Songs Of Proof: The Class Of 1997

The Rock And Roll Hall Of Fame inducted ten entities in 1997, and among the Performer inductees, the clearest theme is that we're definitely tunneling headlong into the '70's.  Most of the Performers inducted hit their stride and found their greatest commercial success during the '70's, and though there have been a few superstars of that decade already inducted, we're firmly in territory where acts that debuted in the '70's are now eligible for induction.  Gauging from this class alone, it looks like the Hall isn't shying away from those years.  Of course, this is speaking strictly at the time. Ironic, because all of these inductees were eligible for a few years at least, too.  Also, for the first time in five years, we have two Early Influence inductees too, and very different ones at that.  Our Non-Performer selection is a bit more obscure, but that's why the selection is done by a subcommittee.  Another interesting bit of trivia, until the Paul Butterfield Blues Band was inducted in 2015, all acts that got inducted on their fourth nomination were from this class.  Some needed more, some needed fewer, but until 2015, if it was the fourth nomination, it was this class.  (And then a year after Butterfield and company, N.W.A. got in on their fourth nomination, as well.)  As for musical selections for these artists, I suppose it plays out a little bit like this:


The Bee Gees:  There's a great distance between what they're best known for, and how they started out.  Their brand of vocal pop is primarily what landed them in the Vocal Group Hall Of Fame in 2001, but they are of course best known for being the kings of disco.  Nine #1 hits, and all but one of them from their reign over the domain of the discotheque.  You couldn't really describe their contribution without choosing a song from that era.  And every once in awhile, I do go for the cliche.  Though I love "You Should Be Dancing" and "Tragedy," it's really "Stayin' Alive" that capitalizes their contributions.  So much so, that even though it was only #1 for four weeks, while "Night Fever" was #1 for eight weeks, "Stayin' Alive" is still credited as the trio's biggest hit of all, which is saying something, since most methodologies go by weeks at #1.  (Vocal Group Hall Of Fame Song Of Proof: "New York Mining Disaster 1941 (Have You Seen My Wife Mr. Jones)")

The Buffalo Springfield:  It's widely agreed that Percy Sledge is the least deserving inductee into the Hall ever.  But who is the second-least deserving?  For my money, it's this group right here.  This is a group that's really known more for the talent that was launched from this group, than for their music itself.  Maybe that's why they needed four nominations.  They did have a few hits and some classics, but like Percy Sledge, they're ultimately remember for one tremendous anthem of a song.  "For What It's Worth (Stop, Hey What's That Sound)" is a song that is identified with the '60's, but really stands the test of time, as it is sadly always applicable to some segment of some society, somewhere, sometime.

Crosby, Stills, And Nash:  To start things off, since it was the trio that was inducted, the song chosen had to be sans Neil Young.  Sorry Neil, but you already got your second induction with the Buffalo Springfield.  This is the second one for David Crosby, and the first, but not the last for Graham Nash.  It's also the second for Stephen Stills, which is interesting because he was also inducted in the aforementioned Buffalo Springfield, making him the first, and so far only, person to be inducted into the Rock And Roll Hall Of Fame twice in the same year.  Will it happen again?  No one knows, though it seems unlikely at this point.  Most of the viable candidates for multiple inductions have already been inducted once.  But because Neil wasn't included in this one, "Ohio" and "Woodstock" and the like are automatically disqualified.  Though, it is as a quartet that they were inducted into the Vocal Group Hall Of Fame.  Either way, the group is known for their lush harmonies and melodies to match.  So, it's a bit of a deviation that I use "Marrakesh Express" to represent them here.  I felt it was a decent choice, given that it's one of their more upbeat songs, to keep with the "rocking" idea.  Plus, while trying to pitch the radio program, that was the song that the station already had in its library, and it just stuck.  (Vocal Group Hall Of Fame Song Of Proof for Crosby, Stills, Nash, And Young: "Teach Your Children")

Mahalia Jackson:  The woman who claimed that rock and roll was stolen right out of the sanctified church.  While others were calling rock and roll "the devil's music," Jackson heard the influences of what she was doing in early rock and roll pioneers.  Her spiritual message and gospel styling was also loved much by the likes of Dr. Martin Luther King, Jr., no less.  Widely influential, a gospel legend, she is saluted with "Move On Up A Little Higher."

The Jackson Five:  First off, anyone who needs to have it explained why I chose their Vocal Group Hall Of Fame Song Of Proof needs to be smacked with a mackerel.  This group was the fresh blood that Motown needed to continue to remain competitive in an industry that thrived on youth culture.  And lead singer Michael was certainly a youngster!  With four consecutive #1 hits out of the gate, it's hard to go wrong with much of anything they put out.  Everyone's pretty hip to "ABC" or maybe "I Want You Back," but it's actually their third #1, "The Love You Save," that I especially love to jam to and have selected to represent them in this project.  (Vocal Group Hall Of Fame Song Of Proof: "I'll Be There")

Joni Mitchell:  Not the first Canadian inductee, but a very well-loved one, even if she only got famous after moving to Detroit.  A woman of incredible conscience, surpassed only by her artistry.  She delivered many messages, and ran the gamut in doing so.  She raised the profile of women in music as well as multiple causes.  Among them was environmentalism, and despite the clowning around with the low voice at the end of "Big Yellow Taxi," it speaks well to her message about loving and respecting nature.  It stands in for her here.

Bill Monroe:  The Rock And Roll Hall Of Fame is sometimes critiqued for not honoring the country side of things enough.  However, they did remember to induct the Father of Bluegrass.  Modest about his accomplishments, Monroe had a lot of influence upon rock and roll as well, notably the musicians known for their affiliation with Sun Records.  His Blue Grass Boys should probably be included at some point.  Meanwhile, the most famous contribution of his to rock and roll is probably his original version of "Blue Moon Of Kentucky" which Elvis Presley later covered.  It's a fantastic song, and it serves as his homage.

Syd Nathan:  As with a lot of Non-Performer inductees who aren't songwriters or producers, Syd Nathan's name is a little bit on the obscure side.  He founded King Records, and had several labels in that family.  His empire was a harbor for R&B artists.  His biggest diamond was none other than James Brown, who made King his home during the '60's.  The biggest years of Brown's career, James himself credited Syd Nathan for his success.  So, it seems fitting to use a classic James Brown record from the '60's to honor this man, and with that, let's spin "Papa's Got A Brand New Bag."

Parliament/Funkadelic:  Since they were essentially the same group that hopped between labels, it never occurred to me to try and choose a song to stand for that sentiment.  If I had, I definitely would have gone with "One Nation Under A Groove."  As it is, I simply went with "Flashlight" because it's a fantastic jam with a great feel and really sums up the kind of funk they were laying down.  Great effects, simplistic and fun all around.

The (Young) Rascals:  I'll level with you on two things here.  I never include the "Young" part when I discuss them.  They're just the Rascals to me.  Secondly, I've never considered them "blue-eyed soul."  The term "blue-eyed soul" generally means people thought they were Black upon first listen.  Maybe the fact that they called themselves the Young Rascals at first tipped their hand, but I never imagined an R&B singer belting out "It's A Beautiful Morning."  The only group in my experience that that applies to is the Soul Survivors, with their big hit, "Expressway To Your Heart."  The lead singer sounds like Dave Prater of Sam And Dave.  Getting back to the Rascals, though... to me, they were always just plain old rock and roll.  Whether it was their cover of "Good Lovin'," or "People Got To Be Free," or "I've Been Lonely Too Long," the Rascals were just great rock and roll.  So glad that they got inducted.  Since this is a group I really like, I went a bit more obscure for the song to salute them.  One of their lesser known Top 40 hits is "Carry Me Back," which has a really fun sound that's hard to describe.  It has a little bit of gospel influence, some country, and some old-tyme saloon-type honky-tonk, plus a great horn line as well.  Really great to listen to. (Vocal Group Hall Of Fame Song Of Proof: "A Girl Like You")

Ten up, ten down, the Class Of 1997 is complete.  What are your thoughts?  What songs would you have chosen?  The Comments section is always open.  And to recap this class:

the Bee Gees: "Stayin' Alive"
the Buffalo Springfield: "For What It's Worth (Stop, Hey What's That Sound)"
Crosby, Stills, And Nash: "Marrakesh Express"
Mahalia Jackson: "Move On Up A Little Higher"
the Jackson Five: "The Love You Save"
Joni Mitchell: "Big Yellow Taxi"
Bill Monroe: "Blue Moon Of Kentucky"
Syd Nathan: "Papa's Got A Brand New Bag" by James Brown
Parliament/Funkadelic: "Flashlight"
the (Young) Rascals: "Carry Me Back"

Songs Of Proof: The Class Of 1996

We've made it to the year 1996 now.  The eleventh year of inductions, and we slowly start to see a shift away from the mainstream, away from the singles.  This year we have our very first inductee that never had a charted single in the U.S.  (Muddy Waters never charted on the Pop charts, but he did have several on the R&B charts.)  We have a man whose most celebrated music is also his most noncommercial.  The psychedelic counterculture as well its prog child find induction, as well as a man who intentionally broke away from the mainstream scene, and even a man who was once questioned by the House Unamerican Activities committee for being subversive.  In fact, the most mainstream of the inductees this year are probably the three R&B inductees, and one of them died in prison!  "Normal" is not a word one would use to describe rock and roll as a rule, but this class really is not normal for the abnormal.  But it's still a solid class, and they all have a song to pay tribute to their accomplishments.


