ALL IS FORGIVEN….

Anyone who has been around here for a while knows I go back and forth on Greil Marcus. I don’t always agree with anybody, but I’ve mostly called him out when I thought he stepped on his own tongue. And I’ve called him out more than anyone else because I always find him interesting even when my disagreement is vehement.

From his website’s mailbag of 5/8/18, though, (and in response to a question about early seventies’ soul groups no less) there’s this:

I don’t think any Hall of Fame argument has merit when Joan Jett, who is a small-time but effectively self-promoting mediocrity, is in and the Shangri-Las are not.  It’s a matter of how you judge it. Kiss and Joan Jett, not to mention Patti Smith, are in the HoF because of their overwhelming influence on other people. I consider that a false standard. I think people ought to be judged on their own work, and that to consider uninteresting and self-promoting people important because of their influence on people who are even less interesting than than they are is absurd. Patti Smith is genuinely a hero to countless people for many good reasons. I once was one of her opening acts, was essentially kicked off the stage because I was taking up too much time (what I had been asked to do), was as angry as I could be, and then she came on, and after a few minutes I was humbled that I had actually been on the same stage as she was. Did she define what rock ‘n’ roll is and what it could be, and even what it should be? Maybe. Perhaps definitely. But you can’t even begin to raise that question about the Shangri-Las—they did what all of the people I’ve mentioned did, did it with more depth, and it’s almost irrelevant that they did it first.

That’s much further than anyone of Marcus’ stature has ever gone on behalf of the Shangri-Las, regarding the Hall of Fame or anything else.

Seeing the Shangri-Las in the Hall is one of about four things that have to happen before I can die happy.

But I don’t need that to say this: Believe me, all is forgiven…until next time!

 

A NICE HALF-CENTURY WITH MISS QUATRO (Found in the Connection: Rattling Loose End #69)

Since it’s sort of the principal running them of this blog, I like to think I’m up to speed on the contributions women made to the rock and roll era. But I confess I never knew Suzi Quatro was in a band (founded by her sister Patti) called the Pleasure Seekers.

In 1964 and ’65.

In Detroit.

Playing hard rock.

When Suzi was 14 and 15.

It doesn’t really matter if these records are very good (the band is okay, the singer is going places, but only when the world catches up to her). What matters is that, contemporaneous with the Supremes and the Shangri-Las, they were made at all.

Later on they were signed to Mercury in 1968.

So not only did Suzi beat the Runaways to the hard rock starting gate and ace out Jane Fonda for the definitive shag-haircut-of-the-century (knew all that)…

…she beat Fanny to a major label contract.

Maybe somebody else did, too. I’m always learning.

But it’s a pretty safe bet none of the others went on to sell fifty million records, last fifty years in the business, give interviews explaining how she got through a tough spot on an acting set by “imitating Joan Jett imitating me,” (ignore the title, it’s not a jab)….

and end up giving lessons on German TV demonstrating the links between natural hit-makers, Ludwig Van Beethoven and Abba.

Other than that, just another girl from Detroit.

MARY WEISS’ SHADOW (Found in the Connection: Rattling Loose End #48)

Been a hectic week but I found this on somebody’s twitter page…I’d say whose if this were the sort of week where I could remember…

SUZIQUATRO1

That’s Debbie Harry (of Blondie), Suzi Quatro and Joan Jett, circa some time in the late seventies. Three women, who, shall we say, probably benefited from Weiss’ experience more than she did, and all of whom were appropriately grateful. They knew where they came from even if a lot of other people forgot.

And that put me in mind of Quatro’s lengthy radio interview with Weiss from shortly after Weiss’ release of her first (and so far only) comeback album in 2007, which I was fortunately able to track down here.

Should not be missed by anyone interested in how culture works.

Sometimes, somebody just says no…and actually means it.

On all kinds of levels.

 

 

THE ROCK AND ROLL HALL OF FAME: 2015 NOMINEES

It’s that time again: Anyone wishing to participate in fan ballots can go HERE or HERE (second one actually has a small impact on the official voting).

Angst-Is-Me (meaning, me-me-me-me-me-me-me!): That’s one of the three main themes for this year’s ballot. Regrettable, but I suppose inevitable, given the direction “rock and roll” took once the rock and roll coalition fell apart in the late eighties. This will no doubt be a running theme in the future.

Anyway, count me uninformed on an era where Green Day (who I do sort of like) could pass for comic relief. I tried You-Tubing some Nine Inch Nails and Smiths. Really I did try–just couldn’t get all the way through any of their songs. But at least they seem to have struck a deep chord with their fans and I never begrudge anyone their own Shining Path.

