While no official announcement has been made, it is anticipated that Disney+ will once again air the Rock and Roll Hall of Fame Induction Ceremony this fall (likely in October). Watching the show last year on the network the mouse built was a hoot. You don’t usually hear that much swearing on the family-oriented network, and certainly not many ‘F’ bombs. It was fun to watch the libertines take over Walt’s creation (and considering how fast he might be spinning in his grave) for a few hours last fall.
This year, the Rock Hall has nominated 14 artists for consideration in the “Performer” category. That’s not the only way to get inducted, though. The Hall will occasionally select “Early Influences” from the pre-rock era (often blues artists like Robert Johnson). There is also the Ahmet Ertegun Award for Lifetime Achievement, which includes executives, journalists, and even disc jockeys. And then there is the mysterious Award for Musical Excellence–a nebulously framed distinction that, according to the Hall, is an “…award (that) gives us flexibility to dive into some things and recognize some people who might not ordinarily get recognized.” Basically, the Musical Excellence Award is a backdoor way of getting in artists who can’t go through the “performer” front door (see LL Cool J and Jimmy Buffett).
Performers are voted on by Rock Hall members, who are made up of more than one thousand artists, historians, and industry pros. While the fans can vote for their favorites via the Hall of Fame’s website, it’s never been made clear how much weight the fan vote carries, but the artist who has garnered the most votes among fans has always been inducted (Dave Matthews Band won the fan vote last year).
This year’s crop of nominees is an ungainly group of classic rockers (Bad Company, Joe Cocker, The Black Crowes), pop divas (Cyndi Lauper and Mariah Carey), Britrockers (Billy Idol, Oasis, Joy Division/New Order), a jam band (Phish), a hip-hop duo (Outkast), alterna rockers (Soundgarden, The White Stripes), ‘60s dance-craze star Chubby Checker, and most surprisingly, the Mexican rock band Maná.
That makes fourteen nominees in all, without a single sure thing (except maybe Phish) among them. Why? Before I answer that question, it’s useful to point out that the Rock and Roll Hall of Fame has been transforming itself over the years into what one could call “The Popular Music Hall of Fame.” Over time, the popularity of guitar, drums, and bass rock and roll has fallen out of favor on the airwaves, leaving the Hall with two choices: expand the definition of “rock and roll” or start going back in time and inducting artists that probably wouldn’t have been considered had rock music held favor on the radio as it last did with the alternative rock movement of the ‘90s–effectively turning the institution into an “oldies” museum and negating its relevance. To my point, an artist becomes eligible for the Rock Hall twenty-five years after their first recording. Not one of this year’s nominees is an artist who is a first-time eligible.
To put it another way, the Hall is scrambling to come up with a strong class of inductees now that rock and roll is no longer en vogue. As I said before, this left the Hall with two choices. They chose both.
For proof, one need only look at last year’s inductees:
Performer:
Mary J. Blige
Cher
Dave Matthews Band
Foreigner
Peter Frampton
Kool & the Gang
Ozzy Osbourne
A Tribe Called Quest
Musical Excellence:
Jimmy Buffett
The MC5
Dionne Warwick
Norman Whitfield
That is one “all over the place” collection of artists. Notably, none of last year’s nominees were first-time eligibles either. But the institution must survive, and however watered down it may feel to some (due to inductees who aren’t all that “rock and roll” or “cream of the crop”), the Hall moves forward in the only way it can: in an “anything goes” manner you could say.
With that in mind, who among his year’s nominees are most deserving and/or most likely to be inducted? That’s actually two different questions, and I’ll attempt to answer both for each artist.
Alright, on with the show (such that it is), in alphabetical order:
Bad Company: There are effectively three versions of Bad Company: the classic album-oriented rock radio regulars led by lead singer Paul Rogers, who recorded six albums from 1974 to 1982. The second iteration, with new lead singer Brian Howe (who previously sang for Ted Nugent–feel however you want about that), recorded four albums from 1986 to 1992, and the third and final version with journeyman lead singer Robert Hart fronting the band. Let’s just say I’m betting the Hall voters are really only looking at the Paul Rogers version. They sold the most albums, had the most hits, and received the best reviews. Rogers’ voice is probably the band’s best argument for induction. His raspy, grown white man blues tone is distinctive and memorable even if the band’s songs sound a bit stale in the modern day. Rogers is the kind of guy who you want to find a place in the Hall for due to his work with the band Free (he sang their big hit “All Right Now”), and if you’re feeling charitable, his work with the supergroup The Firm (with Jimmy Page on guitar), and standing in for Freddie Mercury with Queen on one studio album and one live album. There is a precedent for being inducted based on cumulative work (Steve Winwood being the best example), but I think Rogers’ best shot is with Bad Company. I think Rogers and the original version of Bad Company (the Hall selects specific band members to address changing lineups) have half a chance. My guess is when the votes are tallied, they won’t be found to have been good enough company, but I wouldn’t count them out.