David Bowie:  Hardcore David Bowie fans are going to be absolutely piiiiiiiiiiiiisssssssssssssssssssssssssssssssssssssssssed to find out that I've selected "Modern Love" to kick off this class's celebration.  That which is arguably the most conventional song of his to pay tribute to Ziggy Stardust?  What is arguably the most commercial song of all of his to salute the Thin White Duke?  Surely, the man jests.  Well, the man is serious, and don't call him "Shirley."  As I said in my initial post about this whole project, sometimes I just picked a song because it's my favorite one by the artist, and such is the case here.  As you will later see as well, I tend to prefer a lot of songs by second, third, and later generations of rockers that stylistically imitate or pay tribute to the great rock and roll of the early years.  That can certainly be said about "Modern Love" here, and I make absolutely no apologies.  Besides which, the story goes that the whole album from which this song comes was intentionally made to be as commercial as possible, for Bowie was using its pop appeal to give a big middle finger to his previous record label who wanted more hits from him, rather than experimental stuff.  So this song still represents a little bit of David Bowie's rebellious fire.

Tom Donahue:  Tom Donahue has a lot to do with why the majority of radio stations today are on the FM dial instead of the AM.  And you might think that's grounds enough to use "FM (No Static At All)" by Steely Dan, but I did not do that.  Besides which, the engineering aspects of it really had little to do with it for Donahue.  His decision to go to FM had everything to do with blazing new trails and doing what he wanted to do when he darn well felt like it.  Pioneering freeform radio during the late '60's and into the '70's until his death, his new take on musical exhibition provided a home for more experimental music.  Entire album sides (and albums) could be played in one sitting.  Songs with long musical bridges were welcome.  And it could even be argued that without Tom Donahue, the proliferation of prog-rock might have been severely stunted, as it would have been left without a free-for-the-consumer medium to emanate from, reach out, and influence.  Without Donahue, we might not know who Neil Peart is!  Additionally, live stuff, bootlegs, controversial records, all welcome to a degree, and pop songs were probably included just because they're fun sometimes, but not because of set playlists.  It would be because the deejays liked playing them.  To salute this man in this set is really left up to the compiler of the playlist.  When I first had the idea of a radio program, I was considering the full-length play of "Light My Fire" or the entirety of "American Pie," or something in that vein.  But ultimately, it's whatever you like.  You want to play the entire suite of "In The Court Of The Crimson King"?  Go for it!  Want to play an entire side of Hotel California?  Cool.  Want to play "Little Boxes" by the Womenfolk, the shortest song to ever chart on the Hot 100 to rebel against the rebellion?  Genius!  Myself, I chose to go with a single song, but it is a song with a long musical bridge that at one point is so frenetic, it's like the song almost completely runs away from the band.  It clocks in at just under eight minutes in its entirety, is from a live album, and is a song that I fell in love with the first time I heard it.  Just a different kind of thing, which is right in line with how Donahue would have it.  From their Live At The Fillmore West album, Hot Tuna does the honors of honoring Tom with "Keep Your Lamps Trimmed And Burning."

Jefferson Airplane:  If you're going to talk about psychedelic rock that wasn't quite so bluesy and acidic, at least not to the degree that the Jimi Hendrix Experience was, then this is a group that is going to mentioned pretty early in the conversation.  There's also a bit of a question regarding whether or not this induction also included the Jefferson Starship and the Starship eras.  It's certainly an interesting thought.  Only the original members of the Airplane are inducted, but then again, the core of the other two eras were members from Airplane as well.  On the other hand, the inducted entity was pretty short-lived with a limited catalog.  This is all part of the fun stuff with the Hall's lack of transparency.  I personally feel that only the Airplane part is inducted, as evidenced by the corporate induction of Parliament/Funkadelic the next year, as well as the joint induction of Small Faces/Faces in 2012.  So the question is, is there any hope for Jefferson Starship or Starship?  I personally would be fine with inducting Grace Slick three times to recognize all three eras.  I doubt it will happen though.  In any event, the choice for Jefferson Airplane is "Somebody To Love," which may be their least controversial record, but is one that musically speaking really gives an otherwise firm handle on what this group brought to the evolution and perpetuation of rock and roll music. Some would prefer "White Rabbit," and that would do just fine too, but I went with "Somebody To Love" as psychedelia is as much, if not more, tied to the idea of needing and spreading love as it is to the pastime of tripping balls.

Little Willie John:  Inductions like this one actually kind of make me glad that the Rock And Roll Hall Of Fame is not that big on transparency, and that the proceedings are kept mostly away from John Q. Public.  This is a man whose contribution is immense, but would not be able to get inducted in today's Rock Hall atmosphere.  Just couldn't happen.  When giants like James Brown and Stevie Wonder herald you as a major influence, then someone should perk up and take notice of your work.  Among the tragedies of his life, which included dying behind bars, is that his big hit "Fever" is now more tied to jazz chanteuse Peggy Lee than to him.  His original, though, is a fantastic piece of R&B, and stands in for him here, to give proper credit to his legacy.

Gladys Knight And The Pips:  They were a powerhouse act of Motown, who didn't have a #1 hit until after they left the Motown family.  Nevertheless, they are more remembered as a Motown act.  An outfit that paid their dues for years, the smooth voice of Gladys Knight enthralled listeners, and the Pips are considered a gold standard for great vocal work and superb work in backing up the lead.  I sometimes wonder if they would have even been considered though, if they had never been on Motown.  My choice to use their version of "I Heard It Through The Grapevine" speaks to that question, but either way, they're a deserving act who had to be nominated several times before they got their due.  But at least they made it in.  (Vocal Group Hall Of Fame Song Of Proof: "You're The Best Thing That Ever Happened To Me")

Pink Floyd:  The first prog-rock band to be inducted, and for fourteen years, the only one.  One of the few prog bands I like, as well.  Though some of their songs lose my interest, overall, I find them neither boring nor annoying.  Amazing stuff, it's no wonder they were inducted pretty quickly.  My introduction to them was in the late '80's, when the demand for the destruction of the Berlin Wall, and its eventual demolition, were laid to the soundtrack of "Another Brick In The Wall," and really the whole album of The Wall.  However, their epic achievement which speaks to the band's longevity, is the nearly fifteen-year run of Dark Side Of The Moon on Billboard's Top 200 albums chart.  And the best-known song from that album, "Money," is used to represent Pink Floyd here.