“Sting,” on the other hand, has always struck me as a likely product of some government conspiracy–which government I’m not sure, but the Dark Arts must surely be involved. Anyway, I’m loathe to vote for a solo artist who is already in as a member of a group.

That leaves out the Velvet Underground’s Lou Reed, too. He’s far more deserving than Sting. I don’t even doubt that he’s Hall worthy–you know, once all the deserving people who aren’t already in have been taken care of.

Before I get to that, I’ll address the second major theme: Catch-As-Catch-Can.

This would include two “blues-rock” acts (the seminal Paul Butterfield Blues Band, the sturdy Stevie Ray Vaughan), the by-now obligatory rap act (N.W.A., a good one at least), a hard rock act (Joan Jett) and those fun-lovin’ auteurs of trance music (Kraftwerk).

So, in order:

The Paul Butterfield Blues Band: Fine. They would fit perfectly in my proposed category of Contemporary Influence. That would be a category where the Hall’s Nominating Committee, which already decides on Nonperformers, Musical Excellence, Sidemen, Early Influences and the like, induct artists who clearly influenced rock and roll during the rock and roll era, but don’t easily fit the Rock and Roll Performer category. It’s probably too late for this to happen, with perfect candidates like Miles Davis, Albert King and Muddy Waters already inducted as performers. The PBBB aren’t anywhere near as epic as those acts (or Patsy Cline or Peter, Paul and Mary, to mention a couple who could define my proposal). That being the case, they are basically taking up a spot on the ballot that would be better filled by far greater sixties’ “cult” acts like Love or Fairport Convention…or popular ones like Manfred Mann or Paul Revere and the Raiders.

Stevie Ray Vaughan: Solid, of course. I’d even call him rock and roll, since, by the time he came along, bringing straight blues to a mainstream audience was a kind of holy act. Not as holy as the Persuasions preserving–and modernizing–doo-wop into the seventies’ maybe, but honorable just the same. I could imagine voting for him, but only on a much weaker ballot than this one.

N.W.A.: Again, I could imagine voting for them (actually did vote for them the last time they were nominated), mainly as a way of honoring Ice Cube and Dr. Dre, who ended up being far more consequential than their original group. Maybe next year.

Kraftwerk: If we must, shouldn’t it be Roxy Music?

Joan Jett: The thing about Joan Jett is that–except for a few sides–I’ve always liked the idea of her better than the actual music. And I can’t get this quote from Suzi Quatro (who’s never been anywhere near the ballot) out of my head, (re: how she finally got through a scene she kept muffing on the set of Happy Days): “I finally decided to imitate Joan Jett imitating me.” I guess there’s a theme here: I’m not anxious to vote for somebody when there’s a better somebody who keeps not getting nominated.

That brings me to the year’s third theme, which, thankfully, is the recognition of long overdue R&B acts from the actual rock and roll era and which made up my entire ballot:

War and Spinners: I wrote about both in depth in my previous post. They are, by far, the two most deserving acts on this ballot and two of the half dozen or so most embarrassing oversights on the Hall’s record to date. Time to end all that.

Chic: I’m actually fairly lukewarm on them. But it’s clear disco isn’t going to get any further respect–that more deserving acts like K.C. and the Sunshine Band and (especially) Barry White–aren’t getting on the ballot unless and until Chic gets in. They’ve reached double-digit nominations and they fit the year’s best theme so this was an easier-than-usual call.

The Marvelettes: No, they aren’t the Chantels or the Shangri-Las, who have been unable to breach the Induction wall because the moat of ignorance (or, just possibly, chauvinism) separating the Hall’s voters from their beholden duty is deep and wide. But they are deserving–they had Motown’s first #1 (symbolic but symbols matter) and a long string of truly great singles. Easy choice, even with the caveats.

Bill Withers: Uncategorizable (as I wrote about here). Too much his own man even to really fit in with The Rising (see the War/Spinners post for details). I suspect he’s been helped by the now easy availability of his once difficult-to-hear early catalog. But, whatever good vibes brought him from nowhere to buzz-worthy in the past year, (in the fan voting, he’s doing the best by far of the acts I’m recommending) I hope they last. His induction would represent real hope for thinking outside some of the Hall-defined boxes that have become far too small for comfort.

Or, putting it all a little more simply: This…

Over this…

I mean, the End is coming soon enough. Let’s not hit the accelerator just yet.

QUICK THOUGHTS ON THE 2012 ROCK AND ROLL HALL OF FAME NOMINATIONS…

(NOTE: The Future Rock Legends site has posted this year’s nominees. Please check it out and consider participating in the fan vote.)

You can go here, here and here to see who I think should have been nominated. The only overlap this year between my list and the actual nominating committee’s is Donna Summer so, obviously, she’s a no-brainer. In past years, death worked for the equally deserving Dusty Springfield and the hardly deserving (as a solo performer) George Harrison, so here’s hoping this will be her time.

