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Posts Tagged ‘Willie Nelson’

If there’s one thing shared among visitors, writers, and critics who follow the Rock Hall, it is the deeply held belief that the institution isn’t doing justice to some group or other. It might be a genre- heavy metal, or 70s R&B, or 80s alternative. It might be a demographic or time-frame: women, minorities, Gen X music, and so on. I’d argue that one of the bigger dilemmas is that contributors to rock and roll outside of performing artists have the most reason to be aggrieved. I’ve followed the Rock Hall intently for the last four induction cycles. In that time, we had only 3 non-performers (Brian Epstein, Andrew Loog Oldham, and Bert Burns); 3 Musical Excellence recipients (Nile Rodgers, Ringo Starr, and the E Street Band); and a pitiful one lone Early Influence (The “5” Royales. I don’t know why the “5” is in quotation marks either.)

A couple months ago, I solicited advice from some of the other Rock Hall watchers in terms of some good prospects for these categories. Tom Lane, Michelle Bourg (who did her own list), and Charles Crossley, Jr. all came through with some fine suggestions. I took some, rejected others, and did my own research to supplement theirs. What follows are my 20 prospects for Musical Excellence, and I will follow in a later post with 10 Early Influence ideas, and 15 Non-Performers. Keep in mind- this list isn’t intended to be exhaustive, and just because someone you admire isn’t on the list doesn’t mean that I don’t think they are Rock Hall-worthy. This is merely a list of who I see as the biggest priorities, or who I would advocate for if given the chance.