Pete Seeger:  The most glaring case of Front Man Fever in the Early Influence category, in my opinion.  It's a bit of a paradox though.  Pete Seeger's solo career was significant in terms of its influence, but it really doesn't much qualify as "early."  His work as the leader of the Weavers led the whole group to be investigated, and as a group, they gave us some well-known versions of standards, and are really a pinnacle of folk music in their own right.  Yet, they weren't nearly as influential as Seeger solo.  It is a fond hope of mine that the Weavers will be inducted as an Early Influence outfit someday as well.  Meanwhile, the search for an appropriate song for Seeger as a soloist led me a little bit away from the "early" part, and I first selected his version of "Putting On The Style," which has a very pre-rock feel to it, and gives a good sense of what subsequent folk singers and folk-rockers learned from him.  However, after further research and learning of his work even before the Weavers, I have changed his Song Of Proof to "Talking Atom (Old Man Atom)".  (Vocal Group Hall Of Fame Song Of Proof for the Weavers: "Goodnight Irene")

The Shirelles:  The Shirelles are a group that I include among those "amazingly good calls" by the Hall.  This girl group was not associated with Motown, Stax/Volt, Chess, or Atlantic, and yet they still got inducted.  One of my favorite girl groups of all time, their amazing catalog gave us so many euphoric, euphonious melodies.  Rather than going with the more obvious choices, I originally wanted to use "Boys" for its great rhythm.  However, I discovered that it was not a hit at all, primarily because it was a B-Side.  It's one of their most remembered songs, possibly because the Beatles covered it, but never a hit on any singles chart.  And even though it'd probably be justifiable to use that one for the Shirelles, they had way too many crossover successes to not use one of those.  And when I heard how well "Boys" and the next inductee's song sounded when played back to back, I made sure to use a song with a similar beat to replicate the experience as best as I could.  For that, we turn to their take on the standard "Everybody Loves A Lover," which made the Top Twenty, but has been forgotten over time.  It's still a great song though.  (Vocal Group Hall Of Fame Song Of Proof: "Soldier Boy")

The Velvet Underground:  They never had a hit single in the U.S. (though they did have one or two in Europe), and yet they were insanely influential.  It's been said that everyone who bought their first album when it was first released, went on to form a band.  A bit of hyperbole, but it gives you a real sense of how influential Andy Warhol's house band was.  I'm so proud of my selection of "Rock And Roll" as their Song Of Proof for so many reasons, that I don't care how badly you may disparage it in the Comments below, for not choosing a song more typical of their overall style.  It's a song about rock and roll itself, so the reflexive angle is a good thing to have once in awhile.  As I said above, if you listen to the Shirelles' "Boys" (or "Everybody Loves A Lover") back-to-back with the Velvet Underground's "Rock And Roll," you get a real feeling for the ubiquitous rhythmic structure that is supposed to define rock and roll from a musicological perspective.  Additionally, as I mentioned, this whole project (except for the most recent years) has been burned onto CD-R's that I still pull out and listen to occasionally.  The Classes of 1995 and 1996 together fit on a single disc, and "Rock And Roll" is for some reason I can't completely pinpoint, just the perfect song to have as the closing track of the entire CD.  It just feels natural, organic even, to end with that song.  It's just so good that way.  Lastly, as a member of a wider hobbyist community, this is a song that I feel speaks to all of us and our collective elan regarding the Rock And Roll Hall Of Fame, and rock and roll music itself.  In a very real way, whether it's just figurative or perhaps literal, we can all say that our lives have been saved by rock and roll.  So despite all the computations, you know you should just get up and dance to the rock and roll station that will play this song, because baby, it is alright (It is alright!).

And as I said, that song closes out the CD it's on, and that must mean it closes out the look at the Class Of 1996.  It's a class marked by decided shifting, and yet it all fits.  What songs would you have chosen?  I'm especially curious to hear what you would all choose for Tom Donahue, since it's entirely about what you want there.  Discuss it in the Comments below.  Recapping:

David Bowie: "Modern Love"
Tom Donahue: "Keep Your Lamps Trimmed And Burning" by Hot Tuna
Jefferson Airplane: "Somebody To Love"
Little Willie John: "Fever"
Gladys Knight And The Pips: "I Heard It Through The Grapevine"
Pink Floyd: "Money"
Pete Seeger: "Talking Atom (Old Man Atom)"
the Shirelles: "Everybody Loves A Lover"
the Velvet Underground: "Rock And Roll"

Songs Of Proof: The Class Of 1995

It's the tenth induction for the Rock And Roll Hall Of Fame.  It's a major milestone, and not to be taken lightly.  The Vocal Group Hall Of Fame had ten inductions, but folded after that, despite having a prospective ballot for its eleventh class.  Of course, that hasn't happened yet.  The Vocal Group Hall Of Fame starts up in 1998, and we're in 1995, where some of the big names of classic rock are getting inducted.  There are artists who have only a few hit singles, but are long-loved for their albums.  We have a couple strong artists in the R&B slots, but the numbers aren't what they once were.  Still, plenty of good stuff to go around, but it's a relatively small class, though by today's standards, it's supersized.  Let's look at some of these no-brainers who are receiving their just due.

Paul Ackerman:  And we begin with what is probably the most tenuous of all the Non-Performer inductees.  Paul Ackerman was the music editor of Billboard magazine during the advent, the arrival, and the early domination of rock and roll music.  But surely that doesn't make him worthy, does it?  After all, the magazine just charted the trends and fads, the flows and ebbs of popularity, and just reported the facts.  Well, consider the fact that Record World magazine, another charting methodology, is now defunct, and though Cashbox is still around, it's nowhere near the titan of the industry that Billboard is.  Why is that?  Because Ackerman didn't shy away from rock and roll's popularity.  He was arguably the first journalist to take it seriously as an art form, and willingly editorialized about it in the magazine he served.  Additionally, he streamlined the chart methodologies until he eventually brought us a single pop chart.  There used to be a chart for airplay ("Jockeys chart"), for sales ("Best Sellers"), and public exhibition ("Juke Box").  Ackerman introduced those charts, as well as retired them, first bringing us a "Top 100" chart, and then eventually bringing us the "Hot 100," which is still the brass ring to this day in terms of singles' charts.  And except for briefly discontinuing the R&B charts in the early-to-mid '60's, Billboard has been the sterling example because of Ackerman.  There were two possible songs to use for Ackerman.  Tommy Edwards' "It's All In The Game" was the first #1 song when the "Hot 100" became the sole pop singles' chart.  But the one I actually used was the first #1 hit when the Hot 100 debuted, and it also topped the Best Sellers chart, which lasted for about two more months before being the last fragmented chart to be retired.  I salute Paul Ackerman with "Poor Little Fool" by Ricky Nelson.

The Allman Brothers Band:  If classic rock stations were the authors of the history books, this group would be remembered as a progenitor of Southern rock.  And the fact that I'm using "Ramblin Man" to pay homage to them probably only serves to deepen that myth, but it's important to note that this band was a lot more versatile than that.  They have roots in the blues as well, with such classics as "Whipping Post."  Whether they were making the guitars sing with tracks like "Jessica," or laying it down real, the Allman Brothers Band is a band that is a lot more than the radio remembers them for.

Al Green:  When we talk about '70's singer/songwriters, we're usually talking about subdued, folksy, and well...White solo guitarists whose music is right at home with the coffeehouse atmosphere.  R&B singer/songwriters, like Al Green, we often forget to include in the conversation.  He did do a few covers, but then again, so did James Taylor.  But more than that, his amazingly calm brand of soul and his distinctive voice produced some of the most amazing soul ever, let alone that decade.  In the wake of the failed radio programming project, I'm still using "Let's Stay Together," but he has a tremendous catalog that includes such greats as "Take Me To The River," "Tired Of Being Alone," and "I Tried To Tell Myself."

Janis Joplin:  I'm just going to say it: I really do not like Janis Joplin's music.  In the movie Across The Universe, which was basically a movie paying tribute to the Beatles, the character Sadie is supposed to symbolize Janis Joplin.  The Sadie character, however, is a middle-aged woman.  I'd say there's a reason for that: despite dying at the age of 27, Joplin's voice sounded like that of a 40-something year old waitress who damaged her larynx with booze and cigarettes.  In reality, those were just the tip of the iceberg, but I've always thought she sounded like a hag trying to catch her big break late in life.  But history has spoken, and ol' Pearl is a widely revered and influential female figure in music, and she absolutely deserved her induction.  I'm using "Me And Bobby McGee" for her, and silently hoping that she won't be the first female Clyde McPhatter club member, since Big Brother And The Holding Company have been considered (though not nominated) before.  My apologies to those of you who love Ms. Joplin's work.  Can't like 'em all.

Led Zeppelin:  Let's just address the elephant in the room first: I refused to use "Stairway To Heaven" for Led Zeppelin.  This was for three reasons: one, they had enough charted hits that I felt I should use one of those; two, it's such a different song from the majority of their catalog, which largely has some intangible, but palpable quality to it that identifies the band; three, I've always felt the song really doesn't live up to the hype all that much.  It just rates a meh with me.  Getting to the band as whole, though, if the Beatles changed our perceptions and definitions of rock and roll, Led Zeppelin is the band that made sure those changes were permanent.  A song like "Rock And Roll" paid tribute to the great music of yore, but was its own creature in a different tradition.  My appreciation of this band continues to dwindle with the local classic rock station overdoing the airplay, and always referring to playing a song of theirs as "Swinging the Hammer Of The Gods!"  I still enjoy "The Immigrant Song" enough to gladly use it in this set, though.  And really, this is one of those bands that it is very difficult to overstate their importance.  

