It’s official-the Rock and Roll Hall of Fame has revealed its Class of 2023. There are some that a lot of us predicted, a lot that a fair few of us didn’t see coming, all from a pretty strong ballot overall. So I’m just going to dig in, about a week late.
Performers:
Willie Nelson
As a belated 90th birthday gift, Willie Nelson is inducted into the Rock and Roll Hall of Fame. Everybody had predicted Willie for induction, including me, but nonetheless, I cannot be happier to see Willie get the honor. He’s an icon, a living legend, beloved by so many people across so many different walks of life, and I’ve known his music since hearing my dad playing his music, even got to see Willie Nelson.
Sheryl Crow
A name that many predicted and even I was initially going to put as a prediction and I’m not sure why. Sheryl has had the commercial success, is well respected by her peers, has collaborated with many big names over the years (including fellow inductee Willie), plus having already worked with the Hall in the past. So no complaints at all.
Kate Bush
Yep, I was right. What can I say that hasn’t already been said about Kate? An eccentric genius, a brilliant artist and innovator, and no shortage of admirers of her peers. So many questioned her chances of being inducted based on the lack of US success, and I admit I’ve been guilty of that with artists like T. Rex, but just based on Stranger Things, I just had the feeling this was her time. So I’m happy with this one, obviously.
George Michael†:
For our 80s pop selection, we have the Fan Vote winner, the late George Michael. My third prediction come true, George Michael is, well, George Michael. Major star of the eighties, highly respected and revered by his peers, his stature has only grown with time, especially with his passing in 2016, and even with him gone, no shortage of people would be happy to perform in his honor. So no complaints.
Rage Against The Machine (Tim Cummerford, Zack de la Rocha, Tom Morello, Brad Wilk):
For our Hard Rock and Metal act, we have Rage Against The Machine this year. Inducted after five nominations, the socially and politically outspoken quartet beat out fellow hard rock and heavy metal acts Soundgarden and Iron Maiden, both of whom were on their second nomination. As gross as the blatant conflict of interest is (for those that don’t know, guitarist Tom Morello is on the Nominating Committee and has been for the better part of a decade now), I can’t really argue against this one too much. And hey, at least we’re finally done seeing Rage on the ballot, so there’s that.
Missy Elliott:
Missy Elliott, the one and only! The FYI inductee this year, the first female rapper to be inducted into the Hall, also the first female FYI inductee-those who are inducted within their first year of eligibility-in fifteen years (the last being Madonna). I did wonder if she and A Tribe Called Quest would cut into each other’s votes, but nonetheless, Missy is more than worthy of the honor.
The Spinners (Henry Fambrough, Billy Henderson†, Pervis Jackson†, Bobbie Smith†, Phillipe Wynne†):
(Snubbed Members: G.C. Cameron, John Edwards)
Well, for our seventh and final performer this year, we have Philly Soul legends The Spinners. I did predict them but under Musical Excellence, so I was half right on this one, but regardless, this is easily the most pleasant surprise this year! I will still call attention to the absence of both GC Cameron (lead singer on their breakthrough hit “It’s A Shame” who is also responsible for cousin Phillipe Wynne being brought in as his replacement) and John Edwards (Wynne’s successor and lead singer in the group’s longest running lineup), both should be honored alongside the classic five, but regardless, The Spinners are so overdue for induction it’s not even funny.
With the Performers out of the way, let’s tackle the other categories.
Award For Musical Excellence: Chaka Khan
After years and years of attempts at getting her in, be it with her band Rufus or on her own, we finally have the Queen of Funk herself, Miss Chaka Khan, in the Rock and Roll Hall of Fame. Many have predicted her as a Musical Excellence inductee at different points, but it has finally happened. Though it’s unfortunate that Rufus aren’t being honored alongside her, Chaka is long overdue for induction, rather it be for her work with Rufus, her solo career, her collaborations with a venerable who’s who of rock and roll such as Steve Winwood (2004 w Traffic), Ray Charles (1986), Quincy Jones (2013), Mary J. Blige, Peter Cetera (2016 w Chicago), De La Soul, Herbie Hancock, and Rick Wakeman (2017 w Yes). Cannot say anything against Chaka Khan being honored.
Award For Musical Excellence: Al Kooper
The second Musical Excellence recipient this year is one of rock and roll’s great movers and shakers in the great Al Kooper. Founder of jazz rock pioneers Blood, Sweat, & Tears, gifted multi-instrumentalist proficient on organ, piano, guitar, mandolin, and French horn, session player with artists such as Bob Dylan (1988)-that’s his organ on “Like A Rolling Stone”, The Jimi Hendrix Experience (1992), The Rolling Stones (1989)-“You Can’t Always Get What You Want”, anybody?, The Who (1990), Roy Orbison (1990), George Harrison (1988 w The Beatles/2004), Rita Coolidge, Simon & Garfunkel (1990), Taj Mahal, and Neil Diamond (2011); producer of such artists as Lynyrd Skynyrd (2006), The Tubes, jazz bandleader Don Ellis, and Nils Lofgren (2014 w The E Street Band); all of this in addition to releasing solo records of his own and collaborative albums with the likes of Mike Bloomfield (2015 w Paul Butterfield Blues Band), Chuck Berry pianist Johnnie Johnson (2001), and Stephen Stills (1997 w Buffalo Springfield, 1997 w Crosby, Stills, And Nash). Honestly, I’m surprised that Al hasn’t already been inducted in some shape or form, but nonetheless, absolutely deserving.