  1. Brian Eno: It’s hard to think of a producer, musician, and visionary who has played a greater role in the unfolding of rock and roll in cerebral, abstract, and atmospheric directions. From his early work playing keyboards for Roxy Music, to his production for David Bowie, U2, Coldplay, and many others, to his groundbreaking ambient albums, Eno is a towering figure in 20th century music, not just rock and roll.
  2. Willie Nelson: He’s not early enough to be an early influence. He has rock and roll characteristics, sure, but he is widely thought of as a country artist. Why not just give The Red-Headed Stranger a Musical Excellence Award and be done with it? His career has spanned decades, he became one of the greatest touring artists in modern history, and he routinely traversed the frontiers between genres. He’s in his mid-80s now, so let’s do the right thing and honor him while he’s among the living. And bring plenty of munchies to the after-party.
  3. Funk Brothers: The lineup fluctuated, but they ultimately played on more #1 hits than The Beatles and Elvis combined. Bassist James Jamerson is already inducted, but Joe Messina, Earl Van Dyke, and Benny Benjamin have played on dozens of the great Motown songs you know and love. From the ethereal organ of the Four Tops’ “Bernadette” to the rattlesnake tambourine in “I Heard It Through the Grapevine” they always knew how to accentuate a great song. Otis Williams of The Temptations once opined that The Funk Brothers “must go down in history as one of the best groups of musicians anywhere.” Always essential and always unobtrusive. Berry Gordy did his best to make sure they didn’t get enough credit to enjoy leverage and bargaining power. So let’s make sure they are enshrined in the Rock Hall and give them the plaudits that so often eluded them in the prime of their careers.
  4. Muscle Shoals Rhythm Section: They contributed the snappy arrangements and solid musicianship behind Wilson Pickett, Aretha Franklin, and other soul greats of the 1960s and 1970s. Organist Spooner Oldham is already in, but his colleagues are left out in the cold, just like most of the Funk Brothers.
  5. Todd Rundgren: If ever there was a good fit for this category, Rundgren is it. None of his bands–Nazz or Utopia–quite have a Rock Hall resumé, and certainly Rundgren’s chops as a producer need to be taken into account as well. He should be inducted, if only to hear Meat Loaf’s speech and to get “Bang on the Drum” as the jam at the end of the show.
  6. Lee “Scratch” Perry: His recording career and his production work with Bob Marley and the Wailers helped put reggae on the map. Prolific and confrontational, he has also been a champion for reggae artists who have been taken advantage of by major record labels. He’s also collaborated with a number of artists outside his immediate field, including Paul McCartney and The Beastie Boys.
  7. Carol Kaye: Seriously. How is this woman not in the Rock Hall yet? While other members of the famous Wrecking Crew are in, including drummer Hal Blaine and pianist Leon Russell, their bass player and sometimes-guitarist is still inexplicably left out. Never mind Kaye’s obstacles making it as a female instrumentalist in a stubbornly male field, her track record is astounding. That’s her playing on everything from “California Girls” by The Beach Boys, to “La Bamba” by Ritchie Valens, to Freak Out! by Frank Zappa & the Mothers, to one of my favorite guilty pleasures, “Midnight Confessions” by The Grass Roots. Music writers use the word “inexcusable” a lot when talking about the omissions of their pet favorites. This one is actually inexcusable.
  8. The JBs: They earned a surprise nomination for the Class of 2016, shocking the hell out of everybody, even though Future Rock Legends listed them as “Previously Considered.” They are, of course, best known as James Brown’s backing band, although they released a number of fine titles under their own name. They are significant, firstly, for their role in helping the Godfather of Soul create the elemental groove of funk music. But secondly, their horn riffs, and drum lines, and bass parts are among the most sampled in hip-hop.
  9. Billy Preston: The Rock Hall sometimes gets into a bad habit of inducting everybody associated with The Beatles- perhaps partly because it is a guaranteed ratings boost. Preston may not be the true “Fifth Beatle”- George Martin earns that title, with Neil Aspinall and Mal Evans as backups- but his skill at the electric organ saved the moribund “Get Back” sessions from outright collapse. More than that, Preston had a number of fine, upbeat R&B tracks in the 70s, including “Outa Space”, “Will It Go Round in Circles”, and “Nothing From Nothing.” He was one of the great session and touring sidemen of rock history, working with three solo Beatles, Eric Clapton, The Rolling Stones, Ray Charles, Little Richard, and even the Red Hot Chili Peppers. He also wrote “You Are So Beautiful” and his philosophy of serial monogamy inspired Stephen Stills to write “Love the One You’re With.” Quite a legacy.
  10. The Revolution: If we are going to induct the E Street Band, why not them? If they were ever going to get it, it should have been the ceremony directly after Prince’s death. They truly lived up to their name, revolutionary in their gender and racial make-up, and revolutionary in bringing together funk, R&B, 80s technology, and pop sensibilities that helped Prince become one of the preeminent artists of his day.
  11. The Section: Look- 70s singer-songwriter and soft rock was a hell of a lot more musically sophisticated and difficult to play than anybody gave it credit for. The genre favored the composer over the ensemble, so the backing musicians behind the artist were often consigned to obscurity. Leland Sklar, Russ Kunkel, Craig Doerge, and Danny Kortchmar were iconic and inescapable. Here’s a partial list of their oeuvre: Carole King’s Tapestry, CSN and affiliated solo projects, Linda Ronstadt’s work, Sweet Baby James, “Werewolves in London,” Jackson Browne, Dan Fogelberg. They are Laurel Canyon.
  12. MFSB: Similarly, the hi-hat-focused beat of disco gets overlooked as well, and MFSB, more or less the house band on the Gamble and Huff recordings, should also be inducted. They had a hit of their own with “The Sound of Philadelphia,” and laid down the beat for The O’Jays, The Spinners, Harold Melvin and the Blue Notes. But maybe their most historically significant recordings were for artists like The Trampps, which established the contours of what a good, artistically sound disco recording should be like.
  13. Randy Rhoads: He’s in the conversation as one of the greatest rock guitarists of all time, but he somehow isn’t in the Hall. His playing for Ozzy Osbourne, among others, added the classicist’s precision to the dark and brooding brand of Ozzy’s metal, and his untimely death in the 1980s has only added to his legend. Incidentally, Nom Com member Tom Morello actually named one of his kids after Randy Rhoads, so you know there’s a good chance that this induction might actually happen.
  14. Ry Cooder: Another one of the legendary guitarists who should be honored with an induction. Rolling Stone named him 8th on its list of all-time guitarists. His back-to-the-roots style was a great fit for the 1970s, and added much of the character and proficiency that made The Stones’ Sticky Fingers, Randy Newman’s mid-decade output, and Captain Beefheart’s Safe As Milk so memorable.
  15. The Andantes: There’s an interesting precedent here with Darlene Love. As many rock hobbyists know, Phil Spector ushered in The Crystals’ career. But as he maniacally attempted to perfect their sound, he brought in uncredited singers to take their place, ultimately using more fake Crystals than a sketchy Atlantic City jeweler. One of them, Darlene Love, was finally- at the urging of Steve Van Zandt- nominated and inducted. The Andantes are sort of the parallel for Motown- unsung, uncredited, and poorly remembered. When the relationship between Diana Ross and the other Supremes, Mary Wilson and Cindy Birdsong, became toxic, The Andantes backed Ross on the last few years’ worth of Supremes records, a run that included a handful of #1 hits. They also provided the female background vocals on hits like “Baby, I Need Your Loving” and “Reach Out (I’ll Be There),” and whenever a woman’s voice was needed on Marvin Gaye’s “What’s Going On.” That’s them playing off Mary Wells during the coda of “My Guy.” An unheralded group that deserves better.
  16. The Meters: Like The JBs, this funk outfit has been nominated before as an artist, and probably didn’t come even close to getting the votes necessary for induction. Of course, as stand-alone artists, The Meters are very fine. “Cissy Strut” and “Look-Ka Py Py” have deep grooves and unassailable musicianships. But The Meters also carved out a niche as the backing group for anybody passing through New Orleans.  As Allen Toussaint’s house band, they also played on records by Dr. John, Wings, Paul Simon, Joe Cocker…the list goes on. And like The JBS, their funky riffs have been used liberally in hip-hop samples for over three decades running. I can’t wait for Trombone Shorty’s induction speech.
  17. Al Kooper: The Forrest Gump of rock and roll. He seemed to have been there at so many key moments. He played on The Royal Teens’ “Short Shorts” (alongside future Four Season Bob Gaudio). He wrote “This Diamond Ring” for Gary Lewis and the Playboys. Despite never playing organ before, he faked his way into a Bob Dylan session and played that iconic part on “Like A Rolling Stone.” He founded Blood, Sweat & Tears. He discovered Lynyrd Skynyrd (hey, no one’s perfect.) He played guitar on Who’s Next and Electric Ladyland. Amazing resumé.
  18. Nikolas Ashford & Valerie Simpson: It would be a shame if, like Carole King, they got in as non-performers, because they had a fine run of hits on their own auspices. But they are most well known for their songwriting efforts together, which included most of the Marvin Gaye/Tammi Terrell duets (including “Ain’t Nothing Like the Real Thing” and “Ain’t No Mountain High Enough”), and “I’m Every Woman.” They even did an underrated album, Been Found, featuring collaborations with Maya Angelou.
  19. Danger Mouse: There’s a real danger indeed if the Rock Hall keeps focusing so intently on 1960s and 1970s output. To break the geriatric death grip of the Boomer generation, I want to put forward Danger Mouse as a worthy recipient for excellence in a number of different fields. If we are looking at great producers, Danger Mouse should be in the conversation with George Martin, Phil Spector, and others. The Observer writes of him, “Whether as a producer, songwriter or recording artist, Danger Mouse doesn’t have a signature sound so much as a signature feeling – intense, atmospheric, melancholy-laden.” He took the immersive feel of, say, Pink Floyd, and brought it into other elements of popular music. In the process, he produced records for Adele, Outkast, Norah Jones, and The Black Keys. The 1970s and 1980s divided “black music” and “white music” in ways we are still grappling with today, but Danger Mouse has found clever ways of bringing them back together as of old, perhaps nowhere more adroitly than the Beatles/Jay Z mashup “The Grey Album.” As a musician, a deejay, and a producer, Danger Mouse needs to be recognized as a modern-day great.
  20. Babyface: For the final spot, we have the man who, perhaps more than anyone else, helped create modern R&B. Like a contemporary Smokey Robinson, he does it all- sings smooth and soulful hits, writes, and produces. Lets see…he helped create New Jack Swing; helped Boyz II Men make some of the longest-tenured #1 hits ever, produced one of my favorite 90s groups, TLC; founded two record labels; thrived outside of R&B by producing for Eric Clapton and Madonna; was involved in 26 #1 R&B hits; and won 11 Grammy Awards. Other artists he’s produced for: Michael Jackson, Toni Braxton, Whitney Houston, Paula Abdul, and Ariana Grande. And that’s just the wikipedia version of his life.

So- those are my twenty Musical Excellence choices. I tried to pick people who excelled in multiple areas of rock, or didn’t fit easy categorization: performers who were songwriters, deejays who were producers, genre-benders, and so on. Stay tuned- we’ll tackle Early Influences and Non-Performers next.

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Do you think it’s too early to ruminate on the next class of Rock and Roll Hall of Fame artists? Think again. By the end of the summer, the Nominating Committee will meet and hammer out the presumably 15 or so candidates for inclusion in the Rock and Roll Hall of Fame. Historically, the list is released around October. I will probably make my final predictions around Labor Day, but I also wanted to get out some preliminary predictions, perhaps in the vain hope that somebody on the committee reads them.