Martha And The Vandellas:  This isn't just my favorite group from this induction class, this is my favorite act from the entire Motown family.  In fact, it kind of pisses me off that they were one of the very few powerhouse acts from Motown's golden era that never had a #1 hit on the pop charts.  They were just so absolutely amazing.  Despite using the same musicians as the rest of the powerhouse acts, they did not sound like any other Motown act.  It was much more driving, forceful, and gritty.  Their music didn't sound like it was produced by Phil Spector, but there was a power behind their songs that could almost be called a kind of "wall of sound."  It's my suspicion that much like Darlene Love, the soulful voice of Martha Reeves was just so powerful, even when singing torch songs like "Love (Makes Me Do Foolish Things)" that the band behind them needed to step it up to support a sound that big.  You can hear it on classics like "Nowhere To Run," "Heat Wave," and "Dancing In The Street," the last of which is the song used to represent them in this project (Vocal Group Hall Of Fame Song Of Proof: "Quicksand").

The Orioles:  The role of vocal groups in rock and roll is being significantly downplayed by revisionists, so much that if they hadn't been inducted yet, then they would have no chance anymore.  But when a group is bandied about as being the first vocal R&B group, that is serious.  Emerging from the tradition and trend of jive music, which the Ink Spots and the Five Red Caps were well-known for, the Orioles brought a new emotionalism to their music and paved the way for the myriad of R&B acts that followed and helped force the acceptance of Black music by the White pop markets.  They have been widely covered, their influence is tremendous, and it's with great honor that I use their debut single, "It's Too Soon To Know" to honor them (Vocal Group Hall Of Fame Song Of Proof: "Crying In The Chapel").

Neil Young:  In keeping with the original aim of this project, I started and stuck with "Heart Of Gold" for Neil Young.  It doesn't really speak overall to his general style, but then again, that's a pretty hard thing to nail down with Neil. Some of his songs are like that, and then again, some of his songs  are much different, more like "Rockin' In The Free World."  And some are different from that.  He's a versatile artist with multiple efforts.  His band, Crazy Horse, is also on that list of artists that have been considered, though never nominated.  So even though he may have a "Heart Of Gold," the rest of his musical body is vast and diverse.

Frank Zappa:  The more I learn about Frank Zappa, the more I admire and respect the man.  He embraced music and artistic expression in almost everything, whether he was composing his own classical-style arrangements or playing a bicycle on national television.  He was socially conscious, testifying before Congress against censorship, and he helped register people to vote at his concerts.  But despite having bizarre album titles, like "Hot Rats" and "Freak Out!", he was very conservative in his personal lifestyle, refusing to do drugs, and even firing Dr. John from the Mothers Of Invention for using drugs.  I think that if I had tried to become a rock musician myself, I'd want to emulate the professionalism, work ethic, and musical and artistic appreciation of Frank Zappa.  Given my conservative, rural background, it probably wouldn't have worked out like that, but I'd like to think I'd at least try.  And that's not even considering that my music would probably not be reminiscent of Zappa's in the least.  I probably wouldn't call him a musical influence, just a professional one.  That said, I like his music, at least what I know.  "Valley Girl" and "Trouble Every Day" are just two amazing examples of the man's musical genius.  Notably satirical, he took the time to mock disco with a song about a guy who couldn't dance but tried his best to own the floor.  It stands in as the representation here; it's "Dancin' Fool."

And with that, we've reached our nine songs to complete this class.  Upset about the choices?  Let me know in the Comments below!  What songs would you have chosen?   Next will be the Class Of 1996.  Are there any songs you hope and pray I'm NOT using for the inductees in that class?  Weigh in!  Recapping:

Paul Ackerman: "Poor Little Fool" by Ricky Nelson

the Allman Brothers Band: "Ramblin Man"

Al Green: "Let's Stay Together"

Janis Joplin: "Me And Bobby McGee"

Led Zeppelin: "The Immigrant Song"

Martha And The Vandellas: "Dancing In The Street"

the Orioles: "It's Too Soon To Know"

Neil Young: "Heart Of Gold"

Frank Zappa: "Dancin' Fool" 

Songs Of Proof: The Class Of 1994

For the Rock And Roll Hall Of Fame, the Class Of 1994 marks something of a turning point.  From this point on, the common connotations of rock and roll would slowly and surely begin to dominate the conversation.  In recent years, the Hall has come under scrutiny for being dominated by White males, and this is the class that marked the beginning of that era.  The Class Of 1988 had more White acts inducted than Black (5-4), but thanks to the number of past members of the Drifters who were inducted, the number of people inducted that year was a twelve-twelve split.  1993 probably started hinting at how the trend would start skewing (6-5 in favor of white entities inducted, so still quite close), but this is the first year that the White conceptions surrounding rock and roll would dominate the conversation.  Only two Black inductees, to eight White entities, three of which are bands.  Though 1998 would be a close call, it wouldn't be until 2000 when there would be another equal split of Black to White inductees.  2005 would be the last time that there were more Black acts inducted in the Performer category, though the number of members would make the number of people equal, until you include the two inductees outside of the Performer category, which tips both statistics toward the White side again.  Of course, this being the first year that it becomes actually noticeable, not many actually notice it, and much like the other classes before it, the acts inducted are a pretty difficult bunch to argue against.

From the point of view of this project, this is also a class of firsts.  This is the first class where there are no acts who would later be inducted into the Vocal Group Hall Of Fame.  Two of the three bands inducted this particular year would also have made great additions to that establishment, and the third might have been feasible as well, but no one who actually was.  This is also the first time that all of the Songs Of Proof are by the actual inductees themselves.  Even the Non-Performer.  This is something that only happens a handful of times, but it's fun when it does.  And just what are those songs used?


The Animals:  When you're lumped into the same category as the Beatles, the Rolling Stones, and the Who, it's easy to be overlooked.  Additionally, not a group I personally care for a whole lot, or at least not their biggest hit.  In addition to having been overdone on Oldies radio, "House Of The Rising Sun" is hard to understand when Eric Burdon sings it.  However, the bluesy, almost swampy sound of the Animals that comes from the unmistakable lead guitar hearkens back to the Mississippi Delta where the blues can be said to originate.  Additionally, they managed to unintentionally resonate with the counterculture movement with songs like "We Gotta Get Out Of This Place,"as well as rather intentionally with songs like "Monterey," "San Francisco Nights," "Sky Pilot," and the song that I've chosen to represent them on this set, which is both dripping with that bluesy guitar as well as an anthem of individualism whose title Bon Jovi would later co-opt for their own, different composition, "It's My Life."

The Band:  The song I've chosen to represent them is "Up On Cripple Creek," which was a big enough hit to make it an easy sell for the radio program I originally envisioned this project becoming, and is a wonderful example of what is sometimes called "roots" music.  It's a style that they would infuse into many of their songs.  This is an act that will be called upon again to provide a song to honor another inductee, off in the distant future.  In the meanwhile, I just want to say of the three bands inducted this year, this is the one that it's the biggest shame they weren't inducted into the Vocal Group Hall Of Fame.  For a group whose name comes from the fact that they were originally just hired hands to play behind Bob Dylan, their musicianship and chemistry transcends their workaday nomenclature, and is most wonderfully pronounced in their ability to generate folksy, yet unmistakable harmonies in songs like the aforementioned choice, "The Weight" and "The Shape I'm In."  A bit off-topic, go to YouTube and look up the Animaniacs cartoon about Slappy Squirrel in Woodstock, in 1969.  Slappy and Skippy, via the show's writers and voice actors, adapt the classic Abbott And Costello routine, "Who's On First," using the Who and this band, the Band.

Willie Dixon:  What I'm going to say right now is going to prove unpopular: this induction is one of the biggest blunders by the Rock And Roll Hall Of Fame, in my opinion.  Put away your torches and pitchforks though, because I fully believe that Willie Dixon was worthy of induction into the Rock And Roll Hall Of Fame.  But NOT as an Early Influence.  The man produced and wrote so many amazing blues records... but he seemingly recorded so comparatively few!  Or if he recorded them all, those recordings have not been preserved.  The Early Influence category is for those who as recording artists helped shape the sounds that would eventually evolve into what we now know as rock and roll.  Willie Dixon definitely helped shape the sounds, but not so much in front of the microphone as behind the scenes.  How many songs credited to Willie Dixon as the performing artist can you name off the top of your head?  Myself, I can only think of four, and one of those was turned into an even bigger classic by Howlin' Wolf.  Box sets and compilations on Willie Dixon almost all have more songs recorded by other artists than by the man himself.  So why was he inducted as an Early Influence instead of as a Non-Performer?!  I feel the same way about Willie Dixon as many others feel about Laura Nyro: should have been inducted as a Non-Performer.  But since he was inducted as an Early Influence, we're honoring him with his recording "29 Ways."

