Posts Tagged ‘@Link_Wray’

I’m on a bit of a #RockHall2018 kick, so why stop at evaluating the nominees? Let’s also explore some options regarding who might give the induction speeches for the various artists on the ballot. This can be a tricky thing. First choices may be unavailable or unwilling to come (what- you think the Rock Hall didn’t try to reach out to Bob Dylan when inducting Joan Baez?) And on occasion the Hall steps in it by choosing an inductor who is unknown to the honoree; that happened when the Black Keys were chosen to induct Steve Miller. Miller had never met them before and wasn’t sure who they were!

I tried to select persons who would be on good terms with the inductee- either an influence of theirs, or someone influenced by them, or a friendly contemporary. When possible, I tried to shake up race and gender considerations. The 2016 ceremony was partly a near-disaster because only white male acts inducted the white male acts, and a black man inducted a group of black men (NWA). It didn’t confound stereotypes or show the complexity of rock’s history. To the contrary, some of the better speeches over the years had inductees of a different race and/or gender than their toastmaster. (Think Patti Smith inducting Lou Reed, Questlove inducting Hall & Oates, and Tom Morello inducting KISS).

So here are my best guesses:

Bon Jovi: I had some problems with this one; there aren’t very many great artists working today who took their cues from Bon Jovi. I considered Adam Lambert and Bryan Adams, but ultimately landed on two men who carried on the legacy into the 90s: John Rzeznik and Robby Takac of the Goo Goo Dolls. They toured together in the early 2000s, and understood their instinct for anthemic stadium rock and it’s appeal to teenage girls.

Kate Bush: Bjork and Peter Gabriel would both work- and might be coaxed into a performance. But Bush started out as a protege of David Gilmour, and she should be inducted in the same manner.

The Cars: There is no shortage of 21st century artists who harnessed The Cars’ melodic instincts and embrace of electronic backdrops. Weezer, though, stands out among them- right down to the backward-looking glances at 50s rock that inspired “Buddy Holly” just as it inspired “My Best Friend’s Girl.” Rivers Cuomo, come on down.

Depeche Mode: Let’s get Trent Reznor. Depeche Mode was an important antecedent to Nine Inch Nails, and this would hopefully grease the skids for NIN’s own induction into the Rock Hall.

Dire Straits: It writes itself: Sting. You definitely want him to sing “I want my MTV” don’t you?

Eurythmics: So– soulful singing that experiments with electronica. Florence Welch from Florence and the Machine would fit that bill nicely, giving the Hall a contemporary artist to include in the ceremony.

J. Geils Band: This is hopefully a theoretical exercise, but Chris Robinson, the frontman for The Black Crowes, is a big fan. They also toured together a handful of years ago.

Judas Priest: Hear me out before you slam me.  Let’s get one of England’s loudest bands- Spinal Tap- to induct Judas Priest. Wouldn’t it be great to have Michael McKean and Christopher Guest in wigs and outrageous regalia on stage inducting their fellow British metal royalty? And since Spinal Tap was famously bad heavy metal, they are well-poised to show us what good heavy metal really is. And the guys in Judas Priest, I’m sure, would be good sports about all this, and are big fans of This Is Spinal Tap.

L.L. Cool J.: I am afraid that the Rock Hall will portray Cool J as more ‘street’ than he actually was, if he were to be inducted. Let’s acknowledge him for what he is- a very good, historic rapper whose chief contribution isn’t fighting the power, or picking fights with the police, but making rap a mainstream presence that transcended racial lines. Queen Latifah had a similar significance, and the two starred together amicably in the film Last Holiday.

MC5: Fred Smith’s nickname lent itself to Sonic Youth, which would make Kim Gordon an extraordinary choice for this task. (Patti Smith, another woman who was involved in a recent Rock Hall ceremony, might also be involved as Fred’s widow.)

The Meters: Again- the odds of The Meters getting inducted are so low as to make this a mere thought experiment. But I’d go with two artists who used The Meters as backup, and know better than anyone else how good they are. Dr. John and Patti LaBelle would be my two choices.

The Moody Blues: A tough one. The temptation is to double-dip with someone like Peter Gabriel or go to the progressive rock well with someone like Ian Anderson. But Alan Parsons would also do a fine job- and has worked with this evergreen band on one of their perennial Moody Blues Cruise outings.

Radiohead: Possibly the biggest name getting inducted in 2018 deserves an equally big name giving their speech. Two artists who have inspired Thom Yorke would both do an extraordinary job: Michael Stipe (who hit it out of the park inducting Nirvana) and Tom Waits.

Rage Against the Machine: It’s only fitting that someone else who pointed fingers and challenged an unjust system through his music should do the honors. Morello’s now-collaborator Chuck D of Public Enemy would be an apropos choice indeed.

Rufus w/ Chaka Khan: So…Rufus’s keyboard player was David “Hawk” Wolinski. In the late 1970s, he happened to write a handful of songs with…Danny Seraphine. Yup. The former Chicago drummer surprised everyone in the Barclays Center with a funny, warm, and utterly profane speech when his band finally made it into the hall. Let’s bring him back to the stage to induct this funky R&B outfit.