I also voted for N.W.A. (along with Public Enemy, eligible for the first time), the Marvelettes, Heart and Deep Purple.

For the record, I don’t agree with the folks at FRL that this is an exceptionally strong ballot, especially not given the long list of the more deserving who have once more been left off.

However, I never have a problem finding five worthy candidates.

Heart was close to making my own list and N.W.A. were outside my consideration because they are just becoming eligible, so those were easy picks.

The Marvelettes are not, to my mind, as important as the Chantels or the Shangri-Las to either rock history or my personal pantheon. But they did have Motown’s first #1 hit, made lots of great records and are fully worthy of induction (as is Mary Wells). They are also the only pre-Beatles act on this year’s ballot and that ever more tenuous connection needs to be kept alive until the dozen or so still-deserving acts from that era get their due.

Deep Purple seemed the most worthy of the remaining acts since they did have a certain amount of weight in the early days of what’s now called (rather arrogantly and narrowly) “classic rock.”

As for the rest:

Newly eligible Public Enemy are a virtual shoo-in and Rush will probably get the most public support. I don’t have any problem with these two acts being in, though, to be fair, I probably don’t know enough about either act to truly judge their music.

Reactionaries who dream of a world where we all run back to the tribes tend to have a distancing effect on me.

On the other hand, Albert King and the Paul Butterfield Blues Band seem extremely marginal. If pure blues acts are going to be in the Rock and Roll Hall of Fame as performers, I think they should at least be giants in their own field. Not sure that really applies to either of these, though both, of course, made lots of fine music and had a monumental side or two. I’m just not sure history is any different without them.

Chic keeps getting nominated and they deserve to be in, but I would put them a long way behind Barry White and a shade behind K.C. and the Sunshine Band in the disco sweepstakes.

The Meters are fine. I probably should listen to more of their music, too, but I doubt I would rank them anywhere near War.

Kraftwerk represents an area of rock-as-machinery/machinery-as-rock that’s never been my cup of tea, but I find it hard to believe they should be put ahead of Roxy Music (and I’m not even sure I would vote for Roxy Music if they were on this relatively weak ballot).

Randy Newman is fine. His best music is the equal of anyone’s best music (though most of it was made a very long time ago and, for someone who is supposedly uncompromising and iconoclastic there sure has been a lot of inexplicable mediocrity over the ensuing decades). But he’s not as deserving as Jackie DeShannon or Carole King and he represents a disturbing trend of voters seemingly banding together and continually electing marginal singer-songwriters (Leonard Cohen, Tom Waits, Laura Nyro) in hopes whichever one they really want in will be on next year’s ballot.

Procol Harum? Again, I probably need to listen more, but I’ve listened enough to feel pretty confident they aren’t hiding any Sandy Denny or Richard Thompson level geniuses in there. Save them for later. Put the Fairport Convention in first.

That leaves Joan Jett and her band, the Blackhearts. Very tricky case. I like her a lot, but maybe more as an icon and personality than for her actual records. Still, the moment when “I Love Rock and Roll” and “We Got the Beat” sat at #1 and #2 on the singles charts was a great, great breakthrough in the way half of the human race could imagine seeing themselves. And the fact that so many assumed Jett and the Go-Gos were cultural inevitabilities rather than visionaries who–taking very different paths–decoded and blew apart some of the world’s oldest hack prejudices and preconceptions at the exact same moment, has been long since belied by the “inevitable” culture’s inability to produce more than a tiny handful of worthy heirs for either.

So while I would put the Go-Gos in first, Jett’s worthy and I would make her my first alternate, just ahead of Chic.

All in all, this is by no means a terrible list to choose from (there’s never been a terrible RRHOF list to choose from, no matter what you might have heard). But the Hall’s most persistent patterns–inexplicably prejudicing writers and players over the singers who actually gave rock and roll its unique identity, resistance to women who do not long to be part of some boys’ club or other and the preference for cultish white acts (or white liberal approved acts like Public Enemy) over far more significant black ones–all generally continue.

Setting Donna Summer aside, War, Spinners, Jerry Butler, Dionne Warwick, Cyndi Lauper, Carole King and Linda Ronstadt were each big stars in their respective eras and at least matched the artistry of anyone else on this list. Those patterns are shifting ever so slightly, but until they are addressed more thoroughly, the hole in the side of the Hall’s leaking boat will only grow larger.

And given what a great and necessary institution the RRHOF is–and how vital it is becoming to the preservation of rock’s central, somewhat contradictory, idea of bringing the tribes closer together without obliterating their identity altogether, that’s a real shame.