THOUGHTS ON THE ROCK AND ROLL HALL OF FAME NOMINEES FOR 2017…

Here’s the list of nominees, for those who haven’t seen it yet:

  • Bon Jovi
  • Kate Bush
  • The Cars
  • Depeche Mode
  • Dire Straits
  • Eurythmics
  • J. Geils Band
  • Judas Priest
  • LL Cool J
  • MC5
  • The Meters
  • Moody Blues
  • Radiohead
  • Rage Against the Machine
  • Rufus featuring Chaka Khan
  • Nina Simone
  • Sister Rosetta Tharpe
  • Link Wray (Pictured above)
  • The Zombies
I’ll get to my picks in a bit, but first a few notes: Nina Simone, like Joan Baez, Miles Davis and a few others from previous years, would be a fine pick for the Contemporary Influence category I keep suggesting. These could be handled by the Hall itself and need not deprive actual rock and rollers from a place on the ballot.
Sister Rosetta Tharpe should have been inducted years ago as an Early Influence–which is how she should still be inducted. Again, why is someone who could easily and deservedly be put in the Hall by extra-ballot means,
taking a spot from somebody who can only be put in as a performer?
Having said that….

I try to approach this announcement a little differently each year. I’ll reiterate that I think having a Rock and Roll Hall of Fame is a good and worthy idea, and remains so no matter how bizarrely or even corruptly it is run. My three visits there were all memorable and reinforced my belief that, as Rock and Roll fades from the cultural landscape, it is better to have a flawed institution dedicated to its memory than no institution at all.

The great problem facing the Hall now, though–a problem that increases year by year–is whether and when to shift the emphasis from the years when Rock and Roll was the center of the culture (roughly the mid-fifties through the mid-eighties), to a later time period where rock was a diminished presence (roughly the mid-eighties to the turn of the millennium), or a ghostly one (the turn of the millennium to now).

It’s a testimony to just how much more Rock’s peak years matter that the shift hasn’t yet occurred. Crit-faves Radiohead and Rage Against the Machine are the only acts (of nineteen) on this year’s ballot who started their careers after rock’s fall, and twelve of the nineteen acts began in the seventies or earlier. If the late eighties/early nineties had been rife with Hall worthy acts, you can bet they would be dominating the proceedings by now.

We’ll see how it all plays out in the future, but, for now, I want to play a little game.

Let’s just focus on the sixties.

There are three nominees who made their first big impact in that decade: Simone, the Moody Blues, MC5 and the Zombies. (Note: The Meters began in the sixties but had their biggest impact in the early seventies, so I’ll exclude them.)

I like all three acts fine, especially the Zombies. But seeing them listed together made me start idly wondering just how many sixties-era acts I would pick over any of them.

I assumed there would be ten.

Boy was I wrong. Here’s who I thought of off the top of my head, in the order I wrote them down. (Which says nothing about who should go in first–the Small Hall vs Big Hall debate is long ended. It’s a Big Hall and they are all worthy.) Most have never been nominated. I’ve paired as many as are reasonable with a near equivalent act of similar weight (or sometimes less) who is already in:

Dionne Warwick (Dusty Springfield)
The Marvelettes (The Ronettes)
Mary Wells (Ruth Brown)
Junior Walker (Darlene Love…who also made great records on her own and was just as great helping out others.)
Joe Tex (Solomon Burke)
The Shangri-Las (There are no equivalents to the Shangri-Las, which should be its own statement.)
Paul Revere and the Raiders (The Animals)
Tommy James (Randy Newman…who, except for “Short People,” wasn’t as popular, and, except for “Sail Away” wasn’t as good or as weird either. Or, if you prefer, Tom Waits, who didn’t have a “Sail Away” or a “Sweet Cherry Wine” in him.)
The 5th Dimension (The Mamas and the Papas)
The Turtles (The Hollies)
Glen Campbell (Brenda Lee, whose crossover legacy he extended by a decade)
Manfred Mann (Traffic…they were tonier, but not better…or as popular)
Jan and Dean (The Coasters)
Sonny and Cher (Shirley and Lee….Wait, they aren’t in? What’s wrong with these people?)
Three Dog Night (Neal Diamond)
The Move (The Small Faces)
Lesley Gore (Wanda Jackson)
Johnny Rivers (Gene Pitney)
Jackie DeShannon (Cat Stevens….No, wait. That’s not fair. Bonnie Raitt? Still not fair. Laura Nyro? Leonard Cohen? Are you kidding?)
John Mayall (Paul Butterfield)
Dick Dale (The Ventures)
Peter, Paul and Mary (Joan Baez)
Timi Yuro (Gene Pitney…he had more hits but he didn’t make better records. Not too many people did.)
Nancy Sinatra (LaVern Baker. Among other things, Nancy was a better blues singer)
Petula Clark (Ritchie Valens…What, you think “Downtown” wasn’t as great a record as “La Bamba?” Or as “rock and roll?” You should listen again.)
Mitch Ryder (The Yardbirds. What Jeff Beck did for guitar chords, Mitch did for vocal chords.)
Fairport Convention (The Jefferson Airplane, who sold more records but weren’t as good. One could almost say the same about the Band but I don’t want to start making people mad.)
Jerry Butler (solo) (Percy Sledge)
The Monkees (The Beatles….just kidding. But I’ll take them over the DC5, not to mention the Zombies.)

Of course, similar lists could be put together for the fifties and seventies. Just something for you, me and the Hall to think about.

As for my five picks:

The Cars, J. Geils Band, The Meters, Rufus, Link Wray.

Those who wish to participate in the fan voting (which can have a small impact if there’s a close vote for the final spot) you can go here…I’ll save any further thoughts for the inductees, which will be announced in December.

Til then…Mr. Wray on the night he invented Heavy Metal.

 

 

IT’S THAT TIME AGAIN….THOUGHTS ON THE 2017 ROCK AND ROLL HALL OF FAME NOMINEES

This year’s performing nominees for the Rock and Roll Hall of Fame were announced last week. I always like to put in my two cents and I try to come up with a new approach each year. This year, with artists I have strong feelings about being in short supply on the ballot, I’ve decided to list the actual nominees next to the artist they most resemble (spiritually or temporally) who is more deserving.

You know. According to me.

And rock and roll. Let’s not forget rock and roll.

It’s a long ballot this year, so be sure to strap on your seat-belt. And please, if your sphincter is, as Ferris Bueller might have it, prone to making diamonds from charcoal, proceed with caution…

Actual Nominee: Bad Brains. I don’t really know much about them, but, listening on YouTube, they sound like every other hardcore band except the Minutemen. Like most such bands (not the Minutemen), they started out pretentious (jazz fusion according to Wikipedia and who is surprised?) until they found out where the true belief they could ,milk a ready-made cult career from lay. I only listened to a few cuts, but they certainly sound as if they always knew which side of the bread the butter was on.

Dream Ballot: The Minutemen. I listened to one of their albums all the way through once when I was in my twenties. I’m in my fifties now and I’m still waiting to reach an emotionally secure place before I listen again. I don’t know much about hardcore but I know real genius and the sound of nerves being scraped raw when I hear it.

Actual Nominee: Chaka Khan. Fine. Unlike most rock and roll narrativists, and most of the Hall’s voters, I’m not ready to forget about black people in the seventies. Speaking of which…

Dream Ballot: Rufus, featuring Chaka Khan. Yes, Chaka should be in. She should be in with her great interracial funk band, and they should pave the way for the other great funk bands, interracial (War, Hot Chocolate, KC and the Sunshine Band), and otherwise (Kool and the Gang, Ohio Players, Commodores). It seems like the more the nominating committee screws these things up, the more things stay the same.

Actual Nominee: Chic. They should be in. They’ve been consistently nominated for years but can’t overcome the disco hatred. No surprise there. Donna Summer had to die to get in. Even so, they aren’t the most deserving in this genre. That would be…

Dream Ballot: Barry White. Chic has been on the ballot ten times. You’d think they could nominate an even more popular, more innovative and more iconic artist from the same basic gene pool at least once. Come on people. Let’s at least try to make it look like we know what we’re doing!

Actual Nominee: Depeche Mode.Drone music. Admittedly, not my thing. Lots of hits in England and I don’t like to step on other people’s tastes, let alone their passions, but If somebody asked for indisputable evidence of why Britannia no longer rules the waves and soon won’t rule Britannia, I’d play them Depeche Mode music all night long. They could make up their own minds about whether that’s a good thing. Might be more useful if they at least pointed to something better, instead of a black hole.

Dream Ballot: Roxette. I was gonna go with Eurythmics, though they aren’t of the same ilk either (and might actually get on the real ballot some day). But, broadly, this is all Europop, and if there is going to be Europop, then there ought to at least be a fun single every now and then.