Nina Simone: This is another joint induction- but I’d lobby strongly for Elton John and Mary J. Blige to join forces. Elton fundamentally knows his shit about Simone’s life– he even named his piano Nina and recorded a version of “Young, Gifted, and Black” when he was cutting cheap soundalike records for discount labels in the late 60s. Blige, for her part, was originally contracted to play Nina Simone before scheduling delays led to her losing the part to Zoe Saldana. Together, with Elton on the keys and Blige at the microphone, they could potentially give the performance of the night. (They already worked together on this kickass version of “I Guess That’s Why They Call It The Blues.”)

Sister Rosetta Tharpe: You know who listened to Tharpe as a young girl? And not only listened, but felt empowered to take guitar lessons and find ways to bring gospel and rock together? Mavis Staples. That’s who.

Link Wray: Robbie Robertson just took part in a documentary explaining Wray’s preeminent role in Native American contributions to rock and roll. It seems like the former guitarist for The Band should do the honors.

The Zombies: For many years, The Zombies were a forgotten band following their breakup. But in the deepest, darkest, late 70s, Paul Weller, the Modfather himself, remembered the lessons learned from Odessey in Oracle– which he frequently cites as his favorite album.


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The news leaked a little early, but around midnight on 5 October, we learned the identity of our nominees for the Rock and Roll Hall of Fame’s class of 2018. There were plenty of returning nominees: The Cars, LL Cool J, Link Wray, The Zombies, Depeche Mode, MC5, Rufus feat. Chaka Khan, J. Geils Band, The Meters, and Bon Jovi. We also have a collection of snubs receiving their first nomination. Two of them- Sister Rosetta Tharpe and Nina Simone- were theoretically eligible for the Rock Hall’s first class back in 1986. They are rounded out by Moody Blues, Dire Straits, Eurythmics, Judas Priest, and Kate Bush. Radiohead and Rage Against the Machine earned a nomination on their very first year of eligibility.

Wow! That’s quite a group. First impressions? It’s hard to go wrong with any of these. Almost. J. Geils is a joke, and I’m not fond of the Bon Jovi pick for reasons I’ll get in to…but you could make a fine class out of this batch if done properly. Lots of longtime snubs are addressed in acts like The Moody Blues. Metal-heads will be vindicated by Judas Priest finally earning a nomination.

A few things stand out, though. Others have noticed this- but this ballot is very light on R&B. (Remember, R&B is narrower than “black artists who don’t rap.”) Simone and Tharpe aren’t really in that genre, as jazz and gospel performers respectively. That leaves  Rufus/Chaka and The Meters. That’s…pretty astonishingly low, especially since these are two of the least likely acts to actually get enough votes. Compare that to the ballot for the Class of 2015 where Chic, War, The Marvelettes, The Spinners, and Bill Withers all vied against one another.

Two other omissions strike me as odd: Nine Inch Nails and Janet Jackson. I would have bet the farm on the Rock Hall moving heaven and earth to induct Reznor in Cleveland, a town he is deeply rooted in. For whatever reason, that didn’t happen. Janet was also passed by- an odd choice given how well her nomination was received during the last two years and the guaranteed ratings boost she would give the HBO special.

And then there’s Sister Rosetta Tharpe. I have mixed feelings about this. I’m thrilled that she’s now on the Rock Hall’s radar; she was listed as #1 when I ranked Early Influence candidates this summer, and that’s just the issue. Her best work was in the 1940s and early 1950s– an Early Influence by any fair assessment. The prospect of her getting in as an artist isn’t unprecedented- Muddy Waters is in as an artist too, and he peaked during that same period. But it’s very weird, and raises questions about whether this nomination is a bad faith effort to just grease the skids for an Early Influence or Musical Excellence nod. In fact, it was unusually ballsy for the Rock Hall to nominate a total of three acts whose first record came out before 1960: Tharpe, Nina Simone, and Link Wray.

And, frankly, I’m not thrilled with the Bon Jovi pick. I’m talking an awful lot of smack, given that I included them in my 100 Rock Hall Prospects, but this continues a depressing trend of choosing uber-commercial acts who don’t clear the Musical Excellence bar.  The Journey nomination seemed just a bit fishy to me last year, and Bon Jovi coming back- suspiciously after mending ties with the Rock Hall and re-donating their swag for exhibition- also raises concern. Look- if you like hair bands, great. Good on you. But musically, Bon Jovi is not in the same class as the other 18 musicians on this ballot. It’s true. And yet, they are currently leading the Rock Hall’s fan poll. That poll didn’t exist when they were first nominated back in 2011. But since it was initiated, the winner of the fan poll has always been inducted. In fact, at least three of the top five artists who win the fan poll get in. That’s disconcerting when black and female artists with greater musicianship tend to sink like stones in the public poll as hoards of suburban baby boomers vote for their favorites- look at the Meters and Rufus and Kate Bush rounding out some of the last places. If the trend holds and Bon Jovi gets in, who is next– Duran Duran? Def Leppard? Foreigner? Do they all get in before Kraftwerk and The Smiths too? Where does it end?

