We arrive at our penultimate installation of our Rock Hall Prospect series, looking at the 100 artists currently eligible for the Hall (Class of 2016 or earlier). I didn’t plan it this way intentionally, but one theme that stands out in this batch is its very distinct 1980s flavor. In fact, possibly 9 out of the 10 following artists (either clearly or arguably) peaked at some time in that decade. Again, this isn’t by design on my part, but nevertheless, it does show that the Rock Hall has neglected some of the most iconic artists from that time period, as it whittles away at the 1960s and 1970s C-lists. Although these are some of our most highly-ranked contenders, the Rock Hall isn’t quite in agreement: only 4 have been nominated previously.
I have also updated the links sidebar on my site, getting rid of defunct or dormant pages, and including some newer ones, including an excellent blog that serves as a digital archive of Horizons, my favorite Disney attraction.
20. Weird Al Yankovic: It’s quite likely that some readers think Weird Al is placed too high, or maybe should not be on the list at all. Let me explain my case as best I can. Tom Stoppard’s play Arcadia takes place across several decades, and in every scene features a tortoise, the sole creature with the longevity to witness to the entire narrative as it unfolds. In a lot of ways, Weird Al was like that tortoise. As trend after trend unfolded, as political and cultural events marched through the landscape of history, as movies and television shows came and went, Weird Al was there, resiliently bursting their bubble and busting their balls. Some of the acts he lampooned were ushered into the rock and roll pantheon: Nirvana, Madonna, and Green Day are but a few of the artists whose legitimacy was validated by the fact that Weird Al made fun of them. Others fell by the wayside, as he parodied forgotten mooks like Men Without Hats and Gerardo. But the craziest thing of all was that Weird Al kept getting better. Eventually the songs about food and television gave way to funny, but slyly insightful material. “Party in the CIA” took on the national security state in a way no serious song could. “Whatever U Like” was the smartest take I heard on the 2008 economic collapse, and “Skipper Dan” was a strangely affecting meditation on broken dreams, where a Julliard-trained actor ends up as the guide on Disneyland’s “Jungle Cruise.” Way back in my intro to this series, I described one of my chief criteria as “zeitgeist,” the ineffable quality of representing one’s time. Almost every person who was a fourteen-year-old boy at some point between Al’s debut and the present remembers a time when he was the funniest person he knew. Watching the video for “Amish Paradise” for the first time was one of my ten most cherished music memories of all time. And other people can say the same for the first time they heard “Eat It” or the time they came across “White and Nerdy” on youtube. Last year, Al debuted his last conventional album from a brick-and-mortar record label, ending an over 30-year trajectory where he entered our homes through MTV, and concluded with Mandatory Fun. Al realized that he had even managed to outlive the record industry itself. Al is the tortoise, man. Al is the tortoise.
19. Duran Duran: What made the 1980s so memorable? I would argue that it’s partly the visual element brought about by MTV, but it is also the tension between mainstream rock and alternative rock- between bravado and vulnerability, between “rocking pretty hard” and reaching out to various outcasts, drifters, and slackers. Duran Duran didn’t always make a good impression, but they brought back the ethos of snotty rock star behavior to heights not seen since the Rolling Stones’ prime. (My favorite moment was when they sued their own fan club in 2014.) In spite of themselves, they helped construct the fabric of their decade more fully than almost any artist not yet in the Hall. I was searching for the right way to characterize them, and an article from the Guardian finally gave me the right framework: they were escapism. “Girls on Film” and other songs in their canon flaunt riches they didn’t yet have, and their videos used exotic locales most of their fans could only hope to visit one day, in the midst of dreary Thatcherism. It worked: “Hungry Like the Wolf” is vintage early 1980s, “Rio” is utterly classic, and “Ordinary World” as mature a pop ballad as any. But you need some quality beyond “having lots of hits” and “rocking pretty hard.” Ultimately, Duran Duran pointed toward the directions pop music would go: sarcastically earnest, assisted by electronics, and beholden to supplementing the music with videos.
18. Kate Bush: She did us all an immense favor by making art rock actually sound intimate. A wunderkind protege of David Gilmour, Bush developed into a consummate artist. She took the ambitious scope and artistry of prog and had the gall to make it sensual. “Wuthering Heights” is more than just another prog piece with literary pretensions; Bush injects both haunting spiritualism and carnal yearning into the mix. Or consider one of my favorite tracks- not just of hers, but of anyone’s- “The Man with the Child In His Eyes.” She wrote that when she was 13, but it’s one of the most natural, emotionally resonant pieces I’ve heard from any artist. Overall, her work kicked 80s British songwriting in directions it needed to go: the jaunty choruses (“Babushka”), the expressionism, the girl power (“Wuthering Heights” was the first song written and performed by a woman to be a UK #1.) Most female songwriters were of the slower, more introspective type. Bush made it possible for one to be innovative, techie, and smart as well; Lady Gaga probably owes Kate Bush far more than she will ever owe Madonna. Unfortunately, most of her hits were in Great Britain, and we all know what the Rock Hall thinks of acts that only made a big splash on the other side of the pond. Still, on the heels of a triumphant series of concert performances- her first in over thirty years, in fact- Kate Bush is back, and a Rock Hall nomination would be a great way to celebrate one of its great visionaries.