Actual Nominee: Electric Light Orchestra (ELO). The early lineup included Roy Wood, and the RRHOF is including Wood in the lineup that will be inducted if they get the votes. They aren’t including Roy Wood for what he did in ELO,  which means they are tacitly acknowledging that this really ought to be…

Dream Ballot: The Move/ELO. They did this for Faces/Small Faces which actually made less sense (The Faces were a much cleaner break from the Small Faces than ELO were from the Move) but certainly opened up nominating possibilities. If you have two borderline deserving bands linked by shared membership, why not just put them together? We could have Free/Bad Company or Manfred Mann/Earth Band, maybe one or two others I’m not thinking of right now. It makes more sense than a lot of other sins of commission/omission presently on the Hall’s head. The Move were probably deserving on their own, despite their lack of success in America. ELO are marginally deserving anyway, and not just because of their massive success in America. Why oh why does the Hall continually shadow box. You had a good idea there a few years back. Run with it.

Actual Nominee: The J. Geils Band. It’s not that the J. Geils Band aren’t deserving. They are. And it’s getting late. They’ve been eligible for a long time. But if we’re mining the White Boy Stomp vein, then let’s go with my old standby…

Dream Ballot: Paul Revere and the Raiders. One of my criteria is that if you either helped define a major genre or helped invent an important minor one, you should be in the Rock and Roll Hall of Fame. The Raiders had a hand in inventing what came to be called garage rock. They certainly helped define it, ergo it doesn’t matter if you call garage rock major or minor. And they were the only band that fits well within even the narrowest definition of the ethos to have a major run of hits. That they’ve never been on the ballot for a hall that includes the Dave Clark Five and the Hollies (both deserving, but still) is silly, really. [Alternate pick: Mitch Ryder and the Detroit Wheels.]

Actual Nominee: Jane’s Addiction. A sort of thrash band with sort of Power Pop vocals. They started in the mid-eighties and you can feel them giving in to the awfulness of the times on just about any record I’ve heard (which I confess isn’t all that many, those I’ve heard not making me feel like I’ve missed anything except more dreariness, more unearned angst, more acceptance of defeat as the natural and permanent human condition we should all just learn to live with). Again, I realize these punk/alternative/alt metal//indie/thrash/etc. bands have had a profound impact on somebody’s life. I hate having to dis anybody’s taste. Still….nobody should take the world this hard unless they’ve been in a war.

Dream Ballot: Big Star. It doesn’t even matter who you (or I) like. The RRHOF has a responsibility to history. Putting Jane’s Addiction on a ballot where Big Star have never appeared amounts to criminal negligence.

Actual Nominee: Janet Jackson. No problem here. Miss Jackson had an enormous career and deserves to be in, maybe even on this ballot. But I’m curious…

Dream Ballot: Cyndi Lauper. Leaving aside why Dionne Warwick–Dionne Warwick!–has never appeared on a ballot, and sticking to the same era, why not do the all the way right thing and go with Cyndi?  She made the best album of the eighties, was the last truly inventive vocalist of the rock and roll era (just before the suits allowed the machines to take over–and at a loss on the profit sheet, too–because the machines never talk back), and her acceptance speech would likely be even more priceless than her average interview.

Actual Nominee: Joan Baez. Inducting Joan Baez into the RRHOF as a performer would be a joke. She’s never made anything resembling a great rock and roll record. She’s a perfect candidate, however, for my long-running common sense proposal to have a “Contemporary Influence” category, especially now that the “Early Influence” category is running dry. Other worthy candidates for a concept which could acknowledge great artists who influenced their rock and roll contemporaries without being quite “of” them, would be oft-mentioned names like Patsy Cline and Willie Nelson (country), the Kingston Trio (folk), or even Barbra Streisand or Dean Martin (pop). It would have also been the right category for Miles Davis (already inducted as a performer) and a number of blues acts. But, if this category is not to exist, then at least go with….

Dream Ballot: Peter, Paul and Mary. They were the ones who put Bob Dylan on the charts, two years before the Byrds. If you think this–or Dylan becoming a major star–was merely inevitable, you weren’t quite paying attention. Woody Guthrie never made it…and don’t think he couldn’t have, if PP&M had been there to provide the bridge to the mainstream (whether he would have accepted it is another question, but my guess is he would have). Besides, unlike most of the people who would properly belong in a Contemporary Influence category, they actually made a great rock and roll record…which is not nothing, even if they just did it to prove they could to people who thought “I Dig Rock and Roll Music” was only a joke.

Actual Nominee: Joe Tex. No complaints. No arguments. Joe Tex is the last of the first-rank soul men not to be inducted. He should be.

Dream Ballot: Joe Tex.

Actual Nominee: Journey. I love, without irony or reservation, “Lovin’ Touchin’ Squeezin.” It’s a great record, period. And I don’t hate the stuff everybody else hates. i don’t listen to it, but I don’t run screaming from the room if it’s on either, or get a knot in my stomach that makes me want to start ranting about the decline and fall of civilization (and you know I can find endless reasons to do that). Plus, they sold a bajillion records. Still….Seriously?

Dream Ballot: Three Dog Night. The only reason Three Dog Night weren’t in a long time ago is they didn’t write their hits. If you follow along here, you know that’s not a good reason. Especially when, on average, their hits were a lot greater than Journey’s. (Alternate pick: Def Leppard…they have the advantage of being better than Journey and a more direct replacement. They just weren’t as good as Three Dog Night.)

Actual Nominee: Kraftwerk. Another good candidate for Contemporary Influence, especially since the Nominating Committee, which would control such a category, seems to love them. Again, this not being the case…

Dream Ballot: Roxy Music. Actually, I’m not the best person to make a case for them, but at least they had some hits and a tangential connection to rock and roll. This would also tacitly acknowledge and directly honor the fine work from Brian Eno’s and Bryan Ferry’s solo careers. And does anyone really believe they were less influential than Kraftwerk?

Actual Nominee: MC5. I let my MC5 CDs go in the great CD selloff of 2002. I liked them pretty well, but I never got around to buying them back. As one of the six great bands (The Stooges, Big Star, The Ramones, Mott the Hoople and one I’m about to mention were the others) who bridged the garage band ethos to punk, they should be in. I’d pick them last, mind you (The Stooges and the Ramones, the two I might have picked them ahead of, are already in), but they should be in. Some day. Meanwhile…

Dream Ballot: The New York Dolls. I wonder what might have happened if they had lasted longer. I always loved this performance on The Midnight Special (that they were even on tells you how great The Midnight Special was), where they start with about six fans and end with about eight. I don’t know how far another five years would have taken them…to a hundred maybe? a thousand?….but I bet they’d be in the Hall already if they had made it that far.

Actual Nominee: Pearl Jam. Of course they’ll get in. All that cred. They can’t miss. And that’s fine. They helped define grunge. That’s vital, maybe even major. Well deserving of induction. But here’s the thing…

Dream Ballot: The Shangri-Las. Just curious, but besides turning up the amps and groaning a lot, what did Eddie Vedder do in a quarter-century that Mary Weiss didn’t do, without a trace of his trademark stridency, in three minutes on her first hit? What new place did he get to? Go ahead. Explain it to me. Please….

[NOTE: For any of my fellow Shangs’ aficionados, this link contains an intro I’ve never heard before, plus the extended finale that I’ve linked in the past. It’s the story that never ends.]

Actual Nominee: Steppenwolf. Is Biker Rock really a genre? Is introducing the phrase “heavy metal” to the world enough, in and of itself, to ensure enshrinement? I’m not sure, but if either of these be the case, Steppenwolf should be voted in immediately. Just in case it’s otherwise…

Dream Ballot: Lee Michaels. Why not? If we’ve come this far down the where-can-we-find-more-White-Boys-to-nominate road, aren’t we just messing with people? (Alternate pick: The Guess Who.)

Actual Nominee: The Cars. Cheap Trick got in last year and it’s nice to see to see Power Pop getting some love. The Cars were probably also the most successful New Wave band after Blondie (already in), so I’d always consider voting for them. However…

Dream Ballot: Raspberries. If you really started and/or mainstreamed the Power Pop thing (to the extent that somebody was going to be forced to give it a name), and if your best records are better than anything the thing produced afterwards (well, except for the Go-Go’s maybe), and your front man was the biggest single talent in the whole history of the thing, then shouldn’t you be first in line?

Actual Nominee: The Zombies. I like the Zombies plenty. But the depth of the Nominating Committee’s love for them is a little odd. A few great singles and a cult album (Odessey and Oracle) that has traveled the classic critical journey once outlined by Malcolm Cowley (it boiled down to everything now underrated will eventually be overrated and vice versa) is a borderline HOF career at best.