Finally, it’s hard to see who had the most influence on making this ballot. Tom Morello’s hand can be seen clearly in MC5 and Judas Priest’s nominations- both artists the RATM guitarist advocated for. But Questlove’s involvement cannot be readily perceived, nor can David Grohl’s. Those expecting a Soundgarden nomination were disappointed.  Similarly, my theory about Paul Shaffer nominating Warren Zevon also turned out to be bunk.

But let’s re-examine my predictions. I am proud to say that I got nine right: Radiohead, Rage Against the Machine, The Zombies, Eurythmics, LL Cool J, Link Wray, Nina Simone, J. Geils Band, and Moody Blues. Irritatingly, lots of artists I’ve predicted in other years showed up this year when I didn’t pick them: Judas Priest, The Meters, Kate Bush, Dire Straits, and MC5 all fell into that category. Troy Smith got an impressive ten right- congratulations!

For all my complaining, my two pet favorites, The Zombies and Nina Simone, are both nominees this year. If nothing else, I’m very grateful for that.

Hopefully this weekend, I’ll flesh this out, as is my custom, by rating each of the nominees on three scales: 1) how much I personally like them; 2) how deserving they are of induction; 3) how likely they are to be inducted.

Oh, and as a point of trivia- the top ten artists in my 2017 update to my Rock Hall Prospects have all now been nominated at least once: Moody Blues, Kraftwerk, Nina Simone, Carole King, Janet Jackson, Judas Priest, The Spinners, Dire Straits, and The Smiths. In fact, everybody in my top 15- with the sole exception of Mariah Carey- has  been nominated as well.

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I’m ready. Why wait? I realize this post is coming early this year, but I’m comfortable with my predictions, and don’t foresee changing them.

Somewhere in New York City, a group of about two dozen men and women will come together and put together the ballot from which the Rock and Roll Hall of Fame’s Class of 2018 will be chosen. Some of these will be longtime record industry executives. Others will be musicians, critics and other music writers, academics, and even the odd former MTV VeeJay. This post will try and guess who they will choose, based on previous ballots, news stories, and plain old intuition.

The committee deciding this ballot will have been under a certain degree of public pressure. Some progressive and feminist voices have urged the Rock Hall to work harder to induct worthy female acts, most notably the Inspirer series Induct These Women. This isn’t unwarranted; out of the last four years’ 23 performer acts inducted, only three were women. Only four out of nineteen acts nominated last year were women or included women in their lineup. On top of that, the Nominating Committee has to face a hard reality. Baby boomers continue to dominate the ranks of voters, and nearly every 70s classic rock favorite that gets on the ballot will be inducted, usually at the expense of a more significant act that didn’t have the hits (Kraftwerk) or a more deserving act from the 80s or 90s (Nine Inch Nails, Janet Jackson.) On the other hand, there is the faustian bargain with HBO to consider as well. Bigger acts with mass appeal net bigger audiences for the pay-per-view special, a consideration that may have encouraged Chicago, KISS, and Journey’s nominations after years of being snubbed.

My best guess is that the Nom Com will eschew the Seventies Classic Rock feel of the last few years. Part of this is because there aren’t too many no-brainer acts left from that era. We’d all like the Moody Blues or The Cars to get in one day, but other than that, Bad Company, Styx, and EL&P don’t have quite the same urgency as Deep Purple or Yes once did. Frankly, for all the criticism thrown their way, the Rock Hall has chipped away at inducting the most egregious snubs from that era with remarkable efficiency in the last five or six years.

One factor guiding my choices was a trend that I noticed, which may or may not be significant in the end. Unless the Rock Hall is really pushing an artist (think Chic or NWA), most repeat nominees have shown up two out of the last three years. A striking number meet that criteria: The Spinners, Chaka Khan, Nine Inch Nails, The Smiths, The Cars, Yes, Kraftwerk. I will try to guess partly with this trend in mind. Think of it like the three-field rotation system used in fiefdoms across Medieval Europe. Any given piece of land will lay fallow one-third of the time to let the soil rest and replenish its nutrients. Similarly, snubbing an act can generate as much hype (hey! why isn’t so-and-so on the ballot this year?) as nominating them. All this is to say- if an artist has been nominated the last two years in a row, I’m probably giving them a pass this time.

Also complicating this process is that we just don’t know how many acts will be nominated. In the last four years, we’ve had 15 (Class of 2016), 16 (Class of 2014), and even 19 (Class of 2017) artists on the ballot. So, here’s what I’ll do. I’ll list 15 acts that are definitely on my list. #16 will be contingent on their being 16 nominees, #17 if there are 17 nominees, and so on.