17. The Cars: When The Cars received a surprise nomination in October, many music fans were cheered by this accolade. The Cars, after all, managed to be both entirely presentist and fully backward-looking when they hit their peak as the 70s turned to the 80s. They mastered the new wave use of synth with the economy of punk. And yet, their simple, straightforward name for themselves hearkened back to rock’s earliest roots. The titles of their songs, like “My Best Friend’s Girl,” made rock and roll music about being a teenager again. From their rockabilly-throwback guitar solos to their reliance on catchy riffs, they were fun without being silly, good songwriters without fretting about authenticity, and embraced mainstream success without ever seeming to sell out. That’s a tough balance to strike, let alone doing so with lyrics that were, as Bob Stanley put it, “worthy of Buddy Holly” in their effective simplicity. This Boston band was one of rock and roll’s great success stories of its time, and a no-brainer for Rock Hall induction. I frankly wish they had gotten in this year instead of maybe Cheap Trick and Deep Purple, but that, as they say, is life.
16. L.L. Cool J.: L.L. Cool J is significant for, I think, two reasons. Firstly, his debut marked the moment where rap focused chiefly on the rapper, something that seems intuitive today, but in it’s earlier days was much more of a dynamic partnership between a rapper and the deejay (see, for example, Eric B. & Rakim). This doubled with the growing significance of the rapper as a solo artist, not as part of a posse- other than outliers like Wu-Tang Clan, we haven’t seen too many ensembles succeed for more than a brief moment in time. Ultimately, L.L. Cool J. brought more braggadocio and swagger to rap- listen to “Mama Said Knock You Out” one more time, and it’s words apart from the slower, chiller approach of the Furious Five or Rakim. In essence, he epitomized a moment where rap transitioned from “street CNN” to self-promotion mixed with personal introspection. (consider, for example, some of his 90s work, where he unpacks the trauma of seeing his father shoot his mother and grandfather.) This all actually leads to my second point, L.L. Cool J’s work to make rap mainstream. When Kanye or Jay-Z or Eminem records go multiple platinum rather than mere gold, that’s because people like Cool J. blazed the trail of mainstream acceptance. Sometimes it didn’t work- the ballads on 1989’s Walking with a Panther were toxic in hip-hop circles and almost killed his career in the cradle. More recently, he collaborated with Brad Paisley on “The Accidental Racist.” It was one of the most clueless tracks I had heard in a long time- it compared centuries of institutional racism and labor theft with Paisley’s…um…discomfiture with ghetto culture, I guess. I actually use that song to illustrate the concept of “false equivalency” in my classes. It singlehandedly torpedoed his candidacy for the Class of 2014. But when L.L. Cool J. connected, he really connected, and managed to turn rap and hip-hop into a part of the national vernacular.
15. Journey: I’ve been religiously following Rock Hall affairs for a little over two years now, and maybe one element that always bothers me at some level is the occasional contempt that I perceive for mainstream rock and roll and it’s fans. Everybody wants to be a Sonic Youth fan, nobody admits to liking Journey. I’ll be the first to grant you that much of more radio-oriented rock isn’t carefully crafted, or especially memorable. Yet, there is a denial of what these acts mean to their listeners. I spent four summers during college working in the assignment department at the phone company. (Back when people had landlines, these were the individuals who assigned you a phone number when you moved into the area, and programmed your account to have features such as 3-way calling or Caller ID.) My co-workers were almost all women in their 40s, born in the early 1960s, whose education did not go further than high school. Most were named Debbie or Tina. It’s distressingly easy for critics to dismiss their tastes as a lowbrow gumbo of NASCAR, Red Lobster, and above all, Journey. That would be deeply in error. For many in this category, Journey takes on an almost mythic significance. “Don’t Stop Believing'” is their Iliad, Steve Perry is their Homer. Journey made more household-name songs than perhaps anybody on my list of 100: “Lovin’, Touchin’ Squeezin’,” “Faithfully,” “Open Arms,” “Any Way You Want It.” Writing memorable songs with strong hooks isn’t as easy as it looks, and to do that a dozen times with songs that still resound on classic rock radio today is a remarkable accomplishment. After all, “Don’t Stop Believing,” a track over 30 years old, is the most downloaded song of all time. As I said in my earlier posts, “Zeitgeist” is one factor I take into consideration, and as far as influencing its time and place, Journey’s power ballads and arena rock had an impact as deep as it was wide.
14. Eurythmics: While we’re on the topic of major 80s hitmakers, you can’t discount Eurythmics. Somewhere in the meeting point of synth-pop and new wave, this duo harnessed the possibilities that were germinating in electronic popular music, but gave it a distinctive emotive feel and artistic flair. David Stewart’s arrangements and technical wizardry was part of that equation, but probably more of their success was due to the singular talent of Annie Lennox. Her ethereal, husky, and above all soulful voice, her sharp androgynous look, and the surprising vulnerability that she brought to songs like “Here Comes the Rain Again” made them perhaps the most successful new wave artist, even if Talking Heads was the most critically acclaimed. Lennox was exactly what top 40 needed at the time- a brassy, commanding voice and a strong visual presence to navigate the early MTV era, best seen in that immortal video for “Sweet Dreams (Are Made of This.)” I almost feel like the duet with Aretha, “Sisters are Doin’ It For Themselves” was a kind of passing of the torch, not just between generations, but between genres as well.