Dream Ballot: Manfred Mann. Especially if you include all its incarnations (and after the  Hall-approved Faces/Small Faces induction, why wouldn’t you?), the never-nominated Manfreds are more deserving on every level. The first version made greater singles and more of them. The second version morphed into Bob Dylan’s favorite interpreters of his music and, along the way, made an album (called The Mighty Quinn in the U.S.) which sounds better to these ears than Odessey and Oracle ever did. Then the third and fourth versions (called Chapter Three and Earth Band) became long running jazz fusion/classic rock troupers. (And yeah, I love their “Blinded By the Light” in both its single and album versions. We all have our heresies.) Mann’s greatest genius was for discovering standout vocalists to sell his concepts every step of the way. And, whatever gets played from the stage of next year’s induction ceremony, I bet it won’t be as good as this…

Actual Nominee: Tupac Shakur. If this is going to re-open the door for pioneers like Afrika Bambaataa or LL Cool J or Eric B. and Rakim, then fine and dandy. They’ve all been on the ballot before. I hope they won’t be forgotten in the coming years, when pressure to induct more modern hip-hop acts grows and when five will get you twenty the Hall’s obvious but never acknowledged penchant for quotas and tokenism remains firmly in place. Still, for me…

Dream Ballot: Naughty By Nature. Yes, even above all the rest. I still think “O.P.P.” is the greatest hip-hop record. I still think “Mourn You Til I Join You,” is the greatest tribute record in a genre that has required far too many. I still think “How will I do it, how will I make it? I won’t, that’s how,” is the finest rap line, (just ahead of Ice-T’s “How can there be justice on stolen land?”) Plenty of early rockabilly stars made it in on less (and deservedly). So sue me.

Actual Nominee: Yes. Prog rock. Yes, of course. That will be very useful in the days to come. Most helpful.

Dream Ballot: Fairport Convention. This year, of all years, we really should find every excuse to listen close. Admittedly, next year promises to be worse.

Happy Holidays ya’ll…Don’t let the Grim Reaper get ya’!

JUSTICE DONE….

bertberns11

Eventually, some of the things that should happen, do happen. The Rock and Roll Hall of Fame announced the induction of its latest performing class back in early December. They waited about a month and half to announce, with little fanfare (I completely missed the news and I actually try to keep up with this stuff), the latest non-performer inductee, in a category that has more recently come to be called the “Ahmet Ertegun Award for Lifetime Achievement.”

I think we need George Carlin to rise from the grave and mock the category naming (along with all the other million reasons we need George Carlin to rise from the grave), but at least this time they got it right.

Bert Berns got into the record biz in 1960, just after he turned thirty. He was dead by 1968, of the heart disease doctors had predicted would kill him before he turned 21. In between he wrote or produced over fifty hits, started a couple of iconic record labels (Bang and Shout) and did as much to foster the best part of the revolution as any other single writer or producer.

Even more impressive than his number of hits, though, was the kind of hits. Even his occasional quasi-novelties, like the career-starter, the Jarmels “A Little Bit of Soap,” were killers.

 

I doubt I’d ever be able to pick a single favorite out of “Twist and Shout,” “Hang On Sloopy,” “Piece of My Heart,” “Cry to Me,” “Brown Eyed Girl,” and oh so many more, but, in going over his discography, I realized that I’d never quite understood just how consistently high the quality of his records actually was…or how many exist in multiple great (usually hit) versions. The Isleys and the Beatles on “Twist and Shout,” Erma Franklin and Janis Joplin in “Piece of My Heart,” The Strangeloves and Bow Wow Wow on “I Want Candy.” One could go on.

If I had to pick the essence, though, I’d pick these, both also produced by Berns in England, where he was the first American producer to record rock and roll. The first marker of truly great songwriters is that the truly great singers want to sing their songs.

I regret that I didn’t do more to push Berns in my occasional forays into nudging the Hall down the path to righteousness. Just one of those oversights I can’t explain or excuse. Fortunately, just this once, they didn’t need my help!

CONGRATULATIONS TO THE 2016 ROCK AND ROLL HALL OF FAME INDUCTEES…IRRESPECTIVE OF MY PERSONAL FEELINGS!

Just kidding folks.

No matter what anyone pretends (including some of the artists themselves), being inducted into a major Hall of Fame is a great honor and I’m down with anybody who makes it through the process.

This year it’s Chicago, N.W.A., Steve Miller, Cheap Trick and Deep Purple.

I didn’t have any especially strong feelings for any of the artists nominated this rime around except Spinners and, of course, being by far the most deserving, they did not make it. I’ll keep hoping. The one act I voted for in fan balloting which made the grade was Cheap Trick. I hope (but doubt) that their induction opens a crack for Big Star, Raspberries and the Go-Go’s, the other great power pop bands who were even greater rock and roll bands than Cheap Trick, to receive future consideration. We shall see.

As to the rest, N.W.A. and Deep Purple were genuine pioneers even if I’m not the prime audience for their music (and even if Joe South, deserving himself, did out-rock DP on “Hush”). Steve Miller was a genuine survivor, and Chicago sure did sell a lot of records (not a few of which I like a lot). All in all, I’d say it’s about average as recent classes go but it does continue one especially deep and troubling trend that I’ll keep harping on until it gets better: The Hall should stop pretending that black people disappeared in the 70s. If Chicago and Cheap Trick and Steve Miller can all go in during the same year, the first time any of them were nominated, then there’s no reason Barry White and the Commodores and Ohio Players shouldn’t go in next year as first time nominees.

Not to mention War and Spinners, the era’s greatest band and greatest vocal group respectively, R&B or otherwise. They both should have been in long ago.

So, looking forward, let this be the beginning of a new road folks, not an endless highway where a stream of geriatric white folks are eternally joined by a token rap or alternative act or two (look for Pearl Jam and Tupac next year), all selected by a hardening formula that now prizes television ratings over the Hall’s purported mission, as opposed to striking a necessary balance.

Take some advice in other words…

For my initial thoughts on the year’s nominees you can go here…

THOUGHTS ON THE 2016 ROCK AND ROLL HALL OF FAME NOMINEES

Since my first post on the Hall several years ago, at least a few of the acts I considered egregious oversights (Donna Summer, Linda Ronstadt, The “5” Royales) have found their way in. I’m confident I’ve had nothing whatsoever to do with this, except maybe cosmically, but the cosmos must be attended, so I take heart and keep plugging away. My lists of the most deserving not yet inducted are still very much the same and can be found HERE, HERE and HERE.

I try to do something a little different each year, simply because my relationship to each new batch of nominees is bound to change at least a little. This year, it’s a simple breakdown: 1) Acts (well, one anyway) who are in my own pantheon and therefore no-brainers; 2) Acts I have at least some strong feeling for, either because I think they filled some place in Rock History that can’t be entirely ignored or I just like their records a lot; and 3) Acts I don’t pretend to get.

So, in reverse order:

Acts I don’t pretend to get (or can at least easily eliminate from this particular ballot):

Nine Inch Nails and The Smiths: Charter members of the Gloom Squad, representativesof which, given the air of stagnation and hopelessness that began to dominate the culture in the late eighties and has continued to suck at our collective oxygen supply every single day since, we are almost certainly stuck with in perpetuity. If they are your thing, peace be upon you, but let’s do cancel the dinner reservations.

Yes: I really like “Roundabout.” But, as one record arguments go, it’s not exactly “La Bamba,” or “Summertime Blues.”

The J.B.s.: Very worthy. Please induct them immediately in the Musical Excellence or Sidemen category, as should have been done long ago. Can’t see spending a vote on them in the performer category.

Chicago: I’m at least a little torn on this one. I do like a lot of their records (more than I think I do actually, unless some event like this one forces me to focus). But I can’t say I’ve listened to them a lot so I just don’t have a strong feeling one way or the other. I will say their lack of critical respect and their capacity for annoying the crit-illuminati by selling millions of records hardly count against them in my book. That said, if the ice is beginning to thaw around the idea of acknowledging AM giants as a necessary and vital part of Rock and Roll History, give me Three Dog Night or the Fifth Dimension any day. Not to mention Tommy James.

Chaka Khan: I could see voting for her some time, especially if (as happened in the past) she was being considered along with her great interracial funk band, Rufus. But she might be one of those acts I can always consider voting for in theory who just never happens to crack the top five on any given ballot. Time will tell. BTW: Interracial funk bands have a way of getting overlooked by the Hall: Think War, Hot Chocolate, KC and the Sunshine Band. Apparently Sly and the Family Stone are enough for the “Hey I’m not really opposed to the concept” crowd. I’d like to see this change, so Rufus would be more likely to get my vote than Chaka alone.