Radiohead: This year has been marked for some time as “the one where Radiohead gets in.”  For years, the Rolling Stone Industrial Complex has been drilling OK Computer‘s greatness into our heads. The last time that Rolling Stone’s experts gathered to name the 100 Greatest Artists of All Time, Radiohead placed #73. When VH1, where many other Nom Com members have roots, did the same, Radiohead did even better (#29). All signs suggest that they will be nominated on their first possible ballot; Radiohead’s presence is about as safe a bet as I can imagine.

Janet Jackson: And now, my exception to the three-field rotation theory. I think Janet is one of those acts that the Rock Hall really wants in, and people like Questlove are on hand to make sure that happens. Janet is one of the most significant artists of post-1980 R&B, a pioneer of visual style and production, who also happens to have one of the biggest caches of Top Ten hits of any modern Top 40 artist. The fact that she’s not in is a veritable justice malfunction. Worthy on her own merits, her induction would also alleviate criticisms that the Rock Hall hasn’t been fair to artists of color, women, and post-baby boom acts. Besides, you need a showstopper for the HBO special, and Janet is perhaps the best all-around entertainer on this list.

L.L. Cool J: The Northumbrian Countdown also projects L.L. Cool J to return to the ballot for the first time since the Class of 2014. Since that year, the Hall has not run two hip-hop/rap artists on the same ballot in order to clear the table for NWA, and then 2pac. This leaves L.L. Cool J. remaining as probably the most historically significant rap artist currently eligible. His recent Kennedy Center honors only adds to his renown. As an added bonus, enough time has passed to make people forget about the god-awful “Accidental Racist,” whose only virtue was giving me an example of false equivalency to use in my history classes.

Nine Inch Nails: If the two-thirds theory holds, we can welcome Trent Reznor back on the ballot after a surprising absence last year. Since the ceremony will be held in Cleveland this time around, the Rock Hall will surely not want to miss out on the fantastic optics of nominating this eminent industrial act on its home turf.

Soundgarden: The tragic suicide of Chris Cornell earlier this year is likely to resonate with the Nominating Committee. Both Tom Morello and Dave Grohl knew him well; Grohl through the early grunge scene in Seattle, and Morello through their collaborations in Audioslave. Soundgarden was a solid contender for “the next alternative/grunge act on the docket” even before this sad occurrence. It’s very likely that Morello and Grohl will use their political capital to try and honor their departed friend.

The Zombies: So, this year, one of the only British Invasion bands still touring went out and performed Odessey and Oracle (one of Rolling Stone‘s Top 100 albums of all time, btw) in its entirety, often to packed houses and rave reviews. On top of this, The Zombies got their very own mini-exhibit in the Rock Hall this July (alas, it opened just a week after my own visit!) Given their influence on indie music and mods like The Jam, the Zombies had an outsized significance that belied their short heyday and limited oeuvre.  The Hall wants them in, and so do I.

The Smiths: This is another returning nominee. It seems like the Nom Com has agreed that this band is the 80s alternative choice they will focus on, perhaps at the expense of The Cure and The Replacements. While Grohl’s addition to the Nom Com got most of the attention, I’ll bet you didn’t notice that MTV and VH1’s Sandy Alouete is also aboard now. When she worked at Reprise Records one of her clients was…wait for it…Morrissey. Between this and The Smiths’ appearance on the ballot for 2015 and 2016, I think it’s fair to think they might show up again. Unless Morrissey wore out his welcome with Alouete (and since it is Morrissey we are talking about, that’s entirely possible).

Nina Simone: This is a risky prediction. She isn’t listed on Future Rock Legends’ master list of previously considered artists. Her connection to rock and roll isn’t obvious and requires a bit of historical context and critical thinking. But look at Joan Baez, someone who admitted in her own induction speech that she wasn’t entirely a rock-and-roller. She got in easily the first time she made a ballot, and her influence on Dylan, Joni Mitchell, and every Lilith Fair artist made her selection fairly uncontroversial. Now that Baez is in, I think the Nom Com might pick another woman with outspoken politics, this time a jazz and blues piano player who aligned with Black Pride and stared down the Jim Crow system. Of course, her suitability is enhanced by the vast number of R&B stars who look up to Simone, not the least of which is Beyonce, who put in some Nina ‘easter eggs’ in her Lemonade videos. Just last month, the Turning the Tables project listed her I Put A Spell On You album as the third greatest album by a woman.

War: This may be indicative of nothing, but this multi-racial funk band has been nominated regularly in three-year intervals: 2009, 2012, 2015…and 2018? The Nom Com loves 70s soul; Questlove and many others think highly of them. This is a band that’s easy to nominate, but perhaps hard to induct.

Link Wray: His nomination for the Class of 2014 was greeted with acclaim by rock historians and record collectors, even if he didn’t get in. This 1950s power chord innovator may get another chance, thanks to the impending release of the film Rumble, exploring Native American contributions to popular music. The film boasts involvement from two Nom Com members, Robbie Robertson (who is himself of Mohawk heritage) and Steve Van Zandt.