13. Chic: Who else could be at the unlucky #13 spot than Chic? Chic has now been nominated and rejected 10 times, more than any other artist. Some of those nominations were, in my opinion, foolish ones– what was the Nom Com thinking by putting two disco artists on the same ballot year after year, when Donna Summer and Chic took votes away from one another? Every year, we think something- Nile Rogers’s cancer scare, or Pharrell Williams’ success with the Rogers-produced “Get Lucky”- will push them over the top, but to no avail. That’s a shame, really. Chic, in their time, revolutionized dance music and the production of top 40 pop. They came together with a knowledge of how to build a compelling sonic palette (it’s not a coincidence that Rogers and Bernie Edwards met as musicians for a stage production of Sesame Street, which specialized in packaging soul and R&B songs for the masses. Witness “The Skin I’m In” or even the famous Philly-Soul pinball sequence.) In their time, they mattered: “Le Freak,” “Dance, Dance, Dance” and “Good Times” were fundaments of 70s R&B-turned-disco, and we easily forget that the first purpose of rock and roll was music for dancing and movement, not music for listening alone with a fancy set of noise-canceling headphones. Since those halcyon disco days, the importance of Chic remains intact- Rogers-produced work, and even the recent “Uptown Funk” that was #1 for over ten weeks are linear descendants of the groove-based, non-linear sound devised by this ensemble. Make fun of disco all you want if it makes you feel like a big man, but know this: it was one of the only safe spaces for persons of color and gay, lesbian and gender-queer individuals during it’s time. Chic’s rhythmic emphasis, its inspiration of hundreds of hip-hop beats, and its ingenious banality that made all welcome on the dance floor are lasting contributions to the rock and roll story.
12. The Cure: The Cure is adamant that they are not a goth band, but their influence over other goth bands and emo bands, which often challenge traditional masculinity, cannot be overstated. Tracks like “Boys Don’t Cry” fundamentally rethought gender relationships in the rock and roll universe. With the wild-haired Robert Smith fronting the group, they embraced teenage melancholy and loss, the sadder side of what the Cars did at #17, as evinced in “Just Like Heaven” and “Lovesong.” For all their mopey reputation, they were also far more stylistically diverse than popular memory affords. Listen to the slightly jazzy “Lovecats,” or the poppy “Friday I’m In Love,” or the synth-heavy “Lullaby” that unexpectedly used some reggae rhythms for emphasis. These were genuinely great musicians, not a bunch of whiners in mascara. Given how their dark tones, dreary spirituality, and intense brooding had an impact on underground acts for decades since, The Cure is an essential non-mainstream choice for the Rock Hall. If, of course, we’re judging things by influence over a lifestyle or subculture, rather than total records sold. They were nominated in 2012, but they were up against Beastie Boys, Red Hot Chili Peppers, and Guns N Roses. (Absurdly, Laura Nyro and The Small Faces, only two of the Rock Hall’s worst choices, also got in that year.) Although the Nom Com has turned elsewhere in recent years, they’ll be back on the ballot before long.
11. Iron Maiden: My friend Dani works in New York State politics and has a mantra she recites to herself around Election Night: “signs don’t vote, but people do.” In other words, don’t confuse enthusiastic, outward professions of support with the overall atmosphere beneath the surface, where a candidate with quieter supporters may prevail. If Rock Hall inductions were determined by t-shirt sales, or raw fan devotion, Iron Maiden would have gotten in a long time ago. I’ll say this: Iron Maiden may be the most successful heavy metal band behind Metallica, in terms of records sold and in maintaining a devoted fan base. They didn’t invent metal, certainly, but they did refine it, figure out its aesthetic, and give it a manifesto that it lacked before. There isn’t much politics in Black Sabbath, except of the most nebulous kind. “Run to the Hills,” however, is a chilling track about the extermination of the American Indian, one that counters the stereotype of metal being thoughtless head-banging music. Through all this, Iron Maiden has clung on to relevance and longevity, still selling out stadiums decades after their prime. That they did this without much mainstream radio play or MTV exposure is a testament to word of mouth and the community- both real and virtual- that metal fans have created for one another. While some metal fans can cleave to a narrow, Eddie Trunk-like point of view that views metal as the culmination and fulfillment of rock and roll, metal-heads are right about one thing: Iron Maiden is a serious snub of the higher order. Now that Deep Purple is in, perhaps Iron Maiden will finally have their chance at a nomination.
And now- all that’s left is the top ten! Anybody want to take some guesses as to which artists made it, and in what order?