Acts I’d at least strongly consider:

Janet Jackson: She’s a strong candidate and, as someone who generally chides the Hall for seriously slacking on recognition of women and black people, she should be a natural. She was a major superstar and I even like a lot of her records. I can’t say I ever had that special “moment” with her, though. There’s no one record that makes me pull her records off the shelf at least every once in  a while. Since this is very rare for me with any rock and roll act who had even a modest run of sustained success I have to be at least a little bit suspicious. Why Janet? Why aren’t we connecting like we should? Why are Chaka and Chicago in the not-ready-for-consideration category when no record you ever made is on a level with “Tell Me Something Good” or “Just You ‘n’ Me?”  Why does life hold so many mysteries? Withholding judgment on this one…

N.W.A.: The other act on this ballot who are considered a likely slam dunk. Overall that’s a good sign. I can’t remember the last time the two favorites going in were African-American. Wish I liked their music as well as their story. I mean, should burnishing my street cred feel so much like eating my broccoli? Or reading my Chomsky? Withholding….yaddah, yaddah, yaddah.

Chic: Yes, yes they should be in. I love “Le Freak” unconditionally (as well as a number of Rodgers and Edwards’ productions for other artists) so there is no problem with the “connection” missing in the previous two entries. And yes, I’m probably going to vote for them. I still don’t quite get why they’ve been on the ballot ten times and Barry White and KC and the Sunshine Band have zero nominations between them…But I’m probably still going to vote for them. Let’s wait and see.

Deep Purple: I was keener on them until I started listening to Joe South again and realized his version of “Hush” not only wastes theirs on the, you know, emotional level where you except a singer-songwriter to have an advantage, but actually rocks harder. Still, they had a real role in making hard rock “heavy.” And I wouldn’t want to put together the classic rock comp that’s going to play on the Celestial Jukebox at the End of Time without “Highway Star” or “My Woman From Tokyo” somewhere in the mix.

Los Lobos: They made one truly great album. That was enough for Guns N’ Roses, whose great album wasn’t quite as great (though it sold a lot more and caused a lot more head-banging). It’s enough for me to certainly put them under strong consideration. I wish they were a little less professorial, of course. But if rock and roll is truly democratic, surely there must be room for the professors too….Mustn’t there?

Steve Miller: The Hall is often perverse. Should we even be surprised that this very long in coming nomination is for Miller alone and not The Steve Miller Band, which is the title under which he made his records? Sure there were a lot of different people in those bands, but the Hall has made room for similar aggregations before, so who knows what the thinking is. As for the records themselves, I’m obviously putting him ahead of Chicago, even if it’s only a hair. I’m hazy on his early, more critically acclaimed work. It was out of San Francisco so familiarity with it, might make me feel more strongly for or against (in a Grateful Dead, no, Jefferson Airplane maybe, CCR or Sly or Janis, yes, sort of way). Which leaves me wondering if the lead-in riff to “Jet Airliner” is enough to make him worthy all by itself? I lived the Seventies. I very specifically lived 1977. And I have to say it’s a very close call.

Cheap Trick and The Cars: Gee, not a month ago I was gently lamenting that I clearly liked Power Pop a lot better than the Hall did, and here they go and put two of the Big Five on the ballot at once. Granted I don’t listen to either as much as Big Star or Raspberries or the Go-Go’s, but they’re both fine bands and the Cars have the additional lift of being the most popular band in the little-genre-that-couldn’t-quite-save-rock-and-roll-but-sure-had-fun-trying. Hall worthy? Definitely. Possible to vote for one and not the other? Tough call. I think I can manage it. I think I’ll probably have to. Which one?….Which one, knowing that the chances of the three even greater bands being considered in the future ride heavily on how these two do? Which one, knowing that these two have the decided advantage of being mysteriously accepted at “classic rock” formats?…Oh, God.

NO-BRAINER:

Spinners: The premiere vocal group of the seventies, the last decade when the competition was fierce and the distinction therefore amounted to an epic accomplishment. Stop the nonsense. Stop dumping on seventies R&B. Stop dumping on vocal groups. Put them in already, so I can start banging the drum for the Stylistics and the Chi-Lites! (insert maniacal laughter here!)

Final ballot:

Spinners…

Los Lobos…

Cheap Trick….

Janet Jackson…

Chic…

(and a Rodgers and Edwards bonus….)

…First alternate, the Cars…

If you want to participate in fan balloting you can access the Future Rock Legends site here (you have to scroll down a bit). The Rock and Roll Hall of Fame’s actual ballot, which has a very small effect on actual voting (but, I suspect, may have a very real effect on considerations for future nominees) is here.

 

 

 

 

MY MORE OR LESS FAVORITE ALBUMS BY ARTISTS WHO HAVE NEVER BEEN NOMINATED FOR THE ROCK AND ROLL HALL OF FAME (Volume Four: The Eighties)

Ross MacDonald once had Lew Archer say that as a man gets older, the women he’s interested in should get older too. For what it’s worth, the women in this little survey–the women of my own generation or the one right before it–have remained the women I’m interested in. Purely spiritually of course.

The early eighties, especially, were a breakout period for women in rock and roll that was unlike anything seen since the early-mid sixties. I’m sure the fact that music has been steadily shoved back to the sidelines in the generations since, assuring that such things happen no more, is purely coincidental.

I mention all this because it turned out well over half the records in this last installment were made by the women I’ve grown older with. Beyond that, I’ll let any obvious themes emerge on their own. This was fun.

Blue Angel (1980)

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The lead singer was a superstar in waiting. As one of rock’s last visionaries, she was ready here, her vocal style fully formed. The world would catch up a few years later. Through some combination of experience and nature Cyndi Lauper was already able to sing, “I’ll take it like a man,” and make the mighty Gene Pitney sound like a four-year-old, which, believe me, he wasn’t.

Pick to Click: “I’m Gonna Be Strong” (Television performance. Later on, she recorded another version for her first greatest hits package which actually got past this…but she’s the only one who could have.)

Warren Zevon Stand In the Fire (1980)

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Zevon rarely caught the reckless abandon of his lyrics in the studio. He captured it in spades here and sustained it for an album-long assault. He sounded like nothing so much as man who was raging against the dying of the light, like he already knew the ripped-and-torn seventies would be the last decade anyone ever missed.

Well, anyone who wasn’t part of the conspiracy anyway.

Pick to Click: “Jeannie Needs a Shooter” (alternate live take)

REO Speedwagon Hi Infidelity (1980)

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Everything anyone would ever need to know about the eighties in a sleazy album cover, a catchy title and a single genius line. The rest sounds real good to me, but, really, who cares what the rest sounds like?

Pick to Click: “Take It On the Run” (For those who may have forgotten, that’s the one that begins “Heard it from a friend who/Heard it from a friend who/Heard it from another you’ve been messin’ around.” Welcome to Hell.)

Robin Lane & the Chartbusters (1980) and Imitation Life (1981)

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At the time, pretty much everything written about Lane (L.A. born show-biz kid who became the leader of a Boston based punk band which ended up sounding fashionably New Wave on their albums) mentioned that she was an Evangelical or “born again” Christian. I only mention it here because nobody seemed to ever draw the logical conclusion about the black hole in her voice. Weird how the illuminati tend to forget (or is it ignore?) that a belief in God contains an inherent belief in the Devil.

Strictly on the formal side, there is an awful lot of what the Go-Go’s and, especially, the Bangles, got up to directly after.

If you want to know how good they had to be to make it, you could start by considering how good she had to be to not quite make it.

Picks to Click: “When Things Go Wrong” (Robin Lane…live) and “Send Me an Angel” (Imitation Life, sorry, couldn’t find “Pretty Mala”)

Rachel Sweet …And Then He Kissed Me (1981)

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Her major label debut and there’s some gloss on the basic concept, but she cut through it effortlessly. The commercial push was behind a duet with Rex Smith on the indestructible “Everlasting Love” which scraped the Top 40 and generated one of the great Devil’s Island videos.

But some idiot or other failed to see the potential in her greatest vocal and it was left for Pat Benetar to scoop and score with a just-fine version that wasn’t half as good. Two years later Sweet was out of the music business, yet another might-have-been. This was the best of her.

Pick to Click: “Shadows of the Night”

The Go-Go’s Beauty and the Beat (1981)

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On their way to cracking the code that had kept every female band from the International Sweethearts of Rhythm to the Runaways safely on the fringes, they made the rest of the New Wave bands sound like they weren’t trying. That was no particular shame on the New Wave, because the dirty little secret was that they made pretty much every pre-New Wave band sound like they weren’t trying either.