Before I list my initial predictions, I need to discuss my sense of the overall feel or theme of the ballot. When I look back at #RockHall2016, it’s clear that several things went wrong, and I’d imagine the Committee will be eager to correct them. First of all, the kerfuffle with Steve Miller shows that they need to treat inductees better, explain to them what the Hall of Fame is about, solicit their input, and make them feel like honored guests rather than cash cows. Secondly, attempts at big reunions failed to materialize. Although estranged drummer Danny Seraphine showed up for Chicago’s induction, Peter Cetera pouted when the band wouldn’t play “25 or 6 to 4” in his key and stayed home. Neither could multiple Deep Purple alumni overcome years of hostility. NWA managed a reunion, but the Rock Hall still screwed it up by not reaching an agreement to perform (which probably involved NWA wanting to do more controversial material.) Only Cheap Trick managed to get their act together, and thus the fourth most important inductee ended up closing the show! Thirdly, #RockHall2016 was roasted for its lack of diversity. Only one African-American artist, a caricature of gangsta rap like NWA, made it in. The other four were white classic rockers from the late 1960s and 1970s. Not only were there no female artists inducted, but there were no female presenters. All the white, male acts were inducted by white males. The black, male act was inducted by a black male. The 1950s, most of the 1960s, most of the 1980s, and most of the 1990s were unrepresented by the five artists’ heydays.

All this is to say: the ceremony taught me almost nothing about rock and roll. I had to watch the ceremonies in earlier years to understand why Paul Butterfield mattered despite a lack of hits, or why Jett was more than a good cover artist, she established what it meant to be a woman in rock like few others have. Aside from one instance of NWA defending it’s place in the rock pantheon in defiance of Gene Simmons’s more…um…apartheidish views, there wasn’t a single great moment. In contrast, think of all the cool moments from the previous two ceremonies: Joan Jett, Tommy James, and Miley Cyrus rocking out over “Crimson and Clover”- three distinct generations united. Bill Withers watching with visible emotion as Stevie Wonder sang his songs. Hervana. A reunion of the two surviving Beatles. One of Cat Stevens’s only stateside appearances since the Ford administration. You can get a good ceremony and a good class in the modern Rock Hall era, where inductions are arena spectacles filmed for HBO. But you have to work at it and ask yourself what rock and roll is really all about.

For this reason, I think the Rock Hall is going to veer away from 1970s classic rock favorites, and we’ll see a ballot that resembles the Class of 2015 much more. This will be a slate of nominees designed to show the breadth and depth of rock and roll, which will push boundaries and hopefully challenge people who don’t think rap, country, R&B, or electronica count.  So, after this long preamble, here are my initial predictions:

 

1. Pearl Jam: This is as close to a sure thing as I can imagine. Pearl Jam- an artist that ranks among Rolling Stone’s New Immortals and VH1’s 100 Greatest Artists- is widely regarded as the most important rock band of the 1990s after Nirvana. On the eve of their 25th anniversary, they continue to tour, rail against Ticketmaster, and dominate by virtue of their longevity. This is their year.

2. Tupac: With NWA out of the way, Tupac is the prohibitive favorite as the next rap act to get in. This is also his first year eligible, and while this is a posthumous nomination, there would be no shortage of rappers willing to pay homage to Tupac in (presumably) Cleveland. In his short life, Tupac was earnest, poetic, soulful, violent, and above all, complicated. While NWA was the “id” of late 1980s inner-city consciousness, Tupac is remembered as more of a Bob Marley style “folk saint” for the Nineties; his biography matters less than the semiotics. Regardless of the history or the memory, his albums are still among rap’s finest of the 1990s. Nom Com member Alan Light wrote a book on him several years ago, so we can safely assume that his name will at least be brought up in committee.

3. Nine Inch Nails: It’s clear that the Rolling Stone Industrial Complex likes Trent Reznor’s dark sonic landscapes and nihilistic textures. He was nominated during his first two years eligible, and I don’t see any reason for that trend to stop now. Like other “love them or hate them” artists like Sex Pistols or Patti Smith or Donna Summer, this one is going to take a few nominations to get in.

4. Chic: Hindu mythos is prefaced upon the samsara, the interminable cycle of life, death, and rebirth, from which the soul longs to break free. Every year, Chic is nominated and fails to get in, only to be renominated again. Can Chic escape this cosmic turning of the wheel this year?

5. Kraftwerk: Have you noticed that every year since 2013, either Yes or Kraftwerk has been nominated? Although they exist in different genres, both bands have a reputation for being cerebral, prodigiously skilled, and impossible to dance to. Last year was Yes’s turn, and to my dismay, they didn’t get in. Kraftwerk, the #2 band on my Rock Hall Prospects list, should be up next if the trend holds.

6. The Cure: Since 2012, there has been a “early alternative band for angsty misfits” slot on the ballot. It’s gone to The Cure, The Replacements, and for the last two years, The Smiths. After watching the personnel squabbles with the Class of 2016, the Nom Com may want to focus on a band that doesn’t have an epic Morrissey vs. Johnny Marr feud at its heart. The Cure have been touring across the U.S. recently, doing insanely long and prolific concerts and generating great buzz.

7. Carole King: One of my favorite moments from the past year in the music world was watching Carole King being honored at the Kennedy Center for the Performing Arts. Seriously, watch this: she can’t handle her life when Aretha Franklin comes out and performs “A Natural Woman” on piano. This is indicative of the massive amount of respect Carole King has, and her importance has been underscored by the recent jukebox musical about her career. Almost every female singer-songwriter of the past 50 years owes Carole King big time. She should be honored- and her induction as a non-performer doesn’t begin to cover her significance. Her choice to leave the Brill Building, get behind a piano, and sing about her own life set the mold. To recap- in the last three years, she was honored at the Kennedy Center, performed at the Grammys, and had a musical come out. Is a Rock Hall nomination- her first since the institution’s early years- also in the cards?

8. The Meters: The JBs got the “funk slot” on the ballot last year. But The Meters have gotten two nods in the last five years. This New Orleans outfit couldn’t have more support from industry experts and are widely respected in the same way that the Paul Butterfield Blues Band was.

9. MC5: On the grounds of an unconvincing technicality, Rage Against the Machine is eligible this year. They released some demos in 1991, which makes them eligible, I guess, to be nominated in 2016 and inducted in 2017. Here’s what I think will happen: Tom Morello, who sits on the committee, will not recuse himself. I believe his character is such that he will say something like, “Oh geez…we don’t deserve it yet. It’s ridiculous to nominate us when many of the people who influenced us aren’t in yet.” And then he will make the case for his favorite pet project: revolutionary, iconoclastic MC5. Now, don’t get me wrong: Rage Against the Machine deserves to be in the Hall. But it should be 25 years after a *real* release.

10. The Zombies: There is some real buzz about The Monkees this year, with a great new album out and a tentative peace with its three surviving members. While we’ve seen some longstanding Rock Hall grudges like KISS, Rush, and Chicago dissolve in the last few years, I’m thinking the Monkees might still be a tough sell for the Nom Com. Instead, why not The Zombies? They are also touring, it’s original lineup has 4 of 5 members still alive, all of whom appear to be on good terms. And The Zombies, as I wrote in a blog post back in May, have influenced a vast number of artists and are well loved by rock writers, historians, and journalists. Just last year, they appeared at a panel commemorating the career of the Who with Stevie Van Zandt and Holly Robinson: both on the Nominating Committee. Indeed, they were nominated for the Class of 2014, but faced an extremely competitive ballot. This will be their year. Took a long time to come.