Excellent list as usual. You outdo yourself with each list and I’m eagerly anticipating what your top 10 will be. The Rock Hall will probably lean more heavily to 80’s artists for the 2017 ballot and I can easily see most of these artists taking a slot on the ballot. Duran Duran and Journey will always strike me the same way as a Steve Miller/Hall & Oates nomination: not first-ballot HOF-ers by any means, but simply too famous of names and way too way hits to ignore. No other band (expect maybe Madonna, Michael Jackson, and Prince) defined early MTV better than Duran Duran. “Don’t Stop Believin'” is an anthem on par with some of the biggest songs from artists currently inducted in the Rock Hall. They can’t simply ignore that fact. I love almost all these choices this round: The Cars, LL Cool J, The Cure, Chic, Eurythmics. Brilliant choices and reasonings/cases for these artists (especially for The Cars and LL Cool J).
On a side note, I think Percy Sledge is the worst inductee chosen in the Performer category. Laura Nyro should’ve been inducted in the Musical Excellence category (more famous for her songwriting skills) and I really like Small Faces/Faces. But to each his own I guess. Here’s what I think you’re top 10 will look like:
1. Kraftwerk
2. The Moody Blues
3. Janet Jackson
4. The Smiths
5. Yes
6. Joy Division/New Order
7. The Spinners
8. Judas Priest
9. Captain Beefheart
10. Carole King
Yeah, Sledge was the perfect storm- essentially a near-one-hit-wonder who had an outspoken friend on the Nom Com. If you or anyone else would like to make a case for the Faces, I’d be happy to hear it; I just haven’t heard many persuasive ones on their behalf as of yet.
Top ten is pretty sound- you’ve got 8 of the 10 on the list.
Do not disagree with a single choice this time around. I think Ryan’s list will be pretty accurate for the top ten, but maybe The Meters instead of Carole King and the order could really be anything, but I do still think that Kraftwerk will be #1. But we’ll see…
I meant Nick not Ryan. lol. I dont know how I mixed those names up. whoops.
Not a big deal Max. I was wondering who this Ryan guy was when I read your post lol. The 2 names I think that could be replaced from my list would be Captain Beefheart and Carole King (I know Alex really supports King to be inducted in the Performer category, although she was wrongfully inducted for just her songwriting in 1990, so that was my logic when I chose her).
I think a lot of it comes from the Future Rock Legends culture of people using only their first names- so it’s easy to get relatively common male names confused. I’m one of the only ones to use a pseudonym.
I think I might cry a little if the Captain doesn’t make top 100.
At least I got 8 of them correct (I’ll admit if The Spinners don’t make the top 10 or top 100 at all, I will be very sad as a huge 70’s R&B/Soul fan). All almost all of my other choices so I don’t know who else it could be. Maybe Bad Company? (I know you’re not a big fan of theirs, but Paul Rodgers should be in the Rock Hall immediately. One of the best-ever voices in Rock music).
The Small Faces were one of the best psychedelic pop/rock bands in the late 1960s. They crafted some of that era’s most popular songs (Tin Soldier, Itchycoo Park). Plus they had Steve Merriott and Ian McLagan who were excellent musicians. Maybe in the same vein as Cheap Trick, in the same sense that they are great musicians with a catalogue that only hardcore fans would know (they had some hits, but not a whole lot the general population would know). Something I will admit thou is that part of the push for Small Faces/Faces was to make Rod Stewart and Ronnie Wood 2-time HOF-ers. The Rock Hall loves to have this happen, especially with those 2, and the possibility of a reunion for the group (although Stewart didn’t attend, the only 2-time HOF-er to not attend either of his ceremonies while he was alive). When The Faces were formed, they had some good songs like Stay with Me, Cindy Incidentally, and Oh La La. It’s just more of the Rock Hall playing politics in order to support the candidacy of the performer(s). Plus Stevie Van Zandt was probably very vocal to support them for the 2012 ballot, given their initial popularity during the British Invasion.
In 2005, the year Sledge was inducted, had a great ballot with the likes of Gram Parsons, Patti Smith, The Stooges, Sex Pistols, and Lynyrd Skynyrd. Yet the voters chose Sledge over these performers based on “When a Man Loves a Woman” (yes, an iconic soul song in the 1960s, but he’s essentially a one-hit wonder)?? I don’t buy it for a second and this is the turning point, IMO, when the Rock Hall nominating committee became a playground for lobbying for critic’s pet projects (e.g. The J. Geils Band, The Paul Butterfield Blues Band, The Sir Douglas QuintetIf) over neglected, aka more worthy acts (e.g., Deep Purple, Chicago). Any of those nominated acts should have been chosen instead of Sledge, In fact, I’d argue the 2005 class might have been one of the best-ever and diverse classes (U2, Pretenders, Buddy Guy, The O’Jays in the Performer category) ever if Sledge’s name was replaced.
Exactly. 2005 was kind of a turning point when the obvious 70s picks were drying out, allowing critics and other Nom Com critters to turn to pet favorites. I’ll happily give the Faces another listen, by the way. I’m all for 60s psychedelia and maybe I was just in a bad mood the first time I listened to them.