This took nine months to climb to number one on the Billboard Album Chart, at which point the general word was that we could expect a wave of highly successful all female bands.

Still waiting for that.

Pick to Click: “Can’t Stop the World”

Cyndi Lauper She’s So Unusual (1983)

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Hence the flood. One of a wave of mega-million sellers that made up rock and roll’s last gasp as a force that defined something more than itself. All of the others (Thriller, Born In the U.S.A., Purple Rain, Eliminator, Scarecrow, 1984, et al) were by well established acts who are in the Rock and Roll Hall of Fame long since.

Every one of them sure sounded like the present in 1984 and that’s exactly what they sound like now.

1984.

Despite a production style that’s as dated as any, Lauper still sounds like she’s singing about a future in which she would be the only one left standing. The future that is now.

It’s 2015 and there are individual cuts here and there on those other albums that sound great. This is the only one I still listen to at all…and I listen to it obsessively.

Pick to Click: “Money Changes Everything” (The album’s fifth hit single and probably the most radical recording to ever hit the Top 40 even before you take into consideration when it was released.)

The Bangles All Over the Place (1984)

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Honestly, I thought they sounded a little cold around the heart at the time. I was wrong. They were just coolly taking the world’s measure. As perfect a folk rock record as anyone’s ever made, up to and including Dylan and the Byrds.

Now, if only folk rock had still been a thing…

Pick to Click: “Silent Treatment”

Los Lobos How Will the Wolf Survive (1984)

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I mean, the rest of their career, at least as much as I’ve been able to keep up, suggests they’re archivists on some level, but this sounded like a deep well from the gut to me in its day and I’ve never stopped drinking from it. I forget it for a while, sure. But every time I pick it back up it sounds new again. I don’t need all my fingers and toes to count the albums I can say the same for. The album Donald Trump’s Republican rivals would be playing at every campaign stop if they had any brains (and, no, I have no idea if we should be glad that they don’t…I’m a pox on all their houses sort from way back).

Pick to Click: “Our Last Night” (live from 1987)

Minutemen Double Nickels on the Dime (1984)

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Revolt that had no chance whatsoever of coming into style. I bought it nearly thirty years ago and listened to it once, transfixed. I swear I’ll listen to it again some day. When I’m old enough to fully accept that it either is or isn’t what I hope it is.

Pick to Click? Er, no.

The Go-Go’s Talk Show (1984)

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Revolt going out of style. Those ugly, blocked lines separating them were more real than symbolic. They saved my life and then broke up. Can’t forgive, can’t forget. May write about it some day. Stay tuned.

Pick to Click: “Beneath the Blue Sky”

Todd Rundgren A Cappella (1985)

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A weird and compelling amalgamation of Brian Wilson’s brain, circa 1966, transmuted through Thom Bell’s melodic sensibility, circa 1973, and Daryl Hall’s larynx, circa 1977. Or something like that. This album could be an appropriate soundtrack for a teleconference on euthanasia, a street revolution, or a CIA sponsored convention on “Torture in the Third World, Effective or No?” Honestly, I don’t listen to it very often. But when I do, my mind ranges very far afield and I invariably end up with a slow, dreamy smile on my face which I’m convinced enhances my enigmatic appeal immensely.

Pick to Click: “Mighty Love” (unfathomable)

Katrina and the Waves (1985)

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I think it’s pretty obvious by now I like Power Pop a little more than the Rock and Roll Hall of Fame does. This isn’t one of those acts who are worthy of Hall consideration, of course, but it just goes to show how thin the line is, because it’s easy to imagine this perfect little album being a springboard to a lot more than one hit single. It’s also easy to imagine it never being even that. Mysteries of life I guess.

Pick to Click: “Going Down to LIverpool”

Cyndi Lauper True Colors (1986)

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Backlash was inevitable. She was too…something. The nasty comments about her audacity in covering the by-then sainted and martyred Marvin Gaye’s “What’s Goin’ On” obscured what she did with it, which was explode it from the inside, cast it into the future (This future, did I mention? The one where the wars never actually end? The one only the visionaries could see?) and segue it into “Iko, Iko.” That’s supposed to be what albums are for, especially if it sells seven million worldwide and all. Instead she got endless grief and a broken career which is now often deemed that of a mild underachiever because she only sold fifty million records.

Pick to Click: “Change of Heart”

Terence Trent D’Arby Introducing the Hardline According to Terence Trent D’Arby (1987)

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Sweep and scope like nobody’s business. Star in the making. Took a few years off. Made another album. Walked away. Never walked back. Maybe said all he had to say. Sure sign things were falling apart. Guy like this having no more to say.

Pick to Click: “If You Let Me Stay”

House of Schock (1988)

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Oh, I guess what I said here (with links worth pursuing).

Other Pick to Click: “Love In Return”

Neneh Cherry Raw Like Sushi (1988)

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There was a moment there when it seemed impossible that she wouldn’t be a major star. It didn’t happen, but this was a hip hop apotheosis and Madonna supposedly spent a whole lot of time obsessively breaking down a certain single…May as well close the eighties, and the series, with that particular mystery dance.

Pick to Click: “Buffalo Stance”

FROM THE SHADOWS, MEMPHIS 1951 (Found in the Connection: Rattling Loose End #56)

I was looking around for a way to celebrate a record month (and a record year, here already in August) and stumbled upon this, which I can’t even quite believe exists, let alone that it’s a click away on YouTube.

It is, of course, entirely likely that Elvis Presley was in this audience. He certainly was in many others just like it, for the Blackwoods and others. They remain the great, under-appreciated source of his deepest wells of inspiration…They were, at this moment, three years before two of the members here were killed in a plane crash, as great as any vocal group has ever been and no one, not even Brian Wilson or John Phillips, has ever gotten past their stunning arrangements. They absolutely should be in the Rock and Roll Hall of Fame as early influences…I’ll not hold my breath.

MY MORE OR LESS FAVORITE ALBUMS BY ARTISTS WHO HAVE NEVER BEEN NOMINATED FOR THE ROCK AND ROLL HALL OF FAME (Volume 3: The Seventies, Amended)

Whenever you do this sort of thing, ad hoc, you’re almost bound to leave something out. But, while I haven’t had more than one or two pangs of regret over my sixties’ list, the deep and fundamental inadequacy of my seventies’ list started bugging me almost as soon as I posted it. I kept remembering yet another album that made me ask “How could I have left that one off?” Finally, when there were enough of them, I decided to put the eighties’ list on hold.

I’m not much into the old this “decade vs. that decade” disputes, at least not when the decades in question were indisputably great. But for rather obvious historical and demographic reasons, the seventies were certainly the most prolific decade for rock and roll. One fun aspect of taking the focus off the canon for a bit is exploring roads not taken or roads that were partially explored before being abandoned. More of that probably happened in the seventies with truly popular (and populist) music than in any other arbitrary ten year stretch. Some of what’s here “hit,” some didn’t. But it’s easy to think that any of it might have. And, in any case, it was fun to have an excuse to dig out the vinyl and just sit back and smile….

Brinsley Schwarz Despite It All (1970)

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Fake country rock…from England. Really, now, what other decade had that? Weird thing was, for the space of this album, it was convincing. Even Gram Parsons never did better with the concept. And, as we surely know now if we didn’t know then, that’s as good as the concept gets.

Pick to Click: “Ebury Down”

The Move Message From the Country (1971)

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In the later vinyl and cd era, re-releases of this album have always included “Do Ya” and some other fine singles recorded around the same time which were not on this album originally. But the original album was fine on its own. They morphed into ELO of course, but, believe me, Bachman Turner Overdrive took a few notes as well. If, like me, you cant that a good thing, then this is a kind of touchstone of a style of rock and roll that, unless “rock and roll” counts, was never hip enough to acquire a catchy name.

Pick to Click: “Until Your Mama’s Gone”

The Belmonts Cigars, Acappella, Candy (1972)

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I have to admit, when I put the original list together I left this off because I thought these guys had been inducted along with a lot of other famous backup bands/groups a few years back (Blue Caps, Miracles, like that). Seems they weren’t. Once again, you have to sometimes wonder what the folks at the Hall are thinking. Me, I’d put them in if this miraculous LP was all they ever did.

Pick to Click: “Loving You Is Sweeter Than Ever”

B.J. Thomas Billy Joe Thomas (1972)

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I wrote at length about this album’s most famous track here. There’s no way the rest of it could live up to “Rock and Roll Lullaby” which would pretty much upset the balance of any LP ever made. But Thomas was one of the finest studio singers of studio singing’s golden age and, as the title suggests, this is an attempt at the kind of cohesive statement studio pros weren’t supposed to be capable of (not being “soulful” enough presumably). Despite some occasionally pedestrian production, it largely succeeds. A vocal tour-de-force.