11. Eurythmics: The nomination of The Cars last year shows that the Nom Com is at least thinking in a New Wave direction. So why not Eurythmics? David Stewart and Annie Lennox have been known to reunite from time to time. They played a great role in infusing the technical and electronic possibilities of new wave with real soul, courtesy of Lennox’s deep, resonant alto voice. And the “Sweet Dreams” video was one of the most iconic during the infancy of MTV. Given Lennox’s well-received Grammys performance a couple years ago and her great album of Tin Pan Alley standards, this would be a strong nod to the 1980s.

12. Nina Simone: Simone is hot right now. A lovingly made documentary about her life dropped on Netflix last year. A biopic about her 1980s tailspin is coming out very soon. The most important album of 2016 will almost certainly be remembered as Beyonce’s Lemonade. Did you notice the Nina Simone LP conspicuously placed in some of the videos? And each of these mediums made the case for Simone’s influence and importance: she was a defiant black woman who demanded justice- and not always non-violently. She was also a troubled soul who had an abusive husband and struggled with substance abuse and addiction. As I argued in my Rock Hall Prospects, she covered rock and roll and rock and roll covered her jazzy nightclub act, and this kind of wide respect and collaboration made everybody stronger. She belongs in the Rock Hall.

13. A Tribe Called Quest: Since he earned a berth on the Nom Com three years ago, Questlove has had a great deal of success getting his favorite acts nominated. He’s championed NWA, Kiss, Hall & Oates, Bill Withers, the Spinners, Chaka Khan, and others. Since the first four are already in, it’s easy to imagine Questlove channeling his energies into two other acts that were deeply influential to his own career: De La Soul and A Tribe Called Quest. Quest effused that ATCQ were “stylish, jazzy, funny, soulful, smart, and everything else.  They were socially conscious without being too self-conscious about it.”  Q-Tip’s recent collaboration with the Chemical Brothers and the unfortunate passing of Phife Dawg have kept them in the news.

14. Willie Nelson: Right before my flight to Singapore last August, a rumor circulated around the internet that Willie Nelson had passed on, and I had to wait 24 hours until I landed and got settled in my hotel to learn whether or not it was true. This vignette is a reminder that Nelson needs to be commemorated while he’s still among the living. He fostered countless collaborations between the worlds of country and rock, and he made those boundaries more porous. Of course, the Red-Haired Stranger still tours, and shows up on venues as diverse as the John Lennon tribute concert and Steven Colbert’s Christmas special. Maybe Gram Parsons or Patsy Cline will get the nod instead, but I have a feeling somebody from country will show up this year.

15. The Shangri-Las: And now, my annual “Hail Mary” pass. For decades, the Shangri-Las have been like a secret handshake among rock experts: an easily overlooked girl group that had an influence that belied its limited body of work. While most girl groups projected a wholesome image, the Shangri-Las wore go-go boots and seriously looked like you shouldn’t mess with them. “Leader of the Pack” and “Remember (Walking in the Sand)” changed the sonic landscape of Top 40 and made more atmospheric and evocative records possible. They’ve influenced artists as diverse as Amy Winehouse, the New York Dolls, and Blondie. It’s not hard to see some rogue voice on the committee- maybe someone like Dave Marsh- make an unexpected case for them and persuading everyone else to go along.

So, those are my picks. Most artists are alive, and most bands are at relative peace with one another. Those who have passed away (Tupac, Simone, some of the Shangri-Las) could command incredible tribute performances.  2 first-time eligible artists, 5 artists who were passed over for nomination, and 8 previously nominated artists. Is this list realistic? My instinct is that the actual list may have more R&B artists, but I couldn’t figure out which of them it would be! War? The Spinners? But there are five artists with at least one inductable female member (King, The Shangri-Las, Simone, the singers from Chic, and Annie Lennox). Given that this ballot will be released a few weeks before the U.S. potentially elects a female president, this stronger (but not quite equal) girl power on the ballot will have deeper resonance.  You might notice that there are no classic rock bands from the 1970s. Rockists will lose their minds if a ballot like this one actually happened, typing vitriol on the internet so urgently that their red “Make America Great Again” hats will be irreparably sweat-stained.

No offense is intended if your favorite artists didn’t show up–it’s not that I don’t think they are worthy, it’s that I don’t think the Nom Com will go in their direction this year. So apologies to fans of this blog who support Janet, or the Monkees, or Dennis Wilson, or Link Wray, or whoever else. Janet was a painful omission; she deserves to be in. But she will also be giving birth around the time as a ceremony as a first-time mother at the age of 50. It might be better for all concerned if they deferred a second Janet nomination until she could show up at full strength and in good health to perform in person.

Other tough cuts included J. Geils Band, Johnny Winter, Chaka Khan, Warren Zevon, Sting, and The Commodores.

What do you think? Feel free to comment with some of your own ideas for who might appear on the ballot in October.

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We only have three installments left, and this one will bring us up to the cusp of our top 20.  Although some of these artists are among our strongest contenders, amazingly only 3 have been nominated before.  This batch of artists is, as every batch of ten has been, an eclectic group: R&B, alternative, folk, the British Invasion, and classic rock are all represented.

ben e. king30.  Ben E. King:  How much should one or two sublime songs transform someone into a contender?  That’s the question attendant to any discussion on Ben E. King.  “Spanish Harlem” is still remembered fondly, and he had a string of R&B hits that extended well into the 1970s.  But at the end of the day, his credentials come down to three words: “Stand By Me.”  It is rightly one of the most well-loved songs of its time, and it’s been covered by so many artists I wouldn’t dream of even beginning to list them.  The song was inducted into the Library of Congress registry, and according to BMI, was the fourth-most played song of the 20th century.  There’s precedence for cases like King’s where a couple songs overshadowed a long and eclectic career.  Ultimately, both the Nom Com and the voters thought Bill Withers deserved to be in, and his case rested essentially on the nostalgic value of “Lean On Me” and “Ain’t No Sunshine.”  If King at #30 seems too high, consider this: there probably isn’t a rock and roll song as important as “Stand By Me” whose (eligible) singer isn’t in the Hall of Fame.  Unfortunately, since his death in the spring of 2015, the Nom Com had a great chance to nominate him last November and decided not to do so.  Although he was nominated once during the Rock Hall’s early years, he appears to be one more victim of the unspoken consensus to move beyond the 1950s and early 60s.