Warren Zevon: One of the highlights of last year’s ceremony was David Letterman’s speech for Pearl Jam, arranged at the last minute when Neil Young was too ill to do the honors himself. Letterman’s funny, moving panegyric to the famous grunge band ended with a wish that his friend and frequent Late Show guest, Warren Zevon, would be inducted. Letterman might get his wish sooner than he expects. The Hall loves nominating elliptical, but darkly poignant, singer-songwriters: Leonard Cohen, Randy Newman, Tom Waits: all of them were not only got nominated, but inducted with minimal fuss. Happily, Letterman’s maestro, Paul Shaffer, is on the committee and usually serves as music director for the ceremony. He’s in a good position to facilitate werewolves in Cleveland this year.

Roxy Music: There is nothing in the news that suggests this will happen, but geez…it’s got to be one of these years, right?

J. Geils Band. It seems unlikely that the Hall would nominate so many deceased artists, but J. Geils got a nomination last year, so it is unlikely they would be denied after the death of their namesake member. At any rate, the Rock Hall is pretty fond of the blues, so they’d be under consideration even without a visitation from the “death fairy.” The Nom Com often takes a “wait your turn” approach, and it seems J. Geils is somehow ahead of Johnny Winter and John Mayall & the Bluesbreakers in the “white boys playing the blues” queue.

Eurythmics: The need for more women in the Rock Hall could redound to the benefit of Annie Lennox. I considered solo Stevie Nicks for this spot as well, but the Hall loves soul, and few people did more to infuse the sometimes sterile feel of new wave with soulful vocals. Lennox has been fairly visible the last few years, between appearances at the Grammys and an acclaimed album of standards. From their history-making videos, to the overt girl power of “Sisters are Doing It For Themselves,” the Eurythmics tick all the boxes we might associate with likely Rock Hall nominees.

Rage Against the Machine: And I’m bookending my original 15 picks with another act eligible for the first time this year. Here’s what I think will go down: Tom Morello’s philosophy is such that he’ll probably say something like, “it’s bullshit that I get to be on the nominating committee that might put my band in the Rock and Roll Hall of Fame. It’s also bullshit that Rage Against the Machine could get in before MC5, before Judas Priest, maybe before Nine Inch Nails, and other bands that influenced us. Please- don’t nominate us this year.” I’m willing to bet, though, that someone on the committee makes a case like this: “right now, the machine is in full force. A bloodthirsty form of capitalism is running amok. Bigotry is going unchallenged. Law enforcement is killing unarmed black men in the name. We need Rage Against the Machine now, more than ever.” And I’m willing to bet that Morello relents.

So those are my predictions if there are fifteen nominees, the historical norm for the last decade or so. But if there are sixteen, add The Shangri-Las. While fellow-girl group The Marvelettes have been nominated before, The Shangri-Las probably have more contemporary relevance, and at any rate, Marvelettes supporters were likely the sort of committee members who got axed in the Great Purge of 2015. The Shangri-Las had a darker, more serious edge to them, influencing Amy Winehouse, Blondie, and countless others.

If there’s seventeen, add Moody Blues. It’s astonishing that they haven’t been nominated before. While there’s little to suggest any real movement in their favor this year, the Rock Hall’s trend of nominating popular hitmakers from the 1960s, 70s, and 80s is undeniable. I am really loathe to predict this band- not because I don’t like them, but because their presence would almost certainly block a Zombies induction.

Eighteen nominees? Make it The Spinners. Cliff Burnstein, a known advocate of theirs, remains on the committee, and are enjoyed by Questlove as well. My two-thirds guideline would also predict a return nomination by The Spinners.

And if last year’s total of nineteen nominees is repeated, my final prediction would be PJ Harvey.  It’s a stretch- she also seems to have not been considered before by the committee, but then, she only became eligible last year. One possible advocate to look for would be Lenny Kaye. Kaye was a member of the Patti Smith Group, and Harvey is one of the more important heirs to Smith’s legacy. Critics such as those on the committee have usually held PJ Harvey in great esteem, and when Rolling Stone met to determine the 500 Greatest Albums of All Time, an eyebrow-raising three of them were hers. (To emphasize how impressive that is, consider that Elvis, Madonna, The Clash, Marvin Gaye, and Michael Jackson also had three albums on the list.)

So those are my best guesses for the ballot this year. Remember, these are merely who I ~think~ will be nominated, not my picks for the most deserving of the honor. All told, I think this would be a strong ballot if it happened, although some would decry its lack of pure classic rock.  Even with 19 picks at my disposal, though, there were many other artists I wish I could have included. I don’t have any country, or heavy metal, or true punk artists on the list. I’m also worried that there are too many deceased artists among my projections.  Simone, Wray, Zevon, Chris Cornell, J. Geils, and all but one classic-era Spinner are gone. And it pained me to leave off Devo (which shares NIN’s Ohio origins), Depeche Mode, Foreigner, Carole King, Kraftwerk, Joe Cocker, Judas Priest, A Tribe Called Quest, and lots of others.

What do you think of my predictions? If this were actually the ballot, I’d probably vote for Nina Simone, The Zombies, The Spinners, Janet Jackson, and Eurythmics. But the six artists who would get inducted would probably be Radiohead, Janet, Nina, Moody Blues, Nine Inch Nails, and LL Cool J.