The Black Crowes: A solid rock band that made two albums (their first and their second) that anyone cares about. Their debut album, “Shake Your Moneymaker,” was a rollicking Faces meet the Stones mashup of cracking rockers and sturdy ballads. Their follow-up, the pretentiously titled “The Southern Harmony and Musical Companion,” was far less commercial but still sold well and was reasonably well-reviewed. Eight albums followed (their most recent just last year), with largely diminishing returns. Led by warring brothers Chris and Rich Robinson on vocals and guitar, respectively, the stories about their bash-ups were (unlike Oasis) more entertaining than their songs. That’s a problem. That said, the band is still active, making music, and they aren’t too old to perform on the night of the ceremony. Still, I doubt that utility will be enough to sway voters.
Mariah Carey: It is entirely possible that Mariah Carey has sold more records and been streamed more (especially at Christmas, “god bless us every one”) than all the other nominees on this list combined. From 1990 to 2005, she was in the “Who’s the biggest artist in the world?” discussion. That’s one hell of a run at or near the summit, and it can’t be ignored. At the same time, despite her extraordinary vocal prowess and the fact that she wrote (or at least co-wrote) most of her hits, I have to ask, how many songs in her catalog are truly “great”? I’ll give her “Vision of Love” (her stratospheric debut single) and “We Belong Together” from 2005. That’s it. Too often, Carey mistook the “most singing” for the “best singing,” and even if that whistle note she hits on “Emotions” woke all the dogs in the neighborhood, that kind of showy vocalizing is what led to American Idol. Yes, I’m holding American Idol against Mariah Carey (and you too, Celine). As well, while she may have written most of her songs, the lyrics were so generic as to make Diane Warren look like Joni Mitchell. Still, Carey was nominated last year, which gives me the sense that she has some momentum. I’m betting she gets in, and I’ll just turn the sound down on the night of the ceremony.
Chubby Checker: My first reaction to seeing Chubby Checker on the list was, “Really, Chubby Checker?” Like many, I see him as a novelty act with one memorable song that, to this day, is still a staple at a wedding near you: “The Twist.” But, to be fair, Checker had a terrific voice and, upon closer examination, many more hits than I knew of. All told, Checker hit the Hot 100 thirty-two times, with twenty-one singles making the Top 40, seven of them making the top ten, and topping the chart three times. He holds the distinction of being the only artist to hit number one with the same song twice. If you guessed “The Twist,” you’d be right. At the same time, I can’t think of a single artist who has mentioned Checker as an influence, and he has to be docked for recycling versions of “The Twist” six times to gain chart traction. I hold no ill will towards a singer who was all about fun and delivered plenty of it in the ‘60s, but while the resume may be longer than I thought, it’s still pretty thin. I could be wrong, but I think Hall voters will agree.
Joe Cocker: I’m sure many people who fell in love with rock and roll in the ‘60s and the ‘70s will look at Cocker on this list and think, “You mean, he’s not already in?” He’s, to a degree, this year’s Ozzy Osbourne. Blessed with a gruff, soulful, and wild voice that practically asks, “What would have happened to an arena roof had Cocker and Janis Joplin sang a duet underneath it?” I think the trouble for Cocker over his career was the inconsistent quality of his albums. Sure, those of his era know “You Are So Beautiful,” “The Letter,” “A Little Help From My Friends,” and a handful of others, but looking at his output with a squinty eye, he feels like a very marginal candidate. I’d pick him before Bad Company, and the Hall would not be embarrassed by his inclusion (they have KISS, Bon Jovi, and Journey for that), but I think he’s likely to fall just short. I wouldn’t argue against Cocker, but it’s hard to imagine pounding the table for his case.