Joan Baez29.  Joan Baez:  In the beginning, there was Baez.  She played the guitar acceptably, and didn’t usually write her own music, but in the best folk tradition tinkered with songs, deconstructed them, rearranged them, and made them her own.  Of course, one man looms over her career, her former boyfriend Bob Dylan, whom Baez quietly encouraged and ushered into the Greenwich Village scene and into greatness.  Dylan more or less quit the social activism as soon as people started to, you know, look up to him for it.  He almost immediately shot back with tracks like “Ballad of a Thin Man” and “Maggie’s Farm” which blithely told the seekers of the Sixties to look elsewhere.  It wasn’t him, babe.  Baez, though, stayed with it- playing Woodstock, visiting Vietnam with a peace delegation, and supporting LGBT rights before it was cool.  Baez was even banned from playing in several South American countries in the 80s, for fear that she would inspire revolution and reform if she challenged the iron-fisted juntas that ruled at the time.  She was a voice of deep conscience connecting folk with what would eventually become known as soft rock.  Play her debut album from 1960, and you’ll find that it’s a near-masterpiece.  The pacing, the depth, nuance, and control make it something far from the wan Kingston Trio tracks of the same era.  What came after was even more special, from “The Night They Drove Old Dixie Down” to “Diamonds and Rust” and “Sweet Sir Galahad.”  As one of popular music’s singular voices and a lynchpin of rock and roll’s engagement in the great questions of its era, Baez is one of the most important figures not yet inducted.

willie nelson28.  Willie Nelson: He has become such a cultural icon that we forget just how good the music actually is.  Often low-key, plaintive, and the very soul of expression, Willie Nelson never needed artifice to communicate with the public, just a song, a headband, and his faithful guitar, Trigger.  Nelson’s career, spanning well over 50 years, has been a touchstone in the close relationship shared between country and rock and roll.  The red-haired stranger has spent that time not only been building bridges between these two genres, but also speeding over that bridge in pimped-out tour bus smoking a $3,000 doobie.  His time in Austin in the late 60s could not have been more fortuitous, putting him in a Southern city with a burgeoning hippie scene.  It was the perfect place for him to cultivate the authentic and yet carefully crafted public persona that made him a household name.  Pick whichever Nelson you prefer: the early 60s Opry hand, the 1970s outlaw, the Farm Aid activist, or the 90s evergreen running afoul of the IRS but remaining a can’t-miss live act well into his old age.  When you look at his body of work, and how important that was for country-rock, his resume basically writes itself: “Always on my Mind,” “Mothers Don’t Let Your Babies Grow Up to be Cowboys” “Whiskey River,” “Blue Eyes Crying in the Rain,” “On the Road Again.”  If you think Willie Nelson isn’t rock and roll enough to be in the Hall of Fame, all I have to say is that I’m amazed you found my blog, Mr. Simmons.

sonic youth27.  Sonic Youth:  The last two times I tried to guess the Rock Hall’s annual ballot, I predicted a Sonic Youth nomination and was proven wrong both times.  But I remain unchanged in my belief that Sonic Youth could- and should- get nominated any year now, especially as those who came of age in the 80s gain a greater toehold on the nominating process.  Sonic Youth were kind of like the cool babysitters to lots of alternative, grunge, and other underground types when they were kids, if that makes sense.  Kim Gordon, Thurston Moore and company recorded a legendarium that defied easy categorization, with tracks like “Teenage Riot” and “Schizophrenia” that definitely weren’t pop, clearly weren’t metal, but were harder than most of what passed for alternative in those days.  They picked up where Velvet Underground and eventually Patti Smith left off, cribbed a bit of Big Star along the way, and developed their own deliberate, intense, and ultimately enveloping style that avoided easy hooks in favor of the experiential.  Jason Woodbury of the Phoenix New Times describes them this way: “Sonic Youth asserted their importance in introducing a whole generation of slacker kids to outsider music by using Spin and Rolling Stone as a pulpit for preaching the gospel of white noise, hardcore history, and experimental music.”  Sonic Youth created a form of music that was too cool for mainstream radio and content to be darlings of the underground.  Whatever indie was, and whatever it became, Sonic Youth helped make that happen.

tina turner26.  Tina Turner:  The question of including Tina Turner was a great philosophical puzzle for me.  She was inducted once already as Tina Turner, alongside Ike in the early 90s.  I thought, “does she deserve another induction as Tina Turner?”  It’s one thing if Croz, for example, gets in once as a Byrd and again thru CSN, but what about getting inducted twice under one’s own name?  And then I remembered the precedent where Paul Simon got inducted twice under a similar aegis, once via Simon & Garfunkel and again through his solo work.  So, that settles it, at least for me.  It’s time to induct Tina Turner for her own solo career.  Let’s get her an induction where her name isn’t resting beside an egotistical and sullen bully like Ike who beat her and bruised her and tormented her, even as they made some of the great records of the 1960s and 70s together.  Tina Turner was one of the very greatest rock and roll performers, with a commanding stage presence that suffered no fools nor any second-raters.  She pulled off the greatest mid-life renaissance by any artist I’ve seen- male or female- with a string of 1980s hits that included “Private Dancer,” “The Best,” and the immortal “What’s Love Got to Do With It.”  Turner’s career is so lauded and so decorated that there’s a wikipedia page devoted to the awards she’s received.  Among them are seven Grammy Awards since her breakup with Ike, and placement in Rolling Stone‘s very competitive 100 Immortals list.

The Zombies25.  The Zombies:  Let’s do the British Invasion right by getting in the last band from that era whose place is the Hall is beyond reasonable dispute: the Zombies.  These Hempstead boys learned all the requisite tricks from The Beatles and The Animals but added their own distinctive flavor that made them stand out by a head among most of their other rivals.  Namely, the electric piano of Rod Argent and their tendency to write songs in darker, more melancholic minor keys, which showed a sophistication utterly foreign to, say, Gerry & the Pacemakers or Billy J. Kramer & the Dakotas.  While their early hits like “She’s Not There” showed a great deal of promise, their pinnacle turned out to be their swansong.  Odessey and Oracle was one of the very finest albums to come out of the 1960s.  You probably know its evocative psychedelic hit “Time of the Season” but if you aren’t already familiar with them, give the celebratory post-incarceration “Care of Cell 44” a listen.  Or else the music-hall flavored “This Will Be Our Year” or the achingly beautiful “Changes.”  Recorded at virtually the same time as Sgt. Pepper, it showed how rock and roll could be ethereal, symphonic, and transcendent in ways that had not been charted before.  Like the fictional monsters from which they derived their name, The Zombies don’t seem to die; they were on tour last year and their influence on low-key, moody indie artists stand out as one of their chief legacies.

