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.

 

 

 

 

THE RISING–ROCK AND ROLL HALL OF FAME EDITION (Second Memo)

This year’s Rock and Roll Hall of Fame ballot was released recently. I’ll have a post on all the nominees and who I voted for in the fan ballots later. First I wanted to concentrate on the acts that are the year’s two most deserving by a wide margin (not that either is being treated that way in either the press or the fan polls–wrong color), who also played a big role in the category I recently started here.

I don’t know if War was the greatest American band of the seventies–I’d call it a close run between them and Lynyrd Skynyrd–and, depending on how one defines “the Seventies” (do Creedence or Sly and the Family Stone belong?) or “American” (does Fleetwood Mac belong?), there are other contenders. But they were certainly the most Cosmic–the same way the Byrds were the most Cosmic band of the Sixties.

Cosmic as in “boundless” or “limitless.”

Or just far-reaching.

Put another way, they were the perfect band for Cosmic times. Especially Cosmic times that were beginning to close down and leave us with the set of boundaries and limits within which we now live.

They’re just buzzwords now. A big, mixed up stew of psychic jolts barely detectable from each other.

Vietnam. Watergate. Woodstock. Altamont. Manson Family. Summer of Love. Love Generation. Weatherman. SDS. Kent State. Days of Rage.

Assassination. Riot. War (the socio-political concept, not the military one that involves the truly bloody and costly task of taking and holding ground and certainly not the Cosmic band).

Whatever.

It’s all in the past now. Part of the times.

Except “the times” still have a hand around our throat. Our ignoring it hasn’t made it go away–just led us here, to the place of lost opportunity.

The Rising was meant to warn us, to keep us off the wrong track.

War was The Rising’s strongest voice.

For a half-decade plus–from backing Eric Burdon on 1970’s “Spill the Wine” (a far more subversive record than just about anybody has ever cared to admit–probably because it arrived at the only moment when a white man fantasizing about an orgy in the Hall of the Mountain Kings while the African Kings [albeit with a Danish harmonica player] of L.A.’s Chicano East Side laid down the funk and Miss Puerto Rico whispered sweet nothings in his ear, going #3 Billboard, seemed not all that far-fetched) on through “Slippin’ Into Darkness,” and “The World is a Ghetto” and “Cisco Kid” and “Why Can’t We Be Friends.”

Along the way, they had the best-selling album of 1973–a phenomenon (now mostly forgotten, along with the rest of The Rising) I wrote about here, plus a string of Go-rilla-sized radio hits that crossed every conceivable barrier (which I wrote about here).

So why aren’t War in the Hall already?

Well, I can only speculate–few voters or nominating committee members ever explain themselves, which is their right. But, if I had to guess, I’d say the obvious reason is the lack of a convenient hook: no charismatic leader like Sly Stone or George Clinton to attract the attention of the Radical Chic combo (black revolutionaries, white luminaries) that tends to excite intellectual discourse; no easily defined style (I read the phrase “Latin funk” a lot…er…okay); a complete misunderstanding of rock and roll history that allows those sitting in judgment to think War was “just another funk band,” ignoring how their unique style was forged from L.A. doo-wop and garage bands, late-sixties neo-soul and West Coast jazz, with respect for, but relatively little deference to, James Brown or Sly Stone (a process of assimilation which is best defined on Rhino’s great, little noted, three-volume collection Brown Eyed Soul which I can’t recommend too highly).

The greatest sin of all then.

No easy answers.

Or, to use a throwback cliche–prophets are often without honor in their own land.

More precisely and emphatically than anyone working in the seventies–in rock and roll or elsewhere–War were the prophets of the backlash present.

Hello “Slippin’ Into Darkness,” and “The World Is a Ghetto,” and “I hear you’re working for the C.I.A/They wouldn’t have you in the Maf-i-a.” Hey White America…you didn’t listen then, how’s it feel to join us, here at the precipice of the long fall defined by the new buzzwords? Decline. Collapse. Credit Default. Drone Warfare. Air Strikes. Government Shutdown. Or, the best description of the American prison system–even better than the New Jim Crow–Gulag?

Should have listened I guess.

Probably still should….

War were West Coast–East L.A. and universal. Old Testament prophets informed by a wary version of New Testament grace.

Spinners were East Coast, Philly by way of Detroit (a long apprenticeship at Motown that ended when their great, Stevie Wonder-produced breakout hit “It’s A Shame” was followed by an even greater Stevie Wonder-produced wonder called “We’ll Have it Made” which failed to cement their success).

They weren’t prophets themselves, but they served one. His name was Thom Bell and, as arranger, producer and (most often with his great partner, Linda Creed) songwriter, he operated under the guise of a Romantic Poet.

Though he had hits with a lot of artists, Bell had three principal vehicles during The Rising. Spinners (there was properly no “the” in their prime period), were the pinnacle of a crescendo that rose from the Del-fonics (very fine) and the Stylistics (truly great, but, due to their reliance on Russell Thompkin’s Jr., ultimately held within limits which Spinners, with three great leads and the kind of harmonies that come only from years of finishing each others breaths, easily transcended).

Bell had a vision that seemed apolitical. It seemed that way even on something as direct as “Ghetto Child.” It seemed that way then, and, if you don’t pay the extra-close attention which those glorious arrangements and heart-stopping vocals can so easily deflect, it might seem that way now.

Don’t be fooled. Spinners were the greatest vocal group of the last decade where that distinction meant anything. They were also the vehicle where Bell (with and without Creed) invested the best of himself.

What we want Bell and Spinners essentially said, over and over, is to belong.

If War were already counting the loss (even as they hoped for the best), Bell’s Spinners were exploring a promise that would never quite be kept…on the assumption that, even if it wasn’t, it would be worth articulating.

One of the other acts on this year’s ballot is N.W.A., the gangsta rap pioneers who eventually sprang from the Compton streets War long before warned were slipping away. I didn’t vote for N.W.A. this time around (though I think they are worthy and will get in at some point).

Put simply, the rejection of the visions War and Spinners offered during The Rising–our inability to hear and heed the warning they sometimes implied and sometimes stated openly–made N. W.A. inevitable, necessary, cathartic and nowhere near effective.

The legal barriers once confronted by the Civil Rights movement are down. They were down in 1970, when War and Spinners had their first big Pop hits.

The walls that divide the “modern” acts on this year’s ballot (indie acts like Green Day and Nine Inch Nails along with N.W.A.–page still white, ink still black, still no gettin’ together) from each other are still standing.

Higher than ever.

Really, really should have listened….Really, really still should.