It might be fun sometime to redo some earlier ballots to show who actually should have gotten in a given year. Nyro over The Cure is egregious (and this is coming from a huge supporter of female singer-songwriters) and Sledge over Patti Smith and Skynyrd was equally puzzling.
Thanks for the placement in the Blogroll – much appreciated! A superb set of picks this time around. Eurythmics are the perfect sleeper nomination pick; I wouldn’t be surprised to see them on a nominee list in the next few years (I’m also sensing J. Geils Band and ELO nominations). Time has somehow been kinder to Journey than anyone could have foreseen in their heyday; the resurgence of “Don’t Stop Believin'” alone could nudge them into the conversation.
Right- I would have thought Annie Lennox’s star turn at the Grammys two years ago would have done it- but not yet.
I like the Duran Duran, Iron Maiden, The Cure picks this round. All should be in the RRHOF. The Eurythmics are underrated and don’t fall in a neat box. Sweet Dreams & Here Comes The Rain Again are absolute Classics. The Cure is a KING FAV for sure. What an eclectic catalogue of songs! Upbeat Rockers Friday, I’m In Love some bittersweet Just Like A Dream. Enig & I have mentioned a million reasons for Duran Duran’s Induction. I’m curious Alex:What would be 2 or 3 reasons you would address to the committee as why Journey should be inducted RRHOF? KING
I would say 1) contributions to public memory, 2) perfection of the power ballad, 3) to restore a more equitable public-critic balance.
I think that nomination of Los Lobos proved this year that anyone that’s on the “Previously Considered” list on the FRL site can get a nomination at any time. Eurythmics is one of those groups that may be a “sleeper” nominee, but they’re on that list, so don’t be surprised to see them at some point. Iron Maiden is another act that’s on that list, and now that Deep Purple basically closes the door on the MAJOR 70’s metal/hard rock acts, the Hall should look to the 80’s where we have Iron Maiden, Def Leppard, Judas Priest, Bon Jovi, Motley Crue, Anthrax, Slayer, Megadeth,, Motorhead, and others waiting in the wings. Then again the Hall seems to be changing themes each year, so beings this year was “classic rock” heavy, I wouldn’t be surprised to see the Hall go back to a more modern (80’s and 90’s music) theme for next year’s group. Which would bode well for many of the 80’s acts.
That’s some sharp deductive reasoning. I strongly believe we will not see ~any~ vintage classic rock bands nominated next year. Pearl Jam for the 90s, for sure, but otherwise, lots of alt, R&B, hip-hop, and even country choices to atone for the one-dimensional feel of the Class of 2016.
All this is to say that I’d expect Iron Maiden, Judas Priest, or Motorhead to be nominated for the Class of 2018.
1. Janet Jackson
2. Kraftwerk
3. Yes
4. The Clovers
5. Judas Priest
6. The Smiths
7. The Spinners
8. Joy Division / New Order
9. The Moody Blues
10. Kool & the Gang
Other considerations:
Barry White
King Crimson
Def Leppard
Mötley Crüe
Luther Vandross
Dolly Parton
The Human League
Pet Shop Boys
Oops… scratch The Clovers. I just noticed you already listed them. In their place, I’ll put Barry White.
Right- I couldn’t forget The Clovers! I’ll say that for now, you’ve got 7 of the 10.
Now I’m starting to think George Michael might be in the last bunch.
I appreciate you pointing toward the Cure’s diversity. There’s this idea that’s been around since at least the early 80s the the Cure make dark and depressing music.It’s become one of those musical urban legends that few people think to question or update. There’s a reasonable legitimacy to the idea’s origin, which I think really took hold with their 1980-82 run of Seventeen Seconds, Faith and Pornography (my personal favorite period of theirs). There’s an urgent apocalyptic bleakness that’s the defining tone of those albums, that’s something that can occasionally surface, but isn’t as prevalent in most of their other work. It’s something that comes across as dour and mopey, maybe even a bit histrionic to many people’s ears, but a darkly charming shimmer to others. I think both groups are hearing and pointing toward the same thing, but there’s a really wide spectrum of references that different people have for relating to really any type of art that has those particular qualities but, I think that after those particular albums it becomes a pretty moot point when they started pulling a wider range of stylistic references into their work and took on a brighter poppiness for the most part. And truthfully, commercial success does usually require keeping a fresh coat of polish to maintain. (As an aside to that, a lot of people get dismissed as trying to be hip or elitist when they say that they prefer an artist’s pre-fame/pre-mainstream work, but that coat of polish is why a lot of people do honestly, genuinely feel that way about certain acts. Production that’s less slick does truly sound warmer and more poignant to some people’s ears.)
Thanks, Darin!
I agree with you what you said about The Cars.They definitely should’ve been chosen over Cheap Trick. I thimk LL Cool J should go in this year. He’s been long over due.I go to say I’m not sold on Chic. I know it’s because of Nile Rodgers. I feel if the want to induct him as songwriter do it.But I like you got Journey in there also.Cant wait to see how you round it up!
I sure don’t speak for Ric Ocasek, but I think he’d be pleased at your comparison to Buddy Holly, and as I do speak for myself I’m thrilled at the Cars’ inclusion on what’s been an excellent and thoughtful list.