Duane Eddy:  When the discussion turns to Duane Eddy, I have to smile.  So many want their favorite arena rock bands inducted, and part of the reason they do is because of the solos where the guitar is being played such that it is sometimes described as "singing."  And yet, when it comes to Duane Eddy, he's not regarded as being all that worthy.  Is it because he was big in the '50's, and not the '70's when these people were growing up?  Whatever it was, it's laughable.  Duane Eddy is arguably the first rock and roll guitarist to play it in such a way that it could be described as "singing."  Pre-rock guitarists had been doing it before Eddy, but as a device of rock and roll, he was one of the first biggies.  With songs like "Forty Miles Of Bad Road," his instrumental version of the movie theme "Because They're Young," and "Rebel-'Rouser," which I've chosen to use in this project, Duane Eddy's indelible  mark was more than just being twangy, though there's that too.

The Grateful Dead:  The last band inducted for this class, and one of the most famous inductions for its mini-controversies.  After the insistence that every past and then-present member of the group be inducted, which was done for them (including the first White, female Performer inductee in Donna Godchaux), the induction was still mired by Jerry Garcia's refusal to attend.  Just no pleasing some people.  They would have made fine inductees into the Vocal Group Hall Of Fame, too, but of course that never happened.  As a band that is legendary for their tireless touring, their legion of Deadheads that followed them on tour, and as an act that had more live albums than studio, it seems best-fitting to represent them with a song about being on the road, at least in part.  So, as cliche as it may be considered, "Truckin'" is the optimal song to use here.

Elton John:  And now to combat the all the guitar in the room, we have one of the biggest pianists in rock and roll.  Of course, a lot of songs of his included great guitar lines, but the ivories are his second home and his first true love (not mocking his marriage, just that that relationship hasn't lasted as long as the one with the piano).  The choice for "Crocodile Rock" to represent Elton John here is rooted primarily in the original radio program idea, but it's his first #1 hit, has a great keys line, as well as a catchy bass line and lyrics that hail the great rock and roll of yore, and so is a great choice any way you choose to view it.

John Lennon:  He's often remembered more for his social conscience than his music, so I first wanted to use "Whatever Gets You Thru The Night" as a reminder that he created a lot of good rock and roll too.  But among his songs, the ones that are best remembered are those that have something to say about the world we live in.  But rather than default to "Imagine," which I suspect many of you would do, I chose to go for a song that is both a great rocker and includes his signature message about trying to love everyone.  A top ten hit to boot, John Lennon is honored with "Instant Karma (We All Shine On)."

Bob Marley:  Those who are upset at the inclusion of R&B and soul into the Rock And Roll Hall Of Fame must have just about flipped their wigs when Bob Marley was enshrined in 1994.  Reggae?  In the Rock And Roll Hall Of Fame?  As Jimmy Cliff said years later at his own induction though, reggae music is steeped very solidly in rock and roll, in the traditions of New Orleans artists, and includes the influences of musicians like Jimi Hendrix, as well as other indigenous influences.  Bob Marley himself chose to drive the point home with the song that decades after his death, I would use to honor him in a homemade CD set.  Not sure he'd be proud of that so much, but "Roots, Rock, Reggae" is mandatory listening for those who want to talk about the history of rock and roll music.  And hopefully the Wailers will be inducted one day, too.

Johnny Otis:  Few wore as many hats in rock and roll as Johnny Otis did.  You name something that they induct someone for in the Rock And Roll Hall Of Fame, and Johnny Otis did it, except for innovating instrument design and founding a magazine.  He also could have been inducted as a Sideman, and as a bandleader, there's argument for him as either a Performer or Early Influence.  The son of Greek immigrants, he latched onto and helped shape American culture before, at the dawn of, and throughout the progression and domination of rock and roll music.  He's had a hand in a lot of the R&B that kids danced to, even if the only dance they could do was the hand jive.  So, let's salute the man with his big crossover hit, "Willie And The Hand Jive."

Rod Stewart:  A double-inductee who could have attended both of his inductions, but attended neither, and yet was on-hand to induct Percy Sledge, of all inductees.  That's Rod all over: wild and unpredictable as his hair.  What makes Rod's induction as a solo artist a curiosity, though, is that he was barely eligible at the time, and as a Performer, is generally regarded more worthy for his work with the Jeff Beck Group, or Faces.  His solo efforts are often described as the less worthy efforts, and "Do Ya Think I'm Sexy?" is something of a punchline in the rockist circles.  For myself, "Maggie Mae" is a boring and unnecessarily long song, with "Mine For Me" being derivative.  I prefer his '80's stuff myself, and his solo career is pretty well linked to synthesizers while still having a catchy melody and good beats.  And though it might be slightly cheesy, it is "Young Turks" that is being used in this particular playlist for his solo career.

And those ten entries round out the Class Of 1994.  Arguably four decades of rock and roll solidly represented with acts whose first records came out in 1968 or earlier.  Like the choices?  Would you change any of the selections?  If so, which ones?  Post your own thoughts in the Comments below.  Recapping:

the Animals: "It's My Life"
the Band: "Up On Cripple Creek"
Willie Dixon: "29 Ways"
Duane Eddy: "Rebel-'Rouser"
the Grateful Dead: "Truckin'"
Elton John: "Crocodile Rock"
John Lennon: "Instant Karma (We All Shine On)"
Bob Marley: "Roots, Rock, Reggae"
Johnny Otis: "Willie And The Hand Jive"
Rod Stewart: "Young Turks"

Songs Of Proof: The Class Of 1993

1993 is the year that the Rock And Roll Hall of Fame inducted its eighth class.  That might not seem like it's of any consequence; however, for a long time, the Hall had a mythology of the "automatic eight," meaning that once an inductee has been nominated seven times, they automatically go in after their eighth.  The theory is that this was never a formal thing... until Solomon Burke needed ten to get in, where it was decided that eight was automatic after that.  The theory was fully disproved though after Chic failed to get in on their eighth nomination, and their ninth, and their tenth, and their eleventh, when they just decided to induct Nile Rodgers.  It matters because this year we have our first eight-time nominee finally being inducted.  This is also the year that we get our second Clyde McPhatter Club member, who would eventually be inducted a third time.  Arguably the biggest name in Non-Performers is inducted this year, as well as an interracial funk act.  This is a pretty diverse class, and they are saluted with the following, and hopefully fitting songs:


Ruth Brown:  We start off with an inductee who could have been inducted as a Performer or as an Early Influence.  As a singer, she goes back to 1949, and throughout the '50's, she was known as "Miss Rhythm."  Since she was inducted in the Performer category, I chose a song from the late '50's with a great bouncing feel to it.  It's a song that was written by Bobby Darin, and is a great testament to how you could rock and roll and still be a responsible person at the same time.  "This Little Girl's Gone Rockin'" is a fantastic number to represent this leading lady.

Dick Clark:  A professional hero of mine, a man who was always the epitome of class, even when hosting a show about bloopers and practical jokes.  There's a terrific story for the song I first used, but later switched out.  In addition to "American Bandstand" and "Where The Action Is," Dick Clark promoted rock and roll with his Caravan Of Stars tours.  One year, that tour included Paul And Paula, who had a huge smash with "Hey Paula."  However, the singers, whose real names were Ray and Jill, absolutely loathed each other.  They could not stand being around each other, and in the middle of the tour they were on, Ray up and quit and went home.  The consummate professional who knew the show must go on, Dick stepped up to the mic and sang the duet with Jill for the duration of the tour.  So, I was using "Hey Paula" to salute his professionalism.  The problem is, I hate that song.  Like, REALLY hate that song.  And besides which, the Caravan Of Stars tours, his New Year's Eve specials, and much of everything that came his way was built upon the amazing job he did as the host of "American Bandstand," and years later when he hosted the syndicated radio show, "Rock, Roll, And Remember," he frequently used his old TV theme coming out of the commercial break, at the start of a new segment.  He'll forever be identified by "Bandstand Boogie," which was performed by Les Elgart And His Orchestra, and I bring it back here to salute this gentleman.