Pick to Click: “Rock and Roll Lullaby” (Following along with the “Drift Away” theory established in the “Volume 2, The Seventies” portion of our program….Of the album’s other cuts, I especially commend the closer, a version of John Sebastian’s “Stories We Could Tell” which, unfortunately, I couldn’t find on-line.)

Barry White Stone Gon’ 1973

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One of the things Rock and Roll America used to turn up on a fairly regular basis was voices the rest of America hadn’t been able to previously imagine. Believe me, you can find more precedent for Little Richard in 1955, or Jimi Hendrix in 1967, than you can for Barry White in 1973. This was his second album. It’s here because it’s the only non-comp of his I happen to own. I’ll need to correct that oversight some day. Just be warned that his habit on LP was to stretch his great singles to the breaking point and then surround them with the stuff the radio didn’t have time for…also stretched to the breaking point. I’ll just add that when white Englishmen took this sort of approach, it was always called “art” or “classical” and never once sounded either half as good or half as adventurous.

Pick to Click: “Never, Never Gonna Give Ya Up” (long version)

KC and the Sunshine Band Do it Good (1974)

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If disco hadn’t taken off the way it did, and they hadn’t played such a key role in that takeoff, then they would probably be recognized and celebrated for what they really were, which was a hardcore southern funk band whose leader, Harry Wayne Casey, was, as bandleader, frontman, writer, producer and arranger, the point man in changing the style’s deepest scene from Memphis to Miami.

If that kind of recognition should ever come, it might just get him and his crack band (along with his partner in enlightenment, Richard Finch) into the Rock and Roll Hall of Fame, where they richly belong. All of their period albums are good, and their basic comp is essential. But not more so than their first album, which creased the R&B charts and presaged their breakout the following year. In a word, they did what a southern funk band was supposed to do and for half a decade they did it better than anyone else.

They stomped.

Pick to Click: “Sound Your Funky Horn”

Hot Chocolate Cicero Park (1974)

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Actually, every album they released in the seventies could qualify as one of my favorites for this list and just as superb albums period. They were basically unclassifiable, which may be why they’ve never quite gotten credit for being as great as they were. The vision was equal parts funk, rock, glam, reggae, sixties’ soul and social protest. Actually there once was a classification for that: Rock and Roll. Don’t tell the wrong people. They might swim over to your island and steal your Hot Chocolate records.

Pick to Click: “Changing World”

Wet Willie Keep On Smilin’ (1974)

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The Allman Brothers and Lynyrd Skynyrd set the tone for most of Southern Rock. It would be rooted in blues and R&B, crossed with country and English hard rock, with (in the case of the Allmans) a little jazz thrown in. Wet Willie were hardly unmindful of all that, but they also gravitated toward blue eyed soul and hard funk and, at their best, it led to what I can only call gutbucket beauty. This is them at their best. If the title track were even conceivable today, it would be slotted “Americana” and have no chance whatsoever of being played anywhere except college radio. In it’s day it went Top Ten on the Pop charts. Tell me again why things are really the same or better now?

Pick to Click: “Keep On Smilin'” (live)

Flash Cadillac and the Continental Kids Rock & Roll Forever (1975)

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This is a cheat. It’s a sort of comp, though sufficiently unusual for me to include it even if I didn’t have my reasons. It contains their first album, plus other stuff like the cut from American Graffiti (where they played the band for the high school dance) that threatened very briefly to break them out. They were neo to the core, of course. Throwbacks of a kind that normally aren’t good for anything more than the cheapest nostalgia. A decade later, bands like the Blasters made the throwback thing cool and the Stray Cats even made it commercial. But Flash Cadillac weren’t really like that. They were more like a group of guys who were genuinely caught out of time. They played and sang like the sixties had never happened. There were limits to the approach to say the least. But they, almost alone among the many practitioners of the ethos, found a genuine joy in it, too. Having never heard a single cut on this LP except the American Graffiti stuff, finding this in a used record shop in the nineties still put the smile of the year on my face. And taking it home and listening to it didn’t dim that smile even a little bit.

Pick to Click: “She’s So Fine”

Vicki Sue Robinson Never Gonna Let You Go (1976)

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Out here in the hinterlands there was a very long stretch, basically from whenever the single edit of “Turn The Beat Around” fell off the charts and took the LP out of your local department store’s record bin with it, until the mid-nineties CD reissue boom began taking hold, when, if you wanted to hear the incendiary long version of “Turn the Beat Around,” you had to get lucky and find this in a throwaway bin somewhere. (Oh yeah, you could luck into a 12″ white-sleeve single version…In North Florida…Sure you could. Just like you could see Elvis and Jim Morrison pumping gas across the street from the local Hardee’s.)

My copy was acquired in the late eighties. It still has the fifty-cent tag on it and, if memory serves, it was from a shop where the standard fare was more like fifty bucks.

Or it could have been from the one that was keeping most of their stock on dirt floors in an open-ended barn.

Have I mentioned previously that, sometimes, memory does not serve very well?

What I do remember was picking it up because I had kind of liked the single once upon a time, didn’t have it, but was having a bit of a love affair with old disco albums at the time, figured “Hey, it’s fifty cents. What can it hurt?”

What else I remember was playing the lead track–yes, it’s “Turn the Beat Around”–and being literally floored. There was a time when I obsessed on understanding the lyrics, especially the part where she started redeeming what I had previously considered the dubious history of any and all scat-singing that didn’t involve Louis Armstrong, before finally deciding it was pointless because she was obviously speaking in tongues.

Then, of course, Gloria Estefan came along and straightened it all out with her perfectly articulated 1994 version. I can’t tell you how I know this, and, of course it won’t really be my call, but you can rest assured that, on the Judgment Day, one Gloria Estefan will not be forgiven.

Yes, there’s a whole album and it’s a pretty darn good album. I especially like that fact that, according the back cover, one Vicki Sue Robinson both arranged and performed all that scat-singing herself, including the backup. And, of course, these days, the long version is readily available on YouTube, Amazon, etc.

But that’s really immaterial.

It would be immaterial if the rest of this album were Let It Bleed. Music’s an affair of the heart before it’s anything else. So’s record collecting.

Vicki Sue Robinson, come on down.

Pick to click: “Turn the Beat Around” (long version)

The Cars (1978)

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The album has nine tracks. Six of them became permanent radio staples, despite no single reaching higher than #27 in Billboard. It didn’t sound like anything else before it (even though everybody swore it did, because, well, it must have) and, except for other Cars’ albums, it hasn’t sounded like anything since. Maybe we should be thankful, because, before it’s anything else, it’s ice cold, the epitome of naked ambition. But it worked. And, when it works, ice cold naked ambition is as rock and roll as anything else in this vail of tears.

Pick to Click: “Bye Bye Love” (live)

Rachel Sweet Fool Around (1978)

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As I’ve said somewhere on here before, the missing link between Brenda Lee and Britney Spears. I bet Britney would have been better–and better off–if Rachel had been as big as either. Girl could have used a role model. (Britney, I mean. Rachel was a smart cookie. Went into TV, did just fine. Her lack of stardom was our loss, not hers.)

Click to Pick: “Who Does Lisa Like” (live…and absolutely smokin’)

Nick Lowe Pure Pop For Now People (1978) and Labour of Lust (1979)

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I should mention at this point that there are several albums here, including both of these, which have different tracks for English and American releases. My preferences are for the American versions. Sometimes this is simply because those are what I heard first. More often it’s because I just think the American versions are better.

Going back to the Beatles and Stones, the hard fact is that American record companies had a tendency to cut the fluff. I know this fiddled with everyone’s artistic integrity and all, but I think it also made for better listening experiences. Letting artists have complete control over their album content and sequencing was great in theory, just like letting movie directors have the final cut was great in theory. In practice, better movies and better albums got made when there was a hard won balance between what the artist wanted and what the suits wanted. Now, in the music business at least, we’ve managed the worst of all worlds. The artists are indulged and the suits could care less because there’s no real money in the recording subdivision of the multi-media conglomerate that controls the artist and reports to the corporate sub-overlords who report to the real overlords who keep asking why we really need to keep this music thing going anyway when there’s no money in it?

Case in point, the “bowdlerized” and “re-sequenced” American versions of these two LPs are swift and concise and perfect. The longer English versions (all that’s available on CD as far as I can tell, Pure Pop was originally titled Jesus of Cool) wander around a bit, never quite come to the point and leave no real indication of why this old Brinsley Schwarz hand and jack-of-all-trades record man should have been a much bigger star than he was.

If you can find the vinyl, the question will arise. Those albums were perfect in theory and in fact and, unlike, say, Elvis Costello, he clearly wanted the stardom that never quite came.