In the weeks ahead, keep your eyes peeled for other predictions- most of the other Rock Hall watchers are listed on my blogroll, and their writings are definitely worth a look. When the ballot is finally announced sometime in October, I hope you’ll revisit the Countdown as we pick it apart and try to guess who will be inducted.


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Welcome to our fourth chapter in the unfolding series, The 100 Greatest Rock Hall Prospects, looking at five score eligible artists most deserving of induction into the Rock and Roll Hall of Fame.  Last time, our ten prospects were heavily weighted toward the 90s and beyond.  This group is a bit more eclectic, bookended by  1950s legends who are unjustly forgotten by the wider public.  In between, there’s the customary mix of classic rock, blues, hip-hop and other important genres critical to the development and evolution of rock and roll.  Also, out of my 100 Rock Hall prospects, I’m ashamed to say that I have only seen six of them perform in person.  (Hey, as my blog shows, I also love Disney World too, and I can’t afford two expensive hobbies.)  Two of those six- #66 and #64- are in this post.

70.  link wrayLink Wray:  How much do you weigh influence, how much do you weigh longevity, and how much do you weigh chart performance?  At the center of these questions stands Link Wray.  He had a total of one top 20 hit.  But that hit was “Rumble,” a fierce instrumental evocative of street fights in an age where rockers had brass knuckles, not contract riders.  Pete Townshend, Eric Clapton, and Jimmy Page have all sung his praises.  His records are probably the first ones to use power chords and intentional distortion.  On the other hand, the Hall is a public institute, and his catalog- perhaps even “Rumble”- isn’t largely known to the wider public.  So what you think about Link says a lot about what you want the Rock Hall to be: a museum to educate?  A place to celebrate success?  Whatever you believe, the Hall has taken notice of Wray: he has friends on the Nom Com, and his lone nomination for the Class of 2014 generated lots of positive buzz.  But the last two years, not a single 50s act was on the ballot.  Is the Hall giving up on these acts? We had a purging of early rock and roll experts from the Nominating Committee this year, which may give us one clue that the Hall wants to pivot out of the 1950s.

69.  johnny winterJohnny Winter:  The last few years have been good ones for blues fans who follow the Rock Hall.  Albert King snuck into the Class of 2013 as a performer, when everyone thought that his presence on the ballot was a stalking horse for an Early Influence induction.  The Class of 2015 was even more auspicious, with two acts, Stevie Ray Vaughan & Double Trouble and the Paul Butterfield Blues Band getting in.  One obstacle, though, is that a lot of great bluesmen are better candidates for Early Influence than as rock-era performers.  Tom Lane has a terrific catalog of blues greats deserving of Rock Hall recognition, but almost all of them will get in as Early Influences, their careers having peaked before the beginning of the rock era.  So- whither the bluesman?  It seems to me that Johnny Winter would be the next great blues prospect for the Rock Hall as an era-appropriate performer.  Although his death two summers ago did not result in a Rock Hall nomination, his record is sound.  He was one of the great Texas blues guitarists, and an important trail-blazer for people like Stevie Ray.  He did one of the more polished sets at Woodstock.  He recorded three of the best blues albums of the period: Johnny Winter, Second Winter, as well as Johnny Winter And.  In these albums, his voice, halfway between a snarl and a wail, blazed an influential trail.  Bruce Conforth of the University of Michigan was only exaggerating by a modicum when he said, “any blues artist who picked up a guitar after 1968 was influenced by Johnny Winter.”  Winter also wracked up a number of accolades without ever seeming a critic’s pet: he earned multiple Grammy nominations, was on the cover of the first issue of Guitar World, and was the first white (in his case, really white) musician inducted into the Blues Hall of Fame.

68.  ozzy osbourneOzzy Osbourne:  F. Scott Fitzgerald once observed that there are no second acts in American lives.  That may be true, but there can be second acts for unhinged Englishmen who decapitate bats with their own teeth.  Heaven knows that the Hall likes ushering people into the Clyde McPhatter Club for two-time inductees, so I guess Ozzy has that going for him.  In some ways, solo Osbourne picked up where Black Sabbath left off, with dark themes and metallic ambiance.  In other ways, he exceeded Sabbath, heretical as that might seem.  Insofar as that’s true, much of the credit goes to his sideman Randy Rhoads, who was one of the greatest guitarists of his age, bringing classicist influence to the world of heavy metal.  Rhoads and Osbourne made two great albums together Blizzard of Ozz and Diary of a Madman before Rhoads’ untimely death in a plane crash.  He has an advocate too: Rage Against the Machine’s Tom Morello is on the Nominating Committee, and has expressed hope for getting Rhoads- in some fashion- into the Hall.  And for perspective, Morello named his son Rhoads!  Moreover, Ozzy played a role in keeping metal alive, using his name recognition to headline Ozzfest, which introduced the genre to new generations and brought dozens of bands a wider audience and recognition.  Osbourne may come across like a sentence-slurring buffoon, but there is method in his madness.