Cream:  On the level, not an act I would have chosen.  Often regarded as but another stepping stone toward's Clapton's lustrous solo career.  Sure, they recorded much more than just the two songs; that said, the legacy is usually reduced to the two songs.  But after Hendrix, when it comes to psychedelic blues rock from the '60's, this is probably the act you think of most, which is not inconsequential.  And without turning it into a tribute to Hendrix, I chose "Sunshine Of Your Love" to represent this trio.

Creedence Clearwater Revival:  The great thing about CCR is that if you ask a hundred different people to name their three favorite songs from this band, you'll get a hundred different three-song combinations, and nobody will have anything bad to say about anyone else's choices.  Only once have I ever heard someone say they didn't like Creedence Clearwater Revival, and that was only because he was sick of hearing the same songs on the radio eight times a day, which is another issue entirely, really.  That's how universal their music is.  I once described their music as causing the well water that courses through my veins to reverberate.  Ceasing the poetic waxing, I'll just say that my favorite three are in no order "Wrote A Song For Everyone," "It Came Out Of The Sky," and the song I'm using here.  It's a song that technically is a Billboard hit... as a tagalong B-side, what with how Billboard changed their methodology in '69 and stopped letting popular B-sides chart independently for awhile.  How high it would have charted on its own is anyone's guess, except to say it would not have hit #1.  I once played this song on repeat at work to see how long it would be before anyone would notice.  It took twemty minutes before anyone noticed that we were listening to "Hey Tonight" on a continuous loop.

The Doors:  The Lizard King and company.  Though they are not my favorite group by any stretch, the only song of theirs I don't care for, that I can think of offhand, is "L.A. Woman," and that's just because I'm sick of hearing it.  A lot of really good songs, and while Morrison was no Walt Whitman, he certainly had the soul of a poet.  The song I chose has the added bonus of being overtly sexual, much like Jim Morrison, while also having some psychedelia to it, but was chosen mainly because the keyboard riff that opens the song and runs throughout it is based on the opening guitar riff from the Four Seasons' "C'mon Marianne."  Sometimes I'm just a little less than objective.  But "Touch Me" is still a solid choice to use.

Milt Gabler:  The lesser known of the Non-Performer inductees from this class, but no less deserving, Milt Gabler was a producer.  He was more than a producer though, also a songwriter and even record label executive.  He's the reason we know Billie Holiday's "Strange Fruit," and why Louis Jordan became such a humongous figure.  He produced a lot of Early Influence inductees at some point, including this year's inductee, Sister Rosetta Tharpe.  He wrote Brenda Lee's touching "I'm Sorry" and helped shape the sound of early rock and roll.  Fun point of trivia, he's an uncle to Billy Crystal.  But if you still don't get why this man was inducted into the Rock And Roll Hall Of Fame, I'll spell it out for you: "R-O-C-K" by Bill Haley And His Comets.

Etta James:  Though she's most famous for the ballad "At Last," that song alone simply could not have propelled her into the Hall.  Her legacy as an R&B singer goes way back to the raunchy "Roll With Me Henry" back at the dawn of rock and roll, and she released a lot of R&B records, both ballads and otherwise.  The song I chose is "Tell Mama," a song I fell in love with the first time I heard it on the syndicated "Super Gold" program back in the '90's.  It's still a great jam, and I highly urge you to listen to it, even if you know it forwards and backwards.  Listen to it again.  Do it now.  This blog will still be waiting for you when you get back from YouTube.

Frankie Lymon And The Teenagers:  This was the very first act that needed eight nominations to get inducted.  They were nominated every year until they finally broke through.  They were so much more than just the one hit.  Listen to some of the other songs they had success with.  They combated the notion of rock 'n' roll corrupting the youth with "I'm Not A Juvenile Delinquent," as well as gave us the rock and roll version of "'A' You're Adorable" with the incredibly catchy "The ABC's Of Love."  So, their legacy is so much more than "Why Do Fools Fall In Love;" however, that song in particular is one of the absolute pillars of '50's rock and roll, and so I relented and did in fact use the obvious choice.  (Vocal Group Hall Of Fame Song Of Proof: "Goody Goody")

Van Morrison:  The quirky inductee from this class.  It might be a stretch to call him an individualist, but he is certainly a singular figure that there is really none other like.  He just does what he does as he does it, and it covers a large area of the map.  From "Wild Night" to "Tupelo Honey," from "Brown Eyed Girl" to "Domino," from "Moondance" to "Jackie Wilson Said (I'm In Heaven When You Smile)," his style is completely unique, as further evidenced by my choice for Song Of Proof, which is none of the ones already mentioned.  A lesser known hit for the man, but very unique, much like him, the song is "Blue Money."

Sly And The Family Stone:  Pioneers of funk, and an interracial band to boot.  I think one of the things I like about this group so much is that with songs like "Dance To The Music" and "I Want To Take You Higher," they showed that funk music doesn't always have to be gritty, though it certainly can be.  It can also be bright and cheery.  Or socially conscious, or just plain expressive.  As a group that sort of embodied a "family of man" ethos, I felt it best fitting to honor them with "Family Affair," a song that as well as being a solid jam, also marked a turn of style for them, as they led on through the '70's.  (Vocal Group Hall Of Fame Song Of Proof: "Hot Fun In The Summertime")

Dinah Washington: Alphabetically, this class began with a Black woman singer who was active from the late '40's through the early '60's, and we end with another one here.  A beacon for femininity in her own right, she sadly met with a tragic end trying to maintain an industry-conforming image behind the scenes.  Still, the songs from this year's sole Early Influence inductee last on and shine forth.  A personal favorite of mine is "Joy Juice," which probably wouldn't go over so well in today's social and political climate.  A song of hers, however, that absolutely would, and the song I've chosen here, is "Baby, Get Lost," which speaks about a woman not letting a man run her life, realizing her own worth, and shows that even if what she wants is to be a domestic goddess, she'll do it on her own terms and not his.  Fantastic record that is sadly but beautifully still relevant today.


And with that, we have completed our profile look at the Class Of 1993.  I hope you've enjoyed reading it and have been given some food for thought.  If you have any thoughts that you'd care to share, including songs you'd use, the Comments section waits below.  Have fun, and to give you the recap:

Ruth Brown: "This Little Girl's Gone Rockin'"
Dick Clark: "Bandstand Boogie" by Les Elgart And His Orchestra
Cream: "Sunshine Of Your Love"
Creedence Clearwater Revival: "Hey Tonight"
The Doors: "Touch Me"
Milt Gabler: "R-O-C-K" by Bill Haley And His Comets
Etta James: "Tell Mama"
Frankie Lymon And The Teenagers: "Why Do Fools Fall In Love"
Van Morrison: "Blue Money"
Sly And The Family Stone: "Family Affair"
Dinah Washington: "Baby, Get Lost"

Songs Of Proof: The Class Of 1992

Continuing headlong in the project now, we come to the Class Of 1992.  It's a class with a dozen solid inductees, including some slightly less than obvious choices.  A couple big ones, and the second instance of inducting an artist in a different category after failing to get them inducted as a Performer.  Sadly, not the last time we would see it happen, but as often happens, there is something of an argument to be made for what they did.  Classic rock is represented, but in no way does it dominate the story here.  There's blues, country, acid, soul, and more.  With all that said, what songs would you choose to honor the inductees?

Bobby "Blue" Bland:  Bobby "Blue" Bland is one of those surprisingly good calls by the Rock And Roll Hall Of Fame.  A name that many probably wouldn't think of right away, which may have something to do with why it took so many nominations to get him in.  But despite being such a blues artist, beginning with his Beale Streeter days, he also cut a lot of great commercially friendly R&B.  He's in a league among some other great artists like Solomon Burke.  His is a catalog that people need to spend more time getting to know, myself included.  Meanwhile, some great songs like "Ain't Nothing You Can Do," and the song I chose for him, "Turn On Your Love Light," are fantastic introductions to his work.

Booker T. And The M.G.'s:  When the Future Rock Legends community started their "Revisited/Projected" project, they inducted this outfit in the Sideman category for their work as the house band for the Stax/Volt family.  That's a valid argument right there, but their catalog of their own material is pretty incredible too.  Their "In The Christmas Spirit" album is mandatory listening for me every December.  "Soul Limbo" is one of the most fantastically festive songs ever.  And of course, their signature song, which introduced them in their own right to the music listening public, and really helped shape a lot of their songs to come afterwards, "Green Onions," is a quintessential song to understanding rock and roll in the '60's, which is why it is the chosen song for this interracial band.

