.

Issues:  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.

11. DIONNE WARWICK

Innovation:  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.

Influence:  In addition to being influential to her inducted cousin, a number of songs she first recorded were later covered by soul singers and groups.

Impact: Just a huge list of charting singles and albums, top ten hits in three consecutive decades.

Intangibles:  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.

Issues:  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.

12. LIONEL RICHIE

Innovation:  As a songwriter, his style helped smooth soul in its transition from the disco era into the style that was popular in the '80s.

Influence:  He has been an influence to a wide and diverse swath of singers from different genres and genders.

Impact:  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.

Intangibles:  Partially in his Influence column, he has a huge amount of respect from fellow musicians, ranging from R&B to country and beyond.

Issues:  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.

13. THE NEW YORK DOLLS

Innovation:  One of the foundational acts of punk rock, shaping its simplicity and catchiness.

Influence:  They influenced a lot of punk bands, especially in the New York scene.

Impact:  A few charted albums, but nothing in the upper half.  No charted singles.

Intangibles:  They were also influential in terms of image, and critics loved them.

Issues:  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.

14. KATE BUSH

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

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

Impact:  She's much more commercially successful in her native United Kingdom, but even in the States, she had several charted albums and songs on the Mainstream Rock charts.

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

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

15. CARLY SIMON

Innovation:  Ehhhhh.....

Influence:  Influential to fellow singer/songwriters and to artists in the general adult contemporary arena.

Impact:  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.

Intangibles:  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.

Issues:  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.

16. DEVO

Innovation:  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.

Influence:  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.

Impact:  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.

Intangibles:  They're a highly respected band among musicians for their artistry, both visual and sonic.

Issues:  "Oh yeah, they had that one song, didn't they?  Did they do other stuff too?"--the general public  

17. THE MC5

Innovation:  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.

Influence:  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.

Impact:  One charted single, two charted albums, both of which were once on Rolling Stone's list of most important albums of all time.

Intangibles:  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.

Issues:  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."

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.  

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.

Musically Excellent Voices

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.

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.

This is a position I've held even before the documentary 20 Feet From Stardom 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.

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 American Idol 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.  

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.

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.

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.

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.

Pleasantly Disappointed: The 2022 Ballot

 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.

Anyway, some thoughts on this ballot:

Great minds think alike:

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.

There's deductive reasoning... there's deja vu.....

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.

"Nothing against the artists themselves..."

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.

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?

Culturally crossed

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.

Step forward, step back

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.  

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.

2022 Ballot Predictions

 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?

Predict:

Eminem:  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.  

Duran Duran: 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.

Rufus featuring Chaka Khan: 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.

Rage Against The Machine:  I see the Hall making efforts to clear the lane for their friend Tom Morello, to make sure he gets in.

Alanis Morissette:  With the 25th anniversary of Jagged Little Pill, 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?

Meat Loaf:   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.

Prefer:

Sheryl Crow:  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.

Jewel:  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?

"Weird Al" Yankovic:  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.

the Pointer Sisters:  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.  

the Spinners:  Not my favorite '70s soul group, but they are an awesome group that needs to get in.  So many great smooth, yet funky tunes.  

the Monkees:  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?

Protest:

Pat Benatar:  I'm sorry, how the hell did she miss last time she was nominated?

the Marvelettes:  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.

the Crystals:  Having just watched the documetnary 20 Feet From Stardom, 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.

Salt-N-Pepa:  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.

Chubby Checker:  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.

Diana Ross:  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.

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 repost of previous thoughts, though Carole King and Tina Turner are now off that list.  All that's left is to sit by and wait for the announcements.

Songs Of Proof: The Class Of 2021

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.

Clarence Avant:  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 The Black Godfather 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.

Foo Fighters:  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.

The Go-Go's:  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 Beauty And The Beat, 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.

Jay-Z:  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."

Carole King:  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.  

 

Kraftwerk:  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.

LL Cool J:  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."

Charley Patton:  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."

Billy Preston:  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.

Randy Rhoads:  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.

Todd Rundgren:  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.

Gil Scott-Heron:  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."

Tina Turner:  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.

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:

Clarence Avant: "Take Your Time (Do It Right)" by the S.O.S. Band
Foo Fighters: "Monkey Wrench"
the Go-Go's: "We Got The Beat"
Jay-Z: "Dirt Off Your Shoulder"
Carole King: "I Feel The Earth Move"
Kraftwerk: "Autobahn"
LL Cool J: "Mama Said Knock You Out"
Charley Patton: "High Water Everywhere"
Billy Preston: "Outa-Space"
Randy Rhoads: "Crazy Train" by Ozzy Osbourne
Todd Rundgren: "Bang The Drum All Day"
Gil Scott-Heron: "B-Movie"
Tina Turner: "Better Be Good To Me"