67.  bjorkBjork:  Although her best work was deep in the 90s, Bjork is eligible for the Rock Hall through a glaring technicality.  Her first album was recorded when she was an 11-year-old Icelandic wunderkind in 1977, easily clearing the Rock Hall’s 25-year requirement.  Once into adulthood, Bjork became the toast of the art pop world: enigmatic, elfin, and always pushing boundaries.  Bjork is, in her own words, a “communicator between all sorts of different worlds:” a kind of emissary or intermediary connecting the avant garde, academics, and culture vultures to the wider public.  When I listen to “Unravel” or “Army of Me,” I have the same “my mind has been seriously messed with,” feeling from the last time I was at the Tate Modern in London.  There was nobody like her: her work was danceable (4 #1 hits on the US Dance Chart, btw), thoughtful, engaging, and not nearly as pretentious as it could have been.  Out of all the Rock Hall prospects on my list, maybe nobody embodies the ideal of the artist as well as Bjork.  Will the Hall agree?  I avant garde a clue.

66.  three dog nightThree Dog Night:  When was the last time the Rock and Roll Hall of Fame successfully inducted a white, male artist who did not largely write his own material?  Believe it or not, it was in 2002, 14 years ago, with the Righteous Brothers.  For a plethora of reasons that have a lot to do with our cultural conditioning, we accept African-Americans and women who interpret songs as artists, but we dismiss white guys who do the same as inauthentic and hackish, even if we acknowledge their vocal talent.  Here, we arrive at Three Dog Night, a group that was repeatedly successful, even dominant, during some of rock and roll’s most competitive years.  I remember them fondly; a solid 8 or 9 of their songs were on regular rotation on the Oldies station when I grew up: “Celebration,” “An Old Fashioned Love Song,” “Mama Told Me Not to Come,” “Easy to Be Hard,” and on it goes.  Any band would have coveted one top-shelf soul singer; 3DN had a trio of them: Chuck Negron, Danny Hutton, and the late Cory Wells, each with a distinctive style.  Is there a more iconic moment from 1971 than Negron wailing, “Jeremiah was a bullfrog?” with such conviction that the line actually made sense?  They often arranged the songs themselves, and found a kind of top 40 nirvana that was tailor-made for their easy harmonies, and smart production.  A lot of critics are contemptuous of success, but earning a Top 20 song isn’t easy, and Three Dog Night had over a dozen in just five years.  In doing this, they provided necessary ballast for some important singer-songwriters whose careers were shaky at the time: Laura Nyro, Paul Williams, Harry Nilsson, Hoyt Axton, Randy Newman, and more.  Maybe your favorite bands rocked harder, or wrote their own stuff, but I see no reason to punish Three Dog Night for being roundly successful interpretive singers.  That’s the worst kind of rockist snobbery.

65.  big starBig Star:  Let’s explore where rock and roll was in 1972.  In some quarters, rock was getting soft, sensitive and introspective, courtesy of James Taylor, Jim Croce, Loggins and Messina and others.  In other quarters, metal was coming into its own, courtesy of Led Zeppelin, Black Sabbath, and Deep Purple.  And in still other sectors, solo artists coming out of the 60s were still trying to establish their own solo careers after their first band imploded.  Wings, Argent, EL&P, CSNY, Blind Faith, War, BTO, and countless other bands began as flotsam from the great sinking galleons of the Age of Aquarius.  In a way, Big Star could be counted among them too; its frontman was Alex Chilton, late of The Box Tops.  That’s him doing the impassioned lead vocal on “The Letter” at the tender age of 17.  Anyway, Big Star intuited that maybe the best direction to go isn’t louder or softer, but back.  Not in the sense of being backward-looking or reactionary, but to pull your punches, aiming for a hypnotically droll sound, as if everything is in the back of the mix.  Even the upbeat rockers in their catalog have a strange lulling effect.  They created some great songs along the way: “The Ballad of El Goodo,” “Way Out West,” “In the Street,” but you probably haven’t heard them very often on classic rock radio.  While the group tanked commercially, it was their fellow musicians who took note of their sound.  R.E.M., Pixies, Wilco, Counting Crows, and the Gin Blossoms all borrowed from their almost alt-country, power-pop sound.   As I said last year, the band is like a secret handshake among musicians, to see who really knows their history.  Big Star has so many fans in so many quarters of influence and power that I can’t see them not getting a nomination sometime soon.  Holly George-Warren, who is on the Nom Com, actually wrote a book on Chilton a couple years ago, which is a good omen.