Johnny Cash:  It's been said that Johnny Cash is absolutely universal.  Nobody doesn't like Johnny Cash.  There are people who hate Elvis, others who hate the Beatles, and amazingly, even some who don't like Nickelback.  But nobody doesn't like Johnny Cash.  At least, so I've heard.  I have yet to meet anyone who doesn't like the Man In Black, at least.  So, it's no surprise that even though he's more of a country legend, that his early recordings which skew toward rockabilly, as well as his overall influence, would vault him into the Rock And Roll Hall Of Fame after only three nominations.  I didn't choose one of his early rockabilly songs though.  As proof that he was important no matter what he did, I stuck with one of his all-time classics, "Ring Of Fire," to salute the man and his legacy.

Leo Fender:  There is an ongoing battle in rock and roll.  The Hall itself sends a mixed message regarding rock and roll with respect to the guitar.  No one would say that Jerry Lee Lewis, Elton John, Billy Joel, and Ray Charles aren't rock and rollers in their own right, and yet from their logo, to the design of their museum, they seem to be saying that the guitar is the end-all, be-all for what defines rock and roll.  Another log in that fire is that Leo Fender is the only instrument pioneer inducted, and not, for example, Dr. Robert Moog or Adolphe Sax.  That said, no one would deny the importance of Fender guitars and the players who electrified audiences with them.  I love my choice for this one too, because in terms of eligibility, I chose a song from an artist who wouldn't become eligible for induction for another sixteen years, and even then, not inducted for another seven years beyond that.  It's such a disconnect, but that's how far reaching the influence of Fender's designs are.  To honor Leo Fender, we have "Crossfire" by Stevie Ray Vaughan And Double Trouble.

Bill Graham:  Like Leo Fender above, Bill Graham died in 1991 and was inducted in 1992.  It's inductions like this that give rise and popularity to the "Death Fairy" mythos.  As a concert promoter, he was big enough a name to give credence to events by putting his name on them.  He also managed a few bands too.  He is best remembered for promoting events at the Fillmore, and I chose the studio version of a song from a band who did indeed have a live album from the Fillmore.  The song, however, wasn't recorded until two years after that album.  Still, overall, I feel it's a good choice to pay tribute to Bill Graham.  "Oye Como Va" by Santana fits the bill here.

The Jimi Hendrix Experience:  If you know anyone who doesn't consider anything pre-Beatles to be "truly rock and roll," who have a very limited definition of what rock and roll is, then Jimi Hendrix is probably the only African-American they can name that they think belongs in the Hall.  It's sad, but there are people like that out there.  When originally trying to promote this idea for a radio broadcast, I was all but forced to select "All Along The Watchtower" for this band; however, having a little more freedom now, I quite comfortably made the switch to the more venerated and quintessential "Purple Haze."  As a P.S., kudos to the Hall for inducting all three members of this group and not letting this one fall victim to Front Man Fever.

The Isley Brothers:  Another act that doesn't always roll off the tongue right away when discussing the big names, the Isley Brothers are a more than deserving group for their versatility as much as the messages in their music.  They've been in the Billboard Hot 100 for six consecutive decades (in some form), and have a diverse catalog that includes jumping '50's R&B, Motown, funk, protest, and beyond.  They've been all over, and doing it all well.  That's just their thing.  And that's why "It's Your Thing" too.  (Vocal Group Hall Of Fame Song Of Proof: "Twist And Shout")

Elmore James:  Nominated for the Performer category the previous year, he was inducted as an Early Influence after that failed attempt.  It's one of those thorny gray areas.  He broke through in the early 1950's, and had a posthumous Bubbling Under The Hot 100 hit in 1965, with one of his many recorded renditions of "It Hurts Me Too."  It's actually interesting though, that he was inducted as "Elmore James" rather than "Elmo James" which is how he was billed on his early records... you know, the ones that get him credited as an Early Influence inductee.  In any event, the King Of The Slide Guitar certainly had more than enough influence from that breakout record, "Dust My Broom," that he maybe could have even gotten in for that song alone.  Maybe not.  Either way, it's in the playlist for him.

Doc Pomus:  And now for the reason why the songwriting teams and production teams are broken up when it comes to the Non-Performer category.  Doc Pomus was inducted in 1992, possibly because, like the other two Non-Performers from this year, he also died the year before he was inducted.  It wouldn't be for another twenty years that his partner, Mort Shuman, would be properly and also posthumously recognized as well.  Meanwhile, to give this half his due, I chose a song with a special story attached to it.  Doc Pomus was a wheelchair-bound man (or on crutches), due to polio as a child.  His wife, however, loved to go out dancing.  He wrote this song as a love song for his wife, reminding her that he still loved her very much, despite being unable to be her dancing partner, and pleaded with her, even if only metaphorically, to "Save The Last Dance For Me," which the Drifters made a pure gold classic, giving voice and emotions to the words Pomus wrote and the love in his heart for his wife.  Truly no better song to use for the man.

Professor Longhair:  Jazz and blues come together with this man's music.  He's one of the musicians who helped influence and define the sound of New Orleans as we know it today, whether it was with songs like "Tipitina," or fun bits of raunchiness like "Bald Head," or with the eponymous song that I chose to use for him, wherein he sings about himself a bit.  I gotta admit, I'm a bit hit-or-miss on how much I like listening to his music, but songs like "Professor Longhair Blues" are great records to throw on every once in awhile.

Sam And Dave:  Another great Stax/Volt act.  Of all the acts from this year's class, this one is probably my favorite.  The story of how they came together to be an amazing soul duo is kind of a funny one though.  But their music is no joke.  This is a case where fate proved to be a better decider than me.  I wanted to use "Hold On, I'm Comin'" because it is such an awesome song.  But at the time, I couldn't download a decent copy of it.  Going to Plan B, I went with the song they are best known for, and sadly one that has been co-opted by the semi-fictitious Blues Brothers.  It really is an amazing song that crosses the social gap, just not the one I originally wanted.  Ultimately, it probably is best that I use "Soul Man" to prove the merits of Sam And Dave.  (Vocal Group Hall Of Fame Song Of Proof: "When Something Is Wrong With My Baby")

The Yardbirds:  Well, we can't ignore the British Invasion outright, now can we?  The Yardbirds are something of a strange case, though.  They're ultimately better remembered for the guitarists that cut their teeth in that band than for the music that they recorded as a band.  And yet, when you listen to those records, there's more than enough musical excellence and experimentation to give them the green light here.  For their Song Of Proof, I chose a song that is somewhat psychedelic in its guitar-work, but also beautifully expresses the anguish of the lyrics that Keith Relf conveys so well.  Yes indeed, we go from "Soul Man" above to "Heart Full Of Soul" here.

And I'm afraid that's gonna put a bow on it for this installment.  I hope you've enjoyed reading about my selections for each of these inductees and why I've chosen them.  It's never too late to get in on the fun.  Even if you've never commented on my blog ever, you're more than welcome to weigh in on these inductees, and tell me what songs you'd use to honor them.  The Comments section below awaits you.  Recapping:

Bobby "Blue" Bland:  "Turn On Your Love Light"
Booker T. And The M.G.'s:  "Green Onions"
Johnny Cash:  "Ring Of Fire"
Leo Fender:  "Crossfire" by Stevie Ray Vaughan And Double Trouble
Bill Graham:  "Oye Como Va" by Santana
the Jimi Hendrix Experience:  "Purple Haze"
the Isley Brothers:  "It's Your Thing"
Elmore James:  "Dust My Broom"
Doc Pomus:  "Save The Last Dance For Me" by the Drifters
Professor Longhair:  "Professor Longhair Blues"
Sam And Dave:  "Soul Man"
the Yardbirds:  "Heart Full Of Soul"

Songs Of Proof: The Class Of 1991

We now plunge headlong into the '90's for the Rock And Roll Hall Of Fame.  The previous year saw the biggest class we would see for another full decade.  The sizes of the classes would hold pretty steady for the next decade, holding steadily near the double digit threshold.  Some a titch higher, some a mite lower, some dead on the ten-mark itself.  But class size isn't the only thing that's been consistent.  The quality of the classes themselves maintained a certain level.  A good, high level.  While the classic rock backlog is still a few years from becoming a problem, it's also nothing anybody is worrying about.  In fact, right now, the focus is on unclogging the backlog of great '50's artists, something we'll see almost every year of induction classes this coming decade.  But the Rock Hall is humming along pretty smoothly right now, and we're gonna honor this class with some great songs of theirs.