Also must admit to a silly amount of pleasure at the argument for Journey, which I’ve wanted to include on my personal list but struggled with given my opposition to Def Leppard and Bon Jovi.
Any thoughts on making a similar (if shorter) list for non-performers?
You know, Michelle, that thought never occurred to me- but it would be a fun project to consider!
There’s too many great artists left still not on the list. This is getting really scary Alex.
Alex, you sure know how to put on a great show. This countdown has been fascinating and quite informative. And it’s good to see all the feedback.
My inner stockbroker has put together a list of shares I’m buying (nine $10 shares and ten $1 shares) that after five years (following the HoF winners announcement in 2020) I will redeem if my choices have been inducted within that timeframe. Inductees pay out either x 10, or x 1 their rank on your list. For example, if #54, Sting, pays out, I collect 54 x 10 = 540 points.
I will then compare my winnings, if any, with your list’s winnings. Your list will pay out x 5 in the 1 – 20 quintile; x 2 for 21 – 40; and x 1 for 41 – 60. I’ll reverse the 1 – 100 rank numbers, though, so that if your #1 is inducted, you get 100 x 5 = 500 points.
? Carole King x 10
? Dire Straits x 10
26 Tina Turner x 1
28 Willie Nelson x 10
29 Joan Baez x 1
30 Ben E. King x 10
38 Pat Benatar x 10
44 War x 1
54 Sting x 10
57 Peter Tosh x 1
67 Bjork x 10
69 Johnny Winter x 1
71 Doobie Brothers x 1
74 Phish x 10
82 A Tribe Called Quest x 1
83 Jimmy Buffet x 1
85 Los Lobos x 10
87 Emmylou Harris x 1
I’m holding my remaining $1 in ‘cash’ in case I don’t score otherwise.
Dear Jared- I accept your challenge! I’ll wait until I’ve unveiled my top ten choices, and then contribute my own stock portfolio. (And maybe I’ll let you redo yours, if you want to, in light of who is in my top ten.) Also- we may need to account for the fact that lots of artists aren’t on this list, but will soon become eligible in the next five years- Pearl Jam, Tupac, Radiohead, Rage Against the Machine, and so on.
Well, the 2017 class has been announced and if we use my original rules, above, you lead with 450 (Yes), 425 (Journey) and 142 (Baez) = 1117 to my 29 (Baez). Hmmm, you obviously know your stuff. Looks like I’ll need a few big wins in the years to come to get back in the game (for example, Los Lobos would pay 850 for me).
In a private email that followed this project by a few weeks, you match my x10 and x1 system, with picks that paid out x1 for both Yes and ELO. Meanwhile, I’m at half that with just one x1 (Baez).
Incidentally, in that email you also suggest that Nile Rogers might win for Musical Excellence, which surely scores some kind of bonus. Good thing I didn’t wait with my challenge, since in a few years I’d have no chance against your accumulating acumen.
Jared! I hope you’ve been well- I appreciate your keeping track of things for me- but don’t worry about who is ahead- these things are so arbitrary, that they are just informed guesses. Nevertheless, I look forward to seeing where we are at this time next year.
I noticed your examples of Weird Al improving with age are mostly from Alpocalypse. Indeed his magnum opus for my money, aside from what you mentioned, “TMZ” ridicules our celebrity-obsessed culture, “Craigslist” gives a pretty good “Caveat emptor” for what the site is really like, “Ringtone” in addition to being an amazing Queen homage does poke fun at what people will download, and “Stop Forwarding That Crap To Me” might be a little dated by now, as Facebook memes have replaced email forwards mostly, but who doesn’t know at least one person who does that? Mandatory Fun doesn’t have the same amount of social bite, but “Mission Statement” is a pretty good lampooning of corporate babble, “Sports Song” is a fun poke at college fight songs, “First World Problems” and “Tacky” about our consumerist culture and demand for instant gratification, and “Jackson Park Express” both depicts public transit creeper while also depicting how Cat Stevens comes off in his songs while mimicking the general style.
That said, he also has really come into his own as nerd culture has risen to prominence: “All About The Pentiums,” “White And Nerdy,” “The Saga Begins,” the resurrection of “Yoda”… no coincidence, imo.
I gotta admit though, I still love listening to “Trigger Happy” from Off The Deep End, too. That was pure brilliance, even if we could never get that song played on the radio ever again with our current political and social insanity.
Thank you, Philip- I have had 28 comments on this post, and you’re the first one to mention the pick I thought would generate the most conversation- Weird Al. I hadn’t thought about that, the way nerd culture has proliferated due to social media was a godsend for Al.