nine inch nails24.  Nine Inch Nails: Like Eno at #33, Nine Inch Nails have challenged the sonic landscape of rock and roll.  The late David Bowie said this about them: “Trent [Reznor]’s music, built as it is on the history of industrial and mechanical sound experiments, contains a beauty that attracts and repels in equal measure: Nietzsche’s “God is dead” to a nightclubbing beat.  And always lifted, at the most needy moment, by a tantalizing melody.”  As some have pointed out to me before, Nine Inch Nails didn’t invent industrial–artists like Throbbing Gristle and Cabaret Voltaire have that distinction. But Nine Inch Nails took the genre further, made it more popular without losing anything that made it great.  Annie Zalesky wrote that “more than any band, NIN is determined to haul rock ‘n’ roll into the modern age,” with impeccable theming and atmosphere buttressing often dark and nihilistic lyrics.  NIN passes the “excellence” test, and convincingly used industrial pioneers’ sound with elements of metal, soul, alternative, and funk that resulted in “Hurt” and “Closer.”  Few took more time than Reznor in giving his music the right “atmosphere,” a process that some have called “sound collages” that set the mood even better than his pain-wracked lyrics.  Resting comfortably within Rolling Stone magazine’s 100 Immortals, it’s clear that the right people like Nine Inch Nails.  So far, they’ve been eligible for two years, and have been nominated in each of those two years.  And since not just critics but also some rockers favor their candidacy (including Eddie Trunk), it’s quite likely that the voters will honor them more decisively in the near future.  Assuming that the ceremony is in Cleveland next year, Reznor might be in for quite the homecoming in 2017.

jethro tull23.  Jethro Tull:  Classic rock is already well represented in the Hall, which makes me feel fine about not including every single act in the genre on my list.  Most of its big names are already in.  But Jethro Tull’s omission continues to puzzle.  They have not one, but two of the all-time great albums from rock and roll’s most competitive era in the early 70s: Aqualung and Thick as a Brick.  You have a concept album about a lecher that doubles as a reflection on the nature of religion and God, as the confessional and the gutter are never far apart.  The other is a self-aware parody of the ostentatious concept album, purporting to be about a literary wunderkind.  Ian Anderson and crew brought the naturalism of English folk and the ambitious scope of prog on a collision course.  Sometimes the results were uneven, but they were always distinctive.  There was that flute.  There were lots of classic rock bands I considered for this list but ultimately rejected because they didn’t have a signature style, nor a particular calling card that made them stand out from their contemporaries.  With Jethro Tull, that was never the issue: there were acoustic guitars that gave way to electric as the song caught fire, long suites without breaks except to turn the record over, and Anderson’s flute as almost a recurring character in their music.  If anything, Tull’s longevity killed their chances.  They endured when, say, Parsons or the frontman of #22 died out.  And instead they just kept running on that Locomotive Breath, creating astonishingly decent new music and winning Grammy Awards they probably shouldn’t have.  In other words, it’s remained easy for some rock critics (are you reading as well, Mr. Marsh?) to maintain grudges.  Hopefully, that, too, will change.

t. rex band22.  T. Rex:  The fact that T. Rex hasn’t even been nominated for the Rock Hall seems like a Euclidian proof that the institution views rock and roll from a deeply American set of lenses.  What is quickly forgotten in this light is the sensation that this group created as glam music hit its apex, alongside such contemporaries as David Bowie and early Queen.  This hysteria was called “T. Rextasy” and enveloped the United Kingdom with glittering UK Top 5 songs: “Telegram Sam,” “Metal Guru,” “Children of the Revolution.”  There was nothing like Marc Bolan and this troupe.  They were sensual (how easy we forget lines like “you’ve got the teeth of the hydra upon you” in “Bang a Gong.”)  They made rock and roll more visually engaging.  And Bolan was able to cast a wide net with his audience.  Bob Stanley writes: “He should have taken America by storm: he wrote melodic riff-born rock songs that could charm bikers and birds.”  For a handful of years, he was Great Britain’s biggest rock star, bar none.  But eventually, Bolan sputtered.  He put on weight, succumbed to drugs and died in a car crash at age 29, and we subsequently misremember that his contemporary and rival Bowie was the only person doing arty space-rock in those years.  That’s a shame, because in the same way #21 won her long war against Whitney Houston, Bowie won the long war against T. Rex, though they were surely worthy adversaries, even in defeat.  If T Rex ever gets in, their induction speech is likely to be short; the only living member from its primary lineup is drummer Bill Legend.

mariah carey21.  Mariah Carey:  I can hear the comments now: “too high!  too high!”  Is she?  The only thing that’s too high is Mariah’s 5-octave range.  As I’ve said before, chart success is a factor, but not a totalizing factor.  Still, it’s hard to find fault with 27 top ten hits (that’s the fifth highest total ever, by the way.)  Or the 18 Billboard #1 hits (second only to The Beatles, incidentally.)  In fact, even if she existed primarily as a songwriter and never sang a note, she would have written more #1 hits than any songwriter of the rock and roll era not named Lennon or McCartney.  But the story is so much more than the statistics.  Just like Idina Menzel was doing on Broadway at roughly the same time, Carey moved the female voice in popular music into the direction of belting, going for power, force, and vibrato without losing its control or emotional range.  She successfully navigated her MOR origins in order to push R&B into a more energetic, thoughtful, and in some ways, biographical mode as her work became more self-revelatory as she found her voice as a writer.  And Carey was the only artist I can think of who could thrive on BET and still have her music played in an orthodontist’s office.  She easily collaborated with rappers, and fostered the “hip-pop” trend of the 90s.  I could go on with accomplishments like this for a while: she sang virtually the only Christmas staple to come out of the 90s, and two of the three longest-tenured #1 hits are hers: “One Sweet Day” and “We Belong Together.”  As an artist, Carey was about as versatile as it got, capable of dance remixes, urban R&B, and legendary ballads, often all on the same album.  Trini Trent puts it this way: “with her incredible sense of pitch, she draws on the precision timing of Ella Fitzgerald, the styling of Sarah Vaughan, the range of Minnie Ripperton, and the grit of Aretha Franklin.”  Indeed.  What should have been a no-brainer first-year-eligible nomination last October is likely to be a long wait until Janet and Whitney get in first.

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Back in May, I posted my preliminary slate of predictions for the Rock and Roll Hall of Fame’s nominees, in anticipation of the Rock Hall’s choices being revealed in early autumn.  The winners among these nominees will probably be published in December, and those artists will eventually be inducted as the Class of 2016.  What follows is essentially a reblogging of my earlier post, adding some new considerations where relevant, taking out some extraneous comments, and changing two of my fifteen picks.

Since my original post, we’ve had a couple of high-profile deaths in the Rock world, some of which impact my choices, but even more substantively, there has been a major overhaul within the Nominating Committee.  It seems as though around 16 members of the Nominating Committee were let go, leaving a core of perhaps 28 members.  My fellow Rock Hall watchers, especially Charles Crossley, Jr. and Neil Walls, did some great investigative work to piece together who was cut, including Bob Hilburn, Arthur Levy, Claudia Perry, and Roy Trakin.  The initial journalism on this development suggested that the committee on early rock and roll was decimated.  Certainly, those who were let go are older, whiter, and less institutionally tied to the Rolling Stone magazine hierarchy that dominates the induction process.  It isn’t unreasonable to guess that we will see even fewer 50s and early 60s acts than before, and the recent tilt toward 80s and 90s acts that dominated last year’s ballot will probably continue unimpeded.  Roger Friedman believes that Jann Werner wants to trim down the eligibility from 25 to 20 years after an artist’s release, but given Friedman’s slapdash journalism style, as well as the logistical problems of Tupac, Smashing Pumpkins, Mariah Carey, Beck, Rage Against the Machine, Radiohead, Biggie, and Pearl Jam all becoming eligible at once, makes me very skeptical.  For now, I have to assume that the autumn slate of nominees will be, as customary, 15 artists, all of whom released their first record at least 25 years ago.