LaVern Baker:  We start with "Little Miss Sharecropper."  Like many hit-churning R&B acts from this era, she is sadly relegated to a couple of songs that she's remembered for.  And while the omission of the Gliders (also known as the Cues) isn't the biggest omission, they were behind her on her biggest hits, in consistent lineup, so at some point, they probably should be honored for the energy their rhythmic vocals provided.  If you want a hilarious example of musicians having fun, check out the "X-Rated" version of "Think Twice," her duet with Jackie Wilson where you hear F-bombs, C-words, and both of them laughing by the end of the record.  Keeping in line with the aim of this project though, "Jim Dandy" is a landmark standard of rock and roll, and is a terrific salute to this leading lady of rock and roll.

Dave Bartholomew:  Inducted as a Non-Performer, primarily as the songwriting partner of Fats Domino, Dave Bartholomew both proves that many great Non-Performers are respectable musicians in their own right and gives credence to those outraged at the continued omission of Bernie Taupin.  Of course, the oldest living inductee did more than just write songs with the Fat Man, he worked with a lot of R&B and teen idol stars.  But as I mentioned, he also was a musician, and to give you an idea of his sound, and why it clicked so well with what would become Fats Domino's trademark sound, give a listen to his sole hit on the R&B charts, "Country Boy."

Ralph Bass:  The Class Of 1991 marks the turn in the Non-Performer category toward names that aren't as well-known in their own right.  In the entire first five classes of the Rock Hall, John Hammond and Ahmet Ertegun were the only two I hadn't heard of before finding out about the existence of the Rock And Roll Hall Of Fame.  Getting into this decade though, the names aren't as well-known.  Dick Clark, whom we'll honor in a couple years' time, is of course a household name, and I knew who George Martin and Johnny Otis were, and had even heard the name Allen Toussaint, and could infer from the surname Fender who Leo was.  Point being though, these aren't as big of names, but they are no less deserving.  In the case of Ralph Bass, based on the career timeline of John Hammond, it's something of a wonder he wasn't also inducted as a Lifetime Achievement inductee.  Working with some of the big names that are considered pre-rock, it's also quite noteworthy that he worked with some of the biggest names in '50's R&B to bring them to a wider audience.  Among those whose careers he helped launch was James Brown And The Famous Flames, and with that, I've honored Ralph Bass with "Please, Please, Please."

The Byrds:  Folk-rock.  The signature sound of the 12-string guitar.  Those impeccable harmonies.  They're the only act on this list that a rockist would approve of.  Originally, going with as many songs about rock and roll as I could, I intended to salute the Byrds with "So You Want To Be A Rock 'N' Roll Star," but it just couldn't stand up to my own scrutiny.  I had to go with a song that really captures their whole brand of folk-rock, and maybe all of folk-rock.  Based on the first eleven verses of the third chapter from the Book Of Ecclesiastes, it's "Turn! Turn! Turn! (To Everything There Is A Season)."  (Vocal Group Hall Of Fame Song Of Proof:  "My Back Pages")

Nesuhi Ertegun:  This one has been a frustrating case.  I'll tell you that right now.  All the research regarding him highly touts him as a jazz producer.  So how did he end up inducted into the Rock And Roll Hall Of Fame, let alone a Lifetime Achievement inductee?  Occam's Razor would tell you nepotism.  Fortunately, having worked with Ruth Brown, Ray Charles, and Bobby Darin, there's just enough rock and roll material there as well to justify an induction of his own.  Keep in mind that I first undertook this project back when "Google" wasn't a verb yet.  Whatever search engine you used, you still weren't guaranteed to get any satisfying results, and trying to find records that Nesuhi produced or had SOMETHING to do with was not easy, and still isn't easy as neither his rockhall.com nor his Wikipedia page by themselves actually list landmark songs or albums that he produced.  Simply put, this is one I have to change next time I get around to burning the CDs again.  Knowing that he came to Atlantic in the '50's, and worked with Ray Charles, I chose to honor him with "I Got A Woman" for want of better information.  As I look over his actual credits now, I have swapped it out for Bobby Darin's "Beyond The Sea."  Sometimes we all hit a bump in the road.

John Lee Hooker:  Because there is no cut and dry start date for rock and roll music, the confusion between the categories of Performer and Early Influence is a problem that occasionally has to be wrestled with.  The Class Of 1991 is of particular interest to that debacle because they inducted this prolific bluesman, with a career going back to the early '40's, whose early records were much more primitive to the point of not even being able to be called "proto-rock-and-roll," as a Performer.  I suspect this mainly has to do with his later collaborations with musicians who would eventually become some of the higher muckety-mucks of the Rock And Roll Hall Of Fame Foundation.  So, in keeping with some sense of consistency, I chose a great bluesy record that was his only hit on the pop charts during the "rock era" as it is traditionally regarded.  It's a fun song, give "Boom Boom" a listen, and then go back to his early catalog to ponder this conundrum.

Howlin' Wolf:  On the other side of the coin from the previous entry, we find an Early Influence inductee whose first release was in 1952, in that epoch that some argue should be considered part of the rock era, and whose biggest contribution was the song "Smokestack Lightning," from 1956.  Mysterious are the ways of the Rock Hall sometimes, especially when one of the Performer nominees from this ballot ended up being inducted the next year as an Early Influence.  Anyway, since this is an Early Influence inductee, I went back as far as I could, and found a song that may have even served to give the man his stage name.  Like a howling wolf, "Moanin' At Midnight" sets the tone for the man's career.

The Impressions:  If the seeming switcheroo of the previous two inductees weren't enough, we have an instance here of the Hall going bigger to keep it smaller.  Despite departing after the first big hit, Jerry Butler was inducted as a member of the Impressions, presumably so there wouldn't be a need to induct him a second time, as a soloist.  This is especially hilarious and tragic when you remember Chad Channing's omission from Nirvana's induction, and Denny Laine's near omission from the Moody Blues' induction later this year, just to name a couple.  Sadly, it seems to have worked.  Jerry Butler's name has seemingly never even been officially considered at Nominating Committee meetings since.  Still, I'll keep "Only The Strong Survive" saved up just in case they decide to do the right thing and make him a double inductee.  As for the Impressions, their unique brand of soul, with a breezy feel and tight harmonies, is extremely well exemplified in "It's All Right."  (Vocal Group Hall Of Fame Song Of Proof:  "People Get Ready")

Wilson Pickett:  The Wicked Pickett.  Or Wicked Wilson.  It works either way.  A great R&B singer with so many good records.  I was a little less than objective on this one.  I didn't really want to use some of the more obvious choices that you most easily recognize, and had I been a little more objective while still refusing to be obvious, I probably would've used "She's Looking Good."  However, I chose a great soul record with an amazing feel to it that is still fun listening to.  Think there are better choices to use than this one?  Well.... "Don't Let The Green Grass Fool You."

Jimmy Reed:  One of those blues players that's easy to take for granted because he got inducted relatively early in the Rock Hall's history.  Several blues classics that have been covered by the likes of Elvis Presley and Bob Dylan, just to name two.  As much as I love his big hit, the bluesy ballad, "Honest I Do," the best song to honor him is his classic, "Big Boss Man."

Ike And Tina Turner:  Admittedly, this is an act I haven't spent nearly as much time researching as I should have.  I love Phil Spector's productions, I love soul music, this is one I feel like would be one of my favorites if I could find a decent compilation on all their work, both together and apart.  Although, I am a little more familiar with Tina Turner's solo work.  Honestly, if not Carole King, I want Tina Turner to be the first female member of the Clyde McPhatter Club.  As for this effort, it didn't take much effort to find their version of "Proud Mary," which has some great horn work, frenetic vocals from Tina, and I understand even some rare vocals from Ike.  It's a big yes all the way around, just means I can't use CCR's version for them when they come up in two years.

And that will do it for this year.  The inductees aren't always gonna be so obvious from here on out, though they will contain several no-brainers.  Hope you've been stimulated by this list.  Now's your turn to do the same for me and share your thoughts in the Comments below.  Recapping:

LaVern Baker: "Jim Dandy"
Dave Bartholomew:  "Country Boy"
Ralph Bass:  "Please, Please, Please" by James Brown And The Famous Flames
the Byrds:  "Turn! Turn! Turn! (To Everything There Is A Season)"
Nesuhi Ertegun:  "Beyond The Sea" by Bobby Darin
John Lee Hooker:  "Boom Boom"
Howlin' Wolf:  "Moanin' At Midnight"
the Impressions:  "It's All Right"
Wilson Pickett:  "Don't Let The Green Grass Fool You"
Jimmy Reed:  "Big Boss Man"
Ike And Tina Turner:  "Proud Mary"