Alex, this is a little off-topic and I highly doubt he makes your top 10, but what do you think Don Henley’s chances to receive a nomination as a solo artist? When I first thought about it a while back, I didn’t think much of it. After revisiting his 1980s work as well as his recent country album, I forgot how good his solo work really was. When Dave Marsh gave that radio interview months ago about the Rock Hall, he name-dropped Henley and mentioned that the latter was the “true genius” (I think that was Marsh’s wording, but close enough) of The Eagles’ legacy/success. I remember Marsh not speaking very highly of Glenn Frey, but it should be noted that was before the late musician’s death. Marsh even mentioned how he liked Henley’s solo work and someone influential like that on the committee always helps. With Sting receiving a solo nomination 2 years ago, I think it’s plausible for Henley to receive a nomination relatively soon (maybe within the next 3-5 years).
Hello Nick- I like Don Henley’s music as much as the next guy- he brought some literary qualities to the table that kept The Eagles from ever being boorish. In terms of merits, it’s hard to see Henley getting in before other solo artists like Sting, Phil Collins, or even Steve Winwood or Stevie Nicks. But I do appreciate what he did- I can’t think of a more affecting image than “I saw a dead-head sticker on a cadillac”- one line that perfectly illustrates a meaningless countercultural affectation in the midst of conspicuous wealth. If Henley’s career has any significance, it’s that he maybe became closest to being “that guy” who challenges the social norms and consumer culture of the 80s- the tabloids in “Dirty Laundry”, Reaganism in “The End of the Innocence” and so on. Given that the Nom Com feels the same way, that may help him.
1. Kraftwerk
2. Janet Jackson
3. The Smiths
4. New Order/Joy Division
5. The Spinners
6. King Crimson
7. Carole King
8. Moody Blues
9. Yes
10. The Jam
I’ve been able to deduce from the lists of others that it’s either The Moody Blues or Judas Priest that isn’t in the top ten as I’m 100% certain that Kraftwerk, Janet Jackson, The Smiths, New Order/Joy Division, The Spinners and Carole King will all be in the Top Ten and I’m about 90% sure that Yes has to be there as well.
That leaves three spots. King Crimson is a no-brainer. I could see you ignoring Judas Priest outright. They’re important, but important enough? So, I’ll go with The Moody Blues.
I’m rounding out the top ten with The Jam just because I can’t possibly see someone doing a list that included The Dead Kennedys and Black Flag and somehow ignoring The Jam entirely.
I’m sure your Honorable Mentions post AFTER you reveal the Top Ten (please don’t do it before then) will lead to the largest amount of discussion thus far. Nick Drake may haunt you from beyond the grave…
Have had some thoughts brewing, so where to begin?
First off, the induction of The Small Faces/Faces was certainly a mistake, but not entirely for the reasons you might immediately consider. I take umbrage with the joint induction itself because the two acts had almost nothing in common stylistically, nor was the membership change minimal enough for people to really think of them as the same band. The bigger issue with the joint induction is that it makes the argument that neither act could stand on its own as far as the Hall is concerned (and that may be true), but I also feel that having a second act attached to the other actually diminishes the case for a lot of people.
To some people, such as one of our posters, The Small Faces were a truly phenomenal force of nature, adapting pop-rock tropes to the realm of psychedelia. To some of those people, The Faces were merely a third-rate bar band. Other rock aficionados such as myself see The Small Faces as a second-rate Hollies (who were a second-rate everybody else) and find that The Faces were an incendiary band brimming with an otherworldly amount of talent and bridging the gaps between rock’s earliest stars, classic blues and The Black Crowes.Stewart was at his most vocally impressive (see “Stay With Me”) while the rest of the band could absolutely pummel you with their chops. Then take one look at “Ooh La La” and you’ll quickly realize that there was a LOT more here than just a training run for Rod.
So, by all means, investigate BOTH acts and don’t just lump the two in together, but I’d personally recommend boring yourself through a hits discs from The Small Faces and then diving head-first into ALL of the LPs from The Faces.
Hey Casper, I think there’s a case for and a case against the lumping of Small Faces and Faces, but also a case against it, too. Ultimately, the biggest case against it was the fact that the Rock Hall didn’t buy into it so much themselves. As I mentioned on RHM at the time, Little Steven called them “both bands” in his speech. Jann S. Wenner himself called it a Yardbirds-Cream-Led Zeppelin situation…. except each of those three bands all got their own separate inductees. Ultimately, the Hall couldn’t properly defend their own decisions. On my homemade series of CDs, I separate them and give each one a song.
On the subject of mistakes…
Percy Sledge is certainly the worst Performer inductee and it’s improbable that he’ll ever be topped. That was back in the day when voters would receive a CD featuring ONE song from each of the nominees (or at least I still think they did up to that point). You can sure as hell bet that “When A Man Loves A Woman” will stand out over almost anybody else’s top track.
Sledge himself had a very admirable career, pumping out very strong soul records throughout the sixties, but he was rarely ever transcendent. I really doubt anybody that checked the box for the guy really did so thinking about the entire breadth of his oeuvre. Nine nominees back in the day and I’m certain a lot of people just skipped the ones they either really disliked or barely knew anything about.
The weakest discography on an objective level for a Performer inductee? That would have to be Joan Jett & The Blackhearts. A very notable figure in rock history and her faceless backing band pump out forgettable LPs chock-full of covers (as was noted practically everywhere on the Rock Hall Web before and right after her induction announcement). Joan Jett is certainly important and would fit nicely in the Musical Excellence category given her overall image and early work with The Runaways, but it’s once again proof that a lot of the voters don’t know what the hell they’re talking about. Once again, a few killer Classic Rock cuts can make the difference.