1.  Nine Inch Nails:  NIN made it on the ballot during their first year of eligibility.  Lots of people thought they would get in, and they even placed second in the Rock Hall’s online fan ballot.  And yet, they didn’t make it; interestingly, out of the five winners on the fan ballot, they were the only ones who fell short among the actual voting committee.  It is likely that they will make a return appearance.

2.  Deep Purple: Many people were shocked when Deep Purple wasn’t on last years’ ballot, since they made it each of the two years prior.  If they had been nominated, they very well might have gotten in, spared from having to compete with popular hard rock acts Heart (2013) and KISS (2014).   We’ve arrived at a point where Deep Purple needs to get into Cleveland pronto.  The “Not in the Hall of Fame” site lists them as the single biggest Rock Hall snub, and there is an immense backlog of hard rock acts like Iron Maiden and Judas Priest that probably won’t have a realistic shot until Deep Purple is in.  Robert Hilburn is a known opponent of Deep Purple, so his dismissal from the Nom Com could help their chances.

3.  Yes: So, my theory last year that they had actually gotten voted in for the Class of 2014 but could not attend because of touring commitments was probably spectacularly wrong. But that doesn’t make Yes any less deserving.  Sadly, Chris Squire, the workmanlike bassist who was the only consistent member of the Yes lineup through their 45+ year history, died earlier this summer after a battle with leukemia.  It’s a shame; Squire deserved to see his band inducted while living.  Hopefully, Yes (one of my father-in-law’s favorite bands) will be able to reunite for a great tribute performance in Squire’s honor if nominated and voted in.

4.  The Meters:  This funky New Orleans outfit is unknown to many casual rock and roll fans, but their respect in the music industry is resolute and enduring.  They have appeared on the ballot four times before, including twice in the last three years.  Clearly, some influential folks are pulling strings for the Neville brothers and their cohorts.  Out of all the picks, this is the one I’m most iffy about- this spot could just as easily have gone to War.  Their appearance here is more of a reflection of my pessimistic belief that the ballot will include a few acts that just shouldn’t be in.  But R&B and/or funk will be represented.  You can count on it.

5.  Sonic Youth: The Rock Hall has really been struggling with an amorphous category that one might call post-punk or proto-alternative acts: edgier Gen-X mood music that dwells on disillusionment and eschewing melody for authenticity.  Someone from that world shows up on just about every ballot, but ends up falling short.  Last time, it was The Smiths.  The year before The Replacements, and a couple years earlier The Cure.  My own opinion is that The Cure are best qualified to take this spot, but my guess is that the Nom Com will finally settle on Sonic Youth, a name that’s been batted around for years.  Sonic Youth was only slightly less significant than The Cure, and was the hip 15-year-old babysitter to a lot of alternative acts when they were little kids, if that metaphor makes sense.  The Hall will be under (well-warranted) pressure to induct more women, and Kim Gordon’s presence will parry this criticism.  Gordon’s recent book, Girl In A Band, will also generate some chatter that will help them.

6.  Warren Zevon: Come on now, we know this routine.  There’s a singer-songwriter every year, and on his or her merits, it seems like their case for induction is shaky.  But they always make it in the end somehow.  (I’m sure you’ve met the last several models: Bill Withers, Cat Stevens, Randy Newman, Donovan, Tom Waits, Laura Nyro…)  While I’d like to see Carole King get this spot, Zevon has a strong chance this year.  Retiring late night host David Letterman has expressed his wish to see one of his favorite guests in the Hall, and where Letterman goes, Paul Shaffer is never far behind.

7.  NWA:  It’s clear that Toure and Questlove are committed to getting NWA in.  Last year, a lot of folks- including myself- thought they would pull it off, but it was not to be.  With a biopic of the group out in the theatres, and the ceremony in 2016 held in L.A. (within drive-by shooting distance of Compton), it is tough to see how NWA doesn’t make it back onto the ballot.  I am not a fan of their violence and misogyny (two social problems that are by no means limited to rap music; go listen to Nugent sometime if you doubt me.)    But with continuing police violence and discrimination against the black community dominating the news daily, “F— The Police” will keep resonating with the public.  Recently, Dr. Dre has started making some new music, and rumors of a reunion tour are starting to spread, adding to the buzz around their name.

8.  Chic: I feel so bad for Chic.  They have now been nominated nine times for the Rock and Roll Hall of Fame, more than any other artist except for soul legend Solomon Burke.  Nile Rodgers’ battle with cancer couldn’t muster enough sympathy to take them over the edge, nor could the spectacular success of Rodgers-produced “Get Lucky.”  Chic- or rather, Rodgers and assorted friends- have some new music out this year, but whether this will be enough remains anybody’s guess.  Chic is also a band more well loved by music historians than the general public: they earned less than 2% of the votes in the Hall’s official online fan ballot.

9.  J. Geils Band:  It took four tries, but Jann Werner finally shoe-horned the Paul Butterfield Blues Band into the Hall of Fame last year.  I don’t wish PBBB ill, but I think they leapfrogged over many more deserving and widely respected acts.  My guess is that PBBB’s successful induction will only encourage the Nom Com’s bad habits, and they will pick another Werner-sanctioned blues outfit filled with white boys.  (Rest assured that they will be nominated on the grounds of their earlier blues efforts, not 80s hits like “Centerfold.”)  The fact that Peter Wolf inducted PBBB this year is a pretty straightforward signal that we could see J. Geils Band return to the ballot for the fourth time after a few years’ absence.

10.  The Spinners: I originally had Big Star at this spot; Holly George-Warren is on the committee and recently wrote a biography of their tragic frontman, Alex Chilton.  Instead, I’m playing it safe.  The Spinners have been on two of the last three ballots, and several of their partisans survived the culling, including Questlove, Metallica manager Cliff Burnstein, and Dave Marsh.  (Read Marsh’s book of Rock Lists where he pontificates on the best records released each year.  There’s a Spinners single listed nearly annually throughout the 1970s.)

11.  Wille Nelson:  On the Dan Patrick Show, Rock Hall president Greg Harris was asked which uninducted artists deserved to be in the Hall.  Harris demured at first and dodged around the question, but the hosts kept badgering him.  The closest Harris got to an answer was an offhand mention of Willie Nelson.  Additionally, Seymour Stein has led a push for more country artists in the Hall.  Nelson has been racking up the accolades this year, with a heavy presence at the Grammys and a well-received autobiography.  There is precedent for the Hall putting in country artists who were often duet partners and collaborators with rock and rollers; just look at Johnny Cash and Bonnie Raitt.  And temperamentally, the Red Headed Stranger’s outlaw persona, Farm Aid activism, and egregious use of pot make him a good fit with the qualities the Rock Hall values; he has always been a figure more at home in Woodstock than the Opry.  There will be pressure to induct the 81-year-old singer while he is still among the living, and he’s never had a better chance to make the Rock Hall than this year.