64.  Indigo GirlsIndigo Girls:  What’s the point of blogging if you aren’t going to try and influence people?  Every time I blog about the Rock Hall, I get about 300 extra visitors from retweets and other publicity.  I want to use that limited, but very real, exposure to make perhaps the first credible case for the Indigo Girls in the Rock Hall.  Did they light up the charts?  No, but quite a few Rock Hall prospects didn’t either.  Their importance is in one of the only criteria that the Rock and Roll Hall of Fame explicitly states: excellence.  Their songwriting is sublime and thoughtfully mature.  “Galileo” talks about how we make the same mistakes over and over again in our lives.  “Closer to Fine” is about self-realization.  “Ship of Hope” is about abandoning optimism.  “Shame on You” challenges white privilege, including their own.  (I love the line “You know me and Jesus, we’re of the same heart; the only thing that keeps us distant is that I keep fucking up.”)  They managed to be relevant and even political without ever being shrill.  Amy Ray and Emily Sailers couldn’t have come at a better time.  In an age where electronics dominated music (not always a bad thing, of course), they offered a badly-needed acoustic alternative.  They resuscitated folk rock, mentored dozens of other fledgling female singer-songwriters, earned a handful of Grammy nominations (and absolutely should have won Best New Artist in 1990, which went to Milli Vanilli.)  Oh, and they were among the leading lights of Lilith Fair, an absolutely crucial component of women finding their own voices as artists in an industry dominated by men in the 1990s.  Our culture does extremely poorly by women of medium build over the age of 50.  If you aren’t conventionally sexy, nobody wants anything to do with you.  I take great comfort and hope in Ray and Sailers kicking ass in concert, proudly playing their own instruments and writing their own material, as talented, self-possessed middle aged women.  We really need to see more of that.

63.  Eric B. and RakimEric B. & Rakim: The name of the duo itself reflects the priority’s of rap’s early days: the DJ (Eric in this case) got first billing over the rapper (Rakim), in much the same way that Grandmaster Flash got billing over the Furious Five.  As such, they set the template for much of rap that would follow; as Stetasonic would later rap, “James Brown was old until Eric and Ra came out.”  It turns out that the decision to sample the Godfather of Soul in “Eric B. is President” was a portentous one that built the mold for funk-indebted rap for years to come.  I described Big Star as being in the back of the mix, but the same could be said of Rakim’s raps.  His style is slow, contemplative, and reflective, maybe best seen in “I Know You Got Soul,” a sharp contrast to the aggressive, combative style of many of his contemporaries who attacked the mic ferociously.  And the samplers ended up being sampled themselves: Eric B. and Rakim remain hip-hop and rap staples to this day, and Jay-Z, Nas, and countless others stand on their shoulders.

62.  The B-52sThe B-52s:  Do you think this is a silly choice?  You shouldn’t.  The essence of rock and roll is partying, and with their call-and-response lyrics, firm grasp of rock and roll bop, and Fred Schneider’s staccato vocals, there aren’t many bands that make people smile quite so readily.  They knew their history, too: listen to that organ riff from “Rock Lobster,” and there’s an artist who owes a debt to ? and the Mysterians.  Much of their appeal was in their backwards-looking nature: the bouffant wigs, the beach party thematics, and their unironic desire to have a good time embodied the sunniest aspects of 1960s pop.  But they were hardly reactionaries.  Although they never took themselves too seriously, they were in some respects important innovators.  They helped bring new wave music into the mainstream, but in a far different direction from Blondie and Talking Heads (both of whom got in years ago, by the way), embracing what new wave actually sounded like (campy sci-fi) and running with it.  What else?  Few acts had so many openly gay band members, and The B-52s helped create a safe space in the aftermath of the death of disco where sexuality could be expressed honestly and celebratorily.

61.  Johnny BurnetteJohnny Burnette & the Rock ‘N Roll Trio:  If you haven’t listened to “Train Kept A-Rollin,'” do me a favor and listen to it before reading any further.  It’s okay.  I’ll wait.  (Twiddles thumbs.  Whistles.)  Wasn’t that amazing?  It’s only a bit over two minutes, but it’s powerful and it’s relentless.  You won’t hear the Rock ‘N Roll Trio much on the radio, and for whatever reason, they aren’t remembered as nostalgically as their contemporaries.  But in terms of influence, and above all, quality, they stand apart.  The Rock ‘N Roll Trio were important pioneers of the sound that was eventually called rockabilly- rock and roll music with country-and-western and hillbilly twang emphasized.  You can hear elements of Buddy Holly with Burnette’s hiccuping vocals (although Burnette largely predated him.)  And you can hear elements of Carl Perkins in the twang.  But while Holly affected innocence and Perkins oozed a rough-hewn but genteel warmth, the Trio were threatening, tough, and sexual.  Their admiration by their peers and descendants is also very solid.  Aerosmith and the Yardbirds idolized them, and The Beatles played “Lonesome Tears In My Eyes” as part of their Cavern-era repertoire.  And they were doing more or less the same thing as Elvis at the same time Elvis started.  As their biggest advocate, Charles Crossley, points out, Elvis’s very first radio appearance was in 1953, performing alongside the Rock ‘N Roll Trio.  Burnette also probably gets some cred for his solo career as well, which includes “You’re Sixteen,” which was turned into a #1 hit by Ringo Starr of all people.  At any rate, the era of the 1950s shouldn’t be over for the Rock and Roll Hall of Fame.  It’s a shame that the voting body just won’t have it.

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