For a great time, the act I liked the least of any inductee happened to be KISS. There isn’t a single song they have that I can personally attest to enjoying and none of what they’ve done on a musical level can be considered art. Part of me enjoyed their dismissal from Cleveland for so many years as I saw them as nothing more than a cruel marketing gimmick on the level of Garfield. However, I also couldn’t for a second deny the massive influence they’ve had on so many people, particularly guitarists and it just seems absolutely petty for them to have been overlooked for decades.
So, which Performer inductee do I have no time for NOW? I probably shouldn’t do this on this wonderful blog, but I might as well come clean, I detest Chicago. There is nothing and I mean nothing about that act that I can even want to stop and consider favorably regarding their candidacy because I need buckets to collect all of the ear blood that oozes out of me whenever I hear their Muzak. I’m biased to the extreme and don’t see the point of them being included in the canon whatsoever, so it’s fine to ignore me on that end. But I certainly am damn curious as to just WHY anybody would consider them to have been the top omission at any given point. That would be an essay well worth reading.
Re: Sledge… I could almost get behind your hypothesis of some voters being left with Sledge as one of the five after they eliminated the ones they hated, except if Robert Hllburn is any indicator, many simply would not for a full five candidates.
Re: Jett… what else can you say about someone whose discographys highlights include their cover of the Mary Tyler Moore Show’s theme song?
Re: Chicago….I’m sure Roy would be more than happy to post his dissertation, er… fantasy induction speech ONE MORE TIME!!
Oh, and worst nominee is painfully obvious. Little Steven (presumably) looked at some of his vinyl collection and remembered having a certain fondness for The Sir Douglas Quintet.
Really? Worse than Conway Twitty?
Heh. Good call. I mean, Conway is a legend, but that’s basically the wrong hall entirely for him.
That one was egregious. It’s a classic case of a group of experts confusing something that is interesting and worthy of discussion with something that is deserving of permanent enshrinement. I’d be curious to know how many votes, if any, they received.
I think with the Sir Douglas Quintet, it was a case of trying to validate a largely marginalized subgenre: Tex-Mex music. If SDQ and Los Lobos were enshrined, I think that would’ve been it for that subgenre (unless they wanted to go for solo Doug Sahm as well, which would have been an extremely hard sell).
Conway Twitty, I don’t know what they were thinking. I know he was rock’n’roll early on, and was hyped to rival Elvis, but it was never close. Never. Elvis’s biggest rival in that time period was Pat Boone. Not Conway Twitty, not Ricky Nelson… Pat Boone. So yeah, Pat Boone would’ve made a better nominee than Twitty.
It makes a lot more sense when you explain it that way, but it still strikes me as as nominating an iffy artist for a noble reason.
Pat Boone is interesting as a Presley rival. He certainly had the hits, but also a much more clean-cut image- to say nothing of whitewashing rock and roll records, removing nearly every vestige of soul. Boone may have been Presley’s closest rival in terms of commercial firepower, but Boone was a narc-ish antithesis to everything holy about rock and roll.
Finally, here’s all of the acts that you didn’t list so far that have been inducted over at FRL’s Rock Hall Revisited/Projected page.
Bad Company
Barry White
Bauhaus
Blur
The Buzzcocks
Captain Beefheart
The Carpenters
Connie Francis
Def Leppard
Dire Straits
Emerson, Lake & Palmer
Faith No More
Harry Nilsson
INXS
The Jam
Jan & Dean
Janet Jackson
Jim Croce
Joy Division/New Order
Judas Priest
King Crimson
Love
The Marvelettes
Massive Attack
The Moody Blues
Motley Crue
My Bloody Valentine
Nick Cave
Nick Drake
The Offspring
Ozzy Osbourne
Pantera
Pavement
Peter, Paul & Mary
The Runaways
Scott Walker
Siouxsie & The Banshees
Silver Apples
Sparks
The Specials
The Spinners
Steppenwolf
Stone Roses
Suicide
Television
Thin Lizzy
Tommy James & The Shondells
X
XTC
It would probably make sense to briefly touch upon why some of these failed to make your list. Obviously, there’s not enough room to begin with, but I imagine some of these candidacies stand out as particularly weak in your mind.
Exactly. In some cases, its taste (I don’t do well with post-punk and experimental). In others, they were genuinely good artists that just lacked that special something to make them stand out. And in a few cases, I was overtly prejudiced against them.
Just noticed Ozzy Osbourne actually made the top 100 list here, so my bad on that one.
Also, in the front page on the blog for this rank-down, you state that the 2016 class is for artists who did their first record in 1991 or earlier. I’m sure you meant 1990 as we all know Pearl Jam’s debut came out in 1991 and they aren’t eligible until the next class, 2017.
Also forgot to list Kraftwerk, The Smiths and Yes in the above list…although a lot of us are expecting them to actually make the top ten.