12.  Ben E. King:   Ben E. King or Joe Cocker?  They are probably the two biggest solo artists to have died in the past year.  I doubt both will get nominated.  I’m pretty sure one of them will.  While my gut says “Joe Cocker,” all the tangible evidence points to King.  Springsteen and U2 performed “Stand By Me” in the wake of his death, and they have direct lifelines to the Nominating Committee.  The older guys on the Nom Com will remember his career fondly, and the younger folks will still be familiar enough with his catalog to give some sympathy-support.  Besides, King wrote at least some of his hit songs, and Cocker didn’t.  In fact, you’d have to go all the way back to 2003 and the Righteous Brothers to find the last time a white male interpretive singer (e.g. someone who didn’t generally write his/their own material) was inducted into the Hall of Fame.  And between Lou Reed, Peter Gabriel, all four Beatles, and all four members of CSNY among many others, heaven knows that the Rock Hall loves having new members into its so-called Clyde McPhatter Club of multiple inductees.  (Like McPhatter, King is already inducted as a member of the Drifters.)

13.  Smashing Pumpkins: This is my second change to my original post: an artist who became eligible for the first time this year, and displaces MC5 on my list.  Smashing Pumpkins were just too big in the 1990s and too influential to ignore.  The Rock Hall tends to pick at least one first-year-eligible act every year, and Smashing Pumpkins takes that crown, beating out Mariah Carey, Alice in Chains, and A Tribe Called Quest.  They don’t have ~quite~ the same historical significance as other acts honored with a nomination their first year out, which tend to be in the conversation for “100 Greatest Rock and Roll Artists Ever” (think Nirvana or Green Day or or Guns N Roses or even The Beastie Boys for recent examples.)  But given the Nominating Committee’s statistically younger demographics, and the undeniable trend toward shepherding 90s acts into the Hall, I am persuaded to include them on my list.

14.  Peter, Paul & Mary:  And now, finally, we come to- quite appropriately- my “Hail Mary” prediction, the most far-fetched selection on my list.  When Bob Dylan gave a speech at Musi-cares on his career, he singled out the trio for characteristically back-handed praise: “I didn’t usually think of myself as writing songs for others to sing, but it was starting to happen. And it couldn’t have happened with a better group. They took a song of mine that I’d recorded before that was buried on one of my early records (‘Blowin’ in the Wind’), and they turned it into a hit song. Not the way I would have done it — they straightened it out. But since then hundreds of people have recorded it. I don’t think that would have happened if it wasn’t for them. They definitely started something for me.”  Tom Morello was a performer at the event, so hopefully, he was paying attention to Dylan’s sage words.  But more than this, PP&M have been getting some high-profile attention lately.  In 2014, a two-years-behind-schedule retrospective for their 50th anniversary was published, with no less a figure than Secretary of State John Kerry writing the foreword.  What’s more, the Rock Hall summer film series is showing Festival!, a documentary on the great folk festivals of the 1960s, and the description of the film gives special attention to Peter, Paul & Mary, as well as Joan Baez (another artist I considered.)  To continue the momentum in their favor, the recent series of 50th anniversaries from the Freedom Struggle reminds us all of the courage and commitment the three of them showed, having performed at the March on Washington, and later speaking out against the Vietnam War and Apartheid.  And for most Rock Hall voters, left-wing activism never hurt anyone’s chances.  If I am reading these tea leaves correctly, all this amounts to the clearest chance a pure 60s folk act has had in a long time.

15.  Janet Jackson:  So far, we are missing one thing: a showstopper, a headliner.  No Rock Hall induction ceremony is complete without one, especially now that there is an expensive contract with HBO to honor.  It’s got to be Janet’s year.  My friends over at the Induct Janet social media campaign have continued to fight the good fight.  They have made sound arguments and politely but persistently lobbied musical critics and Nom Com members to recognize Miss Jackson’s contributions to 80s and 90s R&B and dance music.  Given how most online campaigns to induct certain artists are angry, barely literate screeds in ALL CAPS about the Nom Com’s bias and ignorance, their tact and dignity stand out.  Jackson’s chances are given a boost by her recent announcement that a new album and tour are in the works; this will be no nostalgia nomination, but a pick for an active, working artist.  Janet deserves to be in, and at any rate, it is really weird that Tito Jackson is in the Rock and Roll Hall of Fame, and Janet is not.

— Unfortunately, there were some compelling choices I had to leave off, including the aforementioned Big Star, Joe Cocker, and MC5.  The Eurythmics have a good chance, especially given Annie Lennox’s standout performance at the Grammys.  And the removal of several old fogeys makes a second rap or hip-hop artist likely, probably L.L. Cool J or De La Soul.  In an effort to get more deserving women into the Hall, Joan Baez could be the folk nominee and perhaps recent Kennedy Center honoree Carole King could be nominated as a performer.  If so, King could become the first person inducted into the Hall in two separate categories, since she’s already in as a non-performing songwriter.

So, there’s my 15 picks.  This covers most of the bases, in terms of sub-genres of rock and roll, different eras, and racial representation.  Funk, folk, dance, singer-songwriter, R&B, classic rock, prog, alternative, country, and the blues are all represented here.  Given this excellent infographic on how few women are in the Rock Hall, my list includes five artists with at least one woman on board: Janet Jackson; Peter, Paul & Mary (Mary Travers), Sonic Youth (Kim Gordon), Smashing Pumpkins (D’Arcy Wretsky), and Chic (the various female singers they’ve employed over the years.)  6 of the 15 are artists of color.  9 have been nominated before, although this honor ranges from Ben E. King (last nominated during the Reagan administration) and Nine Inch Nails (nominated during their/Reznor’s first year of eligibility in the fall of 2014.)  5 of the 15 peaked artistically after 1980, though, a number that seems too low to me and has me worried that my own list is too indebted to the 1970s.  Another problem I foresee is that my choices smell a bit like a funeral parlor: between Ben E. King, Warren Zevon, Chris Squire, Mary Travers, Bernard Edwards, Easy E, and most of the Spinners, there’s plenty of great musicians who didn’t live long enough to take part in their induction.  The Hall may opt for more living artists.

Let me know your thoughts in the comments section!  I’d be curious to know: which 5 artists would you vote for if this was the actual ballot?  If it were me, I’d say: Janet Jackson; Peter Paul & Mary; Deep Purple; Chic; and either Yes or The Spinners for that fifth spot.  Eh, probably Yes, if only to pave the way for the Moody Blues or Jethro Tull next year.

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