No better way to conclude an amended post on the seventies, then, than with the nearest of all the near misses…

Picks to click: “Rollers Show” (Pure Pop) and “American Squirm” (Labour of Lust)

I had some additional thoughts about Pure Pop‘s most famous track, among other things, here.

And I promise you I’m done with the seventies!

And that the eighties, being the eighties, won’t take nearly as long.

MY MORE OR LESS FAVORITE ALBUMS BY ARTISTS WHO HAVE NEVER BEEN NOMINATED FOR THE ROCK AND ROLL HALL OF FAME (Volume 2: The Seventies)

Okay, on with the Seventies…the decade with the mostest.

Some additional notes: I mostly avoided country artists for this series because I’m trying to keep things as simple as possible. Charlie Rich, who probably has a decent shot at the Rock Hall some day (I mean, they’ve nominated Conway Twitty, which is way more of a stretch), would have had four albums on the Sixties’ list if I’d been more inclusive…but then I would have started wondering about Buck Owens and Merle Haggard and Tom T. Hall (each of whom would make as much sense as Patsy Cline or Willie Nelson, who get mentioned a lot as potential Rock Hall nominees). Who knows where that might have led? I decided to keep the stopper in the bottle, so to speak. Maybe it will make for its own post some day–“country-pop-rock-confusion-salad-days” or something along those lines.  That said, the Seventies were even more of a strain and I did finally decide to include a Tanya Tucker album, for reasons explained below.

To that, I’ll just add that I regret not being able to include the New York Dolls’ first two LPs because the Nominating Committee had the good sense to put them on the ballot a time or two, thus rendering them ineligible here. That did it for the punk representatives. (X-Ray Spex just missed the cut because I like their titles better than I like their music, unfortunately, a common reaction for me…and, yes, I know calling the Dolls punk, instead of “pre” or “proto” or something more technically appropriate, will rub some the wrong way. Sorry, I can only call it how I hear it.)

So without further adieu:

Thunderclap Newman Hollywood Dream (1970)

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Note: One shot band who Pete Townshend famously discovered/produced etc.  and therefore British to the core. Don’t let that fool you. It’s also the soundtrack of Ross MacDonald’s Los Angeles, just as it reached the final stage. When it comes to both the form and spirit of decline, we always seem to get there first on the page and the Brits always seem to get there first on record.

Pick to Click: “Something In the Air” (going obvious for once because the times demand it…theirs and ours)

Lulu: New Routes (1970) and Melody Fair (1970)

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Note: Jerry Wexler tried several times to recreate the artistic and (at least relative) commercial success of Dusty Springfield’s 1969 Dusty In Memphis. He kept coming close. Given how epochal Dusty In Memphis is, that’s saying something. These albums are each genuinely great on their own and they gain force in tandem (along with a third album’s worth Lulu recorded around the same time) on the CD set I wrote about a length here.

The quote at the top of that piece still cuts.

Picks to click: “Feelin’ Alright” (New Routes) and “After the Feeling is Gone” (Melody Fair)

Swamp Dogg Total Destruction to Your Mind (1970)

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Note: A straight soul version of Revelations. “Did concrete cover the land? And what was a rock and roll band?” No, really.

Pick to Click: “The World Beyond”

The Stylistics The Stylistics ()1971) and Round 2 (1972)

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Note: A Philly soul super-group who eventually found their way to Thom Bell and major stardom. Coming across their Best of in late-seventies America was like hearing the apostles with the Vandals at the gates. I didn’t hear these albums until the CD reissue boom of the nineties, by which time they sounded more like prophets without honor. No act, Beatles included, has ever released two better albums out of the gate.

Picks to click: “You’re a Big Girl Now” (The Stylistics) “It’s Too Late” (Round 2 and fair competition for the best Carole King cover ever, up to and including “One Fine Day,” “The Locomotion” and maybe even “(You Make Me Feel Like) A Natural Woman”)

Helen Reddy I Don’t Know How to Love Him (1971)

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Note: This contains the now mostly forgotten version of “I Am Woman,” which doesn’t sound as great here as it did in the more polished hit version that has taken a forty-something-year pounding as a definitive version of seventies’ era have-a-nice-day excrement, as agreed upon by everyone from Greil Marcus to Bill O’Reilly. I’d say the length and intensity of that pounding is the truest measure of how much it still frightens people. Reddy was probably the only person who could have mainstreamed feminism for the same reason Chris Evert was probably the only person who could have mainstreamed (non-Olympic) women’s sports…nothing mitigates fear quite like the assurance of normality. This isn’t actually her strongest album (the follow-up Helen Reddy is freer and further ranging and “Tulsa Turnaround” shouldn’t be missed). But if “I Am Woman” had never existed, “I Don’t Know How to Love Him” would have still had everybody quaking if they had only stopped to listen (and gotten Yvonne Elliman’s fine but straight-from-Broadway version out of their heads). “I couldn’t cope…I just couldn’t cope” is as fine a line-reading as exists on record and I’ll just add that when the girls in my junior high came in with reports of their NASA dads stalking out of the TV room or throwing shoes at the set, you always knew who had been on the night before.

Pick to Click: “I Don’t Know How to Love Him”

Jackie DeShannon Jackie

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Note: Jerry Wexler tried several times….Rinse and repeat. Except this time, instead of taking a British girl south, he took an actual southerner who was every bit the singer Dusty and Lulu were but also a Hall of Fame level songwriter. Still didn’t get a hit out of it and, in fact, this was where the trying basically ended. In its original vinyl version, which is what I’m including here, it was merely one of the best albums of its era and recognized as such by virtually no one. In the epic extended version released on CD a while back (with another album’s worth of material added) its an era-summing epic. I keep meaning to write about it at length but, for now, I’ll just say that the original LP is still a keeper.

Pick to Click: “Full Time Woman”

Manfred Mann’s Earth Band

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Note: Depending on how you count, the 3rd or 4th ace band led by keyboardist Manfred Mann. This one started out sounding like an attempt to carry on in the tradition of the Band or Fairport Convention (right down to the ace Dylan covers the Mann’s bands had been assaying since before anybody heard of the Fairports and the Band were still Dylan’s touring band) at the moment those two entities were disintegrating…and even they didn’t do it any better.

Pick to Click: “Part Time Man”

Big Star #1 Record (1972) and Radio City (1974)

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Note: In the CD era these have been released as an incomparable two-fer and that’s the way I’ve become used to listening to them. In their day they charted a future that eventually came and even charted (see R.E.M.) without ever sounding quite as good or quite as ready for any punch the world could possibly throw. I wrote about Big Star and the music on these albums (plus a few other things) here.

Picks to Click: “Feel” (#1 Record) and “You Get What You Deserve” (Radio City)

Dobie Gray Drift Away (1973)

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Note: Hey, that cover is almost weird enough to grace a Swamp Dogg LP. But the sound is all ache. The sound of an open-hearted black man in Nashville, refusing the believe his talent won’t triumph. For one brief shining moment, it did…everywhere except Nashville.

Pick to Click: “Drift Away” (Because no matter how obvious it is, or how great the rest of the LP is, if “Drift Away” is an option, it’s always the pick)

Raspberries Starting Over (1974)

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Note: Nice consensus pick for the era’s Great Lost Album but just because it’s Conventional Wisdom doesn’t mean it’s not so. My personal pick would actually be their 1976 Best of, which I can’t include because it’s a comp, even though it’s inevitably a little stronger than this cut-for-cut and also one of the greatest concept albums ever released…alas, never on CD. Of course, if I had picked this one up in 1980, that time I saw it, sealed, for a buck-ninety-eight, in a bargain bin at a T,G and Y in DeFuniak Springs, instead of on scratchy vinyl, for fifteen bucks, in a used record store, twenty-five years later (never having set eyes on it in between)? Well who knows? But in any case it is plenty good enough to belong here. And, of course, they broke up immediately afterwards. Didn’t the title clue you?

Pick to Click: “Starting Over” (Because, of course, it’s the last song on their last pre-breakup LP) Bonus Pick: “Overnight Sensation” (Eric Carmen, from 2005, sounding like time had stood still for thirty years, waiting for him)

Toots and the Maytals Funky Kingston (1975)

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Note: This is a bit of a cheat. It’s a sort-of comp since it combines the key cuts from a couple of earlier albums that weren’t much distributed outside of Jamaica. But it coheres plenty and these guys are not much mentioned for Hall of Fame status. They should be. Because this is jaw-dropping and, if anything, their earlier stuff, which has been released on various comps, was even better.

Pick to Click: “Country Road” although, really on the “Drift Away” principle established above, I really must add this.