Billy Idol: Here’s where it gets fun. In rock and roll history, there have been few more dynamic, energetic, and distinctive performers than Billy Idol. His mixing of punk, new wave, dance music, metal, and with an Elvis Presley-inspired lip turn-up that was a full-on sneer and trademark, and not to mention one of the most iconic rock and roll names ever, Billy Idol was a fucking blast. There is no greater fist-pumper than “Rebel Yell” and no greater fist-pumper (of a different kind) than “Dancing With Myself.” He should also get bonus points for his three-album punk rock run with Generation X (again, iconic). The thing is, he’s seen mainly as an ‘80s relic, and I don’t think he’s taken all that seriously by the “artsy-fartsy” types. But I ask, no, I plead with you to tell me that any time you hear a Billy Idol song, you don’t want “More! More! More!” Turn it up. As Loud as it goes. I don’t think he gets in, but I hope I’m wrong. If he does, his long-time songwriting partner and ace guitarist Steve Stevens should accompany him.
Joy Division/New Order: This should be a slam dunk “yes.” Other than maybe The Cure, no post-punk band was more influential on the goths and the grims that came later, singing songs that stripped away artifice and delved straight into the pain of life. Of course, there’s the timeless “Love Will Tear Us Apart,” but there’s also “Atmosphere,” “Dead Souls,” and many others that inspired everyone from their contemporaries like David Bowie to Nine Inch Nails and even U2. When their lead singer and primary songwriter, Ian Curtis, committed suicide, the band carried on with guitarist Bernard Sumner taking over the lead vocals and chief songwriting duties. The band renamed themselves New Order and became one of the leading lights of the New Wave and alternative era, with hits like “Blue Monday,” “Bizarre Love Triangle,” “True Faith,” and “Regret.” Not many bands get to be ahead of their time twice. This one did. And if you’re wondering about the combination platter factor of putting both bands on the ballot together, there is precedence with The Small Faces and The Faces. Regardless, separate or together, Joy Division and New Order deserve their plaque in the Hall. There’s never been anything quite like them. I’m betting on them getting in, but I must admit, my heart might be overriding my head on this one.
Cyndi Lauper: It might be hard to remember now, but there was a moment in the ‘80s when Lauper rivaled Madonna as the biggest female pop singer in the world. Lauper’s run as a chart-topper was short-lived but was remarkable while it lasted. She created a sort of “bag lady chic” style, sang with quirky distinction and astounding power, and for a brief period, the hits were relentless. “Girls Just Want To Have Fun,” “Time After Time,” “She-Bop,” “All Through the Night,” “True Colors,” “Change of Heart,” and even that “Goonies” song were unmissable on the radio. She also recorded what might be the best cover of a Prince song with her take on “When You Were Mine.” Was her peak too short? That’s the argument against her. But oh, was it mighty. Not only that, she’s been making excellent albums for years without the gold and platinum to show for it. Yeah, I think she should get in. I also think she will get in.
Maná: In a rare bold move by the Hall, they’ve nominated a Spanish language first band that is successful outside the U.S. while also making inroads on the Billboard charts. I’ve often complained that the Rock and Roll Hall of Fame is far too focused on artists from the States or a foreign artist that has had great success in the States. It’s a big world out there, and rock music has been huge in other countries, but you wouldn’t know it from the Hall’s inductee list. Maná, a band from Mexico that had a nearly thirty-year run (1987-2015) as a first modestly, then wildly, successful rock band, gives the Hall a chance to add some international flavor to their ranks finally. My guess is that this time around, the nomination will be the victory, but don’t be surprised if Maná ends up back on this list next year or gets in via the inscrutable “Musical Excellence” path.
Oasis: Speaking of artists who were more prominent outside the States than within, Oasis was the biggest band in the world for a time, and they crossed over to this side of the Atlantic, too, although without the same fervor. I mentioned the battling Robinson brothers of The Black Crows earlier, but those two had nothing on the Gallaghers. Lead singer Liam, and primary songwriter and guitarist Noel’s track record of fisticuffs and drunken, surly, snotty behavior is almost as well known as the band’s songs. That’s saying something because Oasis sounded massive from the first moment of “Supersonic’s” creaking door guitar intro, Oasis acted and sounded like the biggest band in the world before it was true. The knock on the band has always been that they stole too much from The Beatles. I have some breaking news: practically every UK band (and most American, Australian, and you name the country) stole from The Beatles. Oasis just did it more shamelessly and loudly. Last year, the brothers put aside their more than a decade-and-a-half-long feud to go on tour. Tickets are nearly impossible to get. Hell, they might be the biggest rock band in the world right now. And besides, who doesn’t want to hear those acceptance speeches from the Gallaghers? They’ll take the piss out of the crowd and on each other. Just say yes, Hall. I’m betting this time they do.
