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"