Boston (1976)

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Note: In theory, every big faceless corporate concept I’ve ever distrusted, in one nice, convenient, easy-to-hate package. Just look at that cover! But that’s just theory. In reality, it’s the greatest D.I.Y. record ever made. You want contrived, try the Sex Pistols. This is hard rock out of Beethoven, the James Gang and a Boston basement. If theories held, it should have sounded the way last week’s fish smells. For some, it did and does. For me, it rings true. Maybe the only album that’s sold twenty-five millions copies and is still underrated. Baby, that was rock and roll. Like it or not. And, I might just mention, a fine sequel to Starting Over.

Pick to Click: “Hitch a Ride”

The Persuasions Chirpin’ (1977)

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Note: Black men, singing a cappella in 1977, about a past that never quite was and a future that had no chance of ever arriving. I had some additional thoughts here. To which I’ll only add, don’t go looking for better. There’s no such thing.

Pick to Click: “To Be Loved”

Boston Don’t Look Back (1978)

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Note: Wait. They did it again? Exactly the same? That must surely make this the funniest “up yours” title ever….the end draws nigh.

Pick to Click: “A Man I’ll Never Be”

Tanya Tucker Tear Me Apart (1979)

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Note: The end of Tanya’s attempts to go mainstream. I can only guess she missed because, finally, she had too much rock and country in her voice and not quite enough pop. I’m making an exception to the country exclusion, though, because this really is a rock and roll album (right down to copping Suzi Quatro’s producers and redeeming “San Francisco” of all things). So much so that it was the only album she released over a thirty-year stretch which didn’t produce a country hit. Plus she had already made the cover of Rolling Stone as a country singer, anyway, and did it when country really wasn’t cool, assuming it ever actually was in those sort of places. All of which makes her as likely and credible a candidate for the Rock and Roll Hall of Fame as Willie Nelson in my book. Oh yeah, this was also a fine album. And I wouldn’t pick anybody else, or any other song, to close down the Seventies’ portion of our program. (Suggestion: Don’t play this when you have a parent in a nursing home. Just wait until they pass. And then wait a while longer. Trust me on this.)

Pick to Click: “Shady Streets”

Third and final installment on the Eighties to follow…Don’t worry, if I haven’t lost you by now, I’m sure I’ll lose you then!

MY MORE OR LESS FAVORITE ALBUMS BY ARTISTS WHO HAVE NEVER BEEN NOMINATED FOR THE ROCK AND ROLL HALL OF FAME (Volume 1: The Sixties)

Just for fun…here’s the rules:

1) I didn’t include solo artists who are in the Rock and Roll Hall of Fame as part of a group or one off groups who contain Hall of Fame members (so no Jerry Butler or Derek and the Dominoes for instance).

2) I didn’t include comps (no Dionne Warwick, Paul Revere and the Raiders, etc. who I know mostly through greatest hits packages).

3) I didn’t include anyone who has been inducted in one of the “extra” categories (so no Carole King, since she’s in as a songwriter).

4) I didn’t include anyone who isn’t eligible yet (No Roots or Moby, for instance….you’d be surprised how often this comes up in on-line discussions…for the record, an artist becomes eligible in the “Performer” category 25 years after the Hall determines they released their first record).

5) As the title of this post indicates, I didn’t include artists who have been nominated but not inducted (so no War or Spinners, who would otherwise have multiple entries)

6) This is not an argument that any or all of these acts should actually be in the Hall of Fame. Some should be, some shouldn’t, but I’ve made those arguments elsewhere (you can check the Rock and Roll Hall of Fame category on the right for further details if interested).

All that to keep it simple. Like to 25 or so**. Otherwise it was gonna get complicated. (**Note, that 25 was a general number for the total. Pretty sure it’s gonna be more like 30…or so. I keep remembering.)

So, in roughly chronological order (by year, but I didn’t look up month and day for those in the same year):

The Shangri-Las I Can Never Go Home Any More (1965)

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Note: I’ve never actually owned this album. I do have the original release Shangri-Las 65, which would be worthy on its own. This drops “Dum, Dum Ditty” (perhaps their weakest track) and adds the title track (one of their greatest) so it’s a no-brainer it’s the better album, even before taking the killer cover photo into consideration. I have a private theory that this cast a longer and deeper shadow than Rubber Soul. Me and Amy Winehouse are going to collaborate on a white paper proving this theory next time we get together at the big think tank in the sky. No neocons allowed.

Pick to Click: “Never Again”

Love (1966)

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Note: A racially transgressive sound that’s still radical. Oh, what might have been.

Pick to Click: “Signed DC” (pretty sure the Moody Blues cashed the intro into “Nights in White Satin”…roughly speaking)

Love Forever Changes (1967)

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Note: This is enough of a touchstone of its era it actually creates a backlash of sorts. You can prove how hip you are by preferring some other Love album to this one. Heck, you might even be right. I’ll just make my own distinction by saying several of Love’s other albums are great. This one’s on the order of a miracle. (Even with the guess-you-had-to-be-there cover, which will be a developing theme here!)

Pick to Click: “Bummer in the Summer”

Moby Grape (1967)

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Note: Another touchstone but not too many people insist anything else they did was greater. With reason. Not too much anybody did was greater.

Pick to Click: “Omaha”

Manfred Mann The Mighty Quinn (1968)

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Note: American version of an LP that was called Mighty Garvey in England (with a slightly different track selection). In case that and the cover aren’t 1968 enough for you, it actually has a (wonderful) song called “Cubist Town.” Didn’t sell, even though the title track was a big hit, and didn’t get them any street cred, even though it didn’t sell. I picked it up on a very strange and exhilarating day in 1979 which also involved Boone, North Carolina, a surly record store manager, choir practice, “Beach Baby,” “Cruel War,” a made-for-TV Monkees comp and my first ever speeding ticket. Basically the kind of day you can only have when you’re eighteen. Either that or in a dollar store somewhere a short time later. The memory hazes. Either way, It’s been making me smile ever since.

Pick to Click: “Each and Every Day”

Clarence Carter This Is Clarence Carter (1968)

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Note: Most of the soul giants have at least been nominated. No love for Clarence. Then again he never sounded like a guy who expected to be treated fairly and on his first album, his mournful side meshed perfectly with his definitivelly wicked sense of the absurd.

Pick to Click: “Do What You Gotta Do”

Joe South Introspect (1968)

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Note: Did somebody mention 1968? Based on the cover, South might have been hanging out at Haight-Asbury. He was actually hanging out in Nashville and Atlanta which meant the entire world had gone crazy or he was some kind of visionary who couldn’t be explained by ordinary marketing schemes. I’ll take both. The still, small voice in the back of everyone’s mind, who stayed there even after “Games People Play” broke wide open.

Pick to Click: “Redneck”

The Turtles The Turtles Present the Battle of the Bands (1968)

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Note: Chasing cred, they parodied themselves and everybody else. They sort of got the cred and would have really gotten it if the biggest parody (“Elenore”) hadn’t gone top ten everywhere in the English-speaking world. That’s all very representative. It should have been a catastrophe on every level. Instead it came out…wistful. They probably liked themselves better than they thought.

Pick to Click: “Earth Anthem” (or else “Surfer Dan”…some choices really are too existential to permit any sort of oppressive concept like finality)

Mother Earth Presents Tracy Nelson Country

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Note: Actually this and Mother Earth’s Living With the Animals got swept away in the great CD selloff of 2002 (along with about 98 percent of the collection I had been building for fifteen years…life’s for making mistakes and regretting them as they say) and I’ve never managed to either forget or replace them. There’s nothing here to match Animals’ “Down So Low” but my memory is that this one was more cohesive. Brilliant in any case and as foundational of the alt-country concept as anything Gram Parsons was involved in.

Pick to Click: “Why, Why, Why”

Nancy Sinatra Nancy (1969)

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Note: The other side of the sixties (a long way from Manfred Mann, let alone Tracy Nelson), where Show Biz never died and still contained multitudes. I said my piece about this one here.

Pick to Click: “I’m Just in Love”

Fairport Convention What We Did on Our Holidays (1969)

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Note: Let’s put it this way. The name of the album is What We Did on Our Holidays. One of the cheerier tracks is called “The Lord Is in This Place…How Dreadful Is This Place.” That’s telling it like it is baby!

Pick to Click: “Meet On the Ledge”

Fairport Convention Unhalfbricking

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Note: Oh death, where is thy sting? Right here? No, no, that was our last album. Cheer up lads. Affirmation has arrived. Sort of. Time for the seventies to begin, maybe?

Pick to Click: “Si Tu Dois Partir”

(Volume 2: The Seventies, and Volme 3: The Eighties, to follow…soon, I hope)