Outkast: Coming straight out of the ATL, Andre 3000 and Big Boi formed one of the most electric, creative, and one-of-a-kind duos in the history of hip-hop and popular music period. In their genre, no duo compares except Run-DMC. Deeply funky, strange, and with beats and rhymes and hooks for days, for twelve years, they might have been the best hip-hop band going. You can hear echoes of Sly, Prince, and Parliament in their songs, but also something uniquely their own. I know “Ms. Jackson,” “Elevators,” “The Whole World,” “Hey Ya,” and “The Way You Move” were the highest charting singles for the duo, but it’s the incomparable “Rosa Parks” that has always knocked me flat. It’s a club track, it’s got sneaky social commentary in it, and it is just so deeply funky. “Ah-ha, hush that fuss Everybody move to the back of the bus Do you wanna bump and slump wit’ us?” Hell yeah, I do. One year after pulling in A Tribe Called Quest, I think the voters will honor another groundbreaking rap group this year. They damn well better. Outkast, eligible for six years now, should have been first-ballot Hall of Fame inductees.
Phish: I got nothin’ here. I have never understood the band’s popularity. While I’ve heard plenty of their songs, I couldn’t tell you the name of a single one. To be fair, jam bands are not my jam. From The Grateful Dead to the Dave Matthews Band, I simply don’t get it. And you know what? That’s fine. Other people do. Right now, Phish is far and away leading the pack in the Hall fan voting. They are the closest thing to a sure thing. What’s the point of having a fan vote if the artist who tallies the most votes gets left out? The backlash (which the Hall gets a lot of–much of it deservedly) would be more than a little loud. I may not always like reality, but I’ve yet to have reality ask me what I think. Rejoice, Phishheads, your day is coming.
Soundgarden: They came on like a molten version of Black Sabbath crossed with Led Zeppelin with a lead singer who could scream in tune. The fact that there is even a debate that the grungiest of the grunge bands from Seattle is worthy of admission is a slap to the face. Personally, I thought they were better than Nirvana and way better than Pearl Jam (both in the Hall). Chris Cornell’s explosive voice, which sang and soared over some of the heaviest music ever recorded, should be a difference-maker for Hall voters. He could have safely called boats into the harbor on a perilously foggy night with that throat of his. He was one hell of a songwriter, too. Go past “Black Hole Sun,” “Outshined,” and “Spoonman,” and take in the awe of “Slaves and Bulldozers.” The craft, pacing, and leadup to one of the wildest howls ever voiced is reason enough to understand what a terrible oversight the Hall has made. Sadly, Cornell took his own life in 2017 and won’t be with his mates should they be inducted. That will lend a lot of bitterness to the sweet for his widow, daughter, and fellow members of Soundgarden, but at least a wrong will have been righted. I think it will finally happen this year.
The White Stripes: Here’s the thing with The White Stripes: I know people who love their music and who can’t stand guitarist and frontman Jack White. I’m not sure he’s reached the Billy Corgan level of detested, but somehow, he’s fallen into a sunken place despite being considered an extremely creative guitarist and having written some of the most idiosyncratic, deconstructed (most of their songs are just Jack on guitar and Meg White on drums) stompers of the tail end of the peak of the alternative rock era. You can’t go to a sporting event of any kind and not hear “Seven Nation Army,” and yet Jack could also bring it all the way down to the gentle “We’re Going to be Friends.” There’s a scene at the beginning of the terrific documentary It Might Get Loud, which brings White together with guitar legends The Edge and Jimmy Page for a film all about the sounds a guitar can make. We watch White take a piece of wood and a wire and then puts hammer and nail to them, creating a guitar out of what looks like spare parts at a junkyard. He then plugs it in, and the result is electric in every sense of the word. I’d consider them just for that moment. Do I think The White Stripes are worthy of induction? Yes. Will they get in? No. Not yet.
Okay, with that being said, I’m betting on seven of the fourteen getting in. First, let me tell you who I think those seven will be:
Mariah Carey
Joy Division/New Order
Cyndi Lauper
Oasis
Outkast
Phish
Soundgarden
Who would I choose if I were king?
Billy Idol
Joy Division/New Order
Cyndi Lauper
Oasis
Outkast
Soundgarden
The White Stripes
I’d throw the other two to Maná and Joe Cocker if I had nine votes.
Fans who wish to participate can select seven choices of their own by going straight to this page on the Rock Hall’s site. After voting, you can also view the updated rankings. Let’s at least hope that Disney is up for another night of debauchery. I should also add that while the Hall’s induction process and selections often leave much to be desired, the museum itself is one hell of a quality historical entity. It’s also a good reason to go to Cleveland. There aren’t that many of those.