Award For Musical Excellence: Bernie Taupin
For our third and final Musical Excellence Award recipient, we have the one and only Bernie Taupin. One half of one of popular music’s most enduring songwriting teams alongside Elton John (1994), it was Bernie whose words provided the basis for Elton’s songs throughout his career (minus a brief split in the late seventies and the odd soundtrack or musical). Bernie’s lyrics are bold, dramatic, they have a flair for the theatrical, can be very broad and bombastic, can be stark and personal, and can hold you in the palm of a hand-in other words, the perfect lyricist for an artist like Elton; when Elton says there’d be no Elton without Bernie Taupin, you better believe it. Besides that, Bernie Taupin has also collaborated with artists such as Alice Cooper (2011), Heart (2013), Starship, Rod Stewart (1994/2012 w Small Faces/Faces), Marianne Faithful, and Willie Nelson (2023). Admittedly, I’m a bit puzzled by Bernie being inducted this way rather than as a Non-Performer, but regardless, Bernie is long overdue for induction.
Musical Influences: DJ Kool Herc
For our first Musical Influences inductee, we have hip hop pioneer DJ Kool Herc. Well, what can you say? Kool Herc basically created a whole culture, and the world is vastly different because of it.
Musical Influences: Link Wray†
Well here we are, Link Wray is finally in. After all this time, and after “Rumble” went into the short lived Singles category, Link finally receives a proper induction himself.
Ahmet Ertegun Award: Don Cornelius†
For the final award this year as well as the one Ahmet Ertegun (or Non-Performers) Award recipient, we have late Soul Train host and creator Don Cornelius. Cannot argue with this one at all, giving the immense impact that Soul Train has had on popular music and culture in highlighting black joy and culture on its own terms in addition to providing countless artists with a platform such as The O’Jays (2005), Al Green (1995), The Jackson 5 (1997), Grace Jones, The Spinners (2023), and many more.
OVERALL THOUGHTS
Giving the strength of the ballot this year, it was practically inevitable that a solid class would be produced, and we got just that. A very solid class all around with some long overdue names.
Giving the recent renewed scrutiny around the lack of women in the Hall, three of the performers and one of the Special Category inductees all being women is a step in the right direction. With that said, wow did they seriously drop the ball with not honoring Big Mama Thornton this year. Giving her recent resurgence through the Elvis movie, inducting her as an Early Influence would have done a great deal to help in this regard.
Was genuinely shocked to see Warren Zevon not make the cut giving all of the advantages he had (not least being the likes of Billy Joel and David Letterman advocating for him this year), and somewhat surprised that neither Cyndi nor JD/NO didn’t make it in either. With that said, all three will almost certainly return to the ballot, especially as the biggest hurdle was always just getting them on the ballot.
It also needs to be said how poorly the announcement of the indicted class was handled this year. You gave a date, but no time or place, and then just quietly put up a video of LL Cool J announcing the inductees. WTH?
With all of this said, a pretty solid class overall, can’t really complain too much.
We’re already coming closer to early May, which is when the Rock and Roll Hall of Fame is to announce the class of 2023.
Due to nomination and induction now occurring in the same year, is the first year with the artists being nominated exactly 25 years after being nominated, skipping over 1997 as a result. This is also one of the smaller ballots we’ve seen in recent memory, but also a very strong and pretty consistent ballot where each act has a valid case for induction. As a result, there are very few truly safe bets this year, but regardless, I will attempt to predict the acts inducted this year. In addition, I will also post my first Fan Vote ballot and go through how and why I voted for each artist, as if I were an actual voter.
So I’ll start with my Fan Vote as a warm up.
My Ballot for 2023
The Spinners: One of the premiere acts of Philly soul and 70s R&B, they’ve been eligible for almost as long as the Hall’s been around, and Henry Fambrough is in his mid eighties. This is a no brainer. That said, put GC Cameron and John Edwards in with the classic five.
Warren Zevon: Legendary singer-songwriter, pillar of the LA scene in the seventies, inspiration to and admired by so many notable names in the biz, and has been eligible for nearly thirty years. While I didn’t vote for Willie because he’s just that much of a safe bet, I will give Warren that little extra bump.
Joy Division/New Order: Seminal part of alternative and electronic music, they’ve been eligible for close to twenty years, The White Stripes will have another shot if they’re not inducted.
Kate Bush: Brilliant artist, a true trailblazer, she’s already on her fifth nomination, and she predates Cyndi, so Kate Bush naturally gets my vote.
Iron Maiden: As much as I love Soundgarden, I have to give this one to Iron Maiden just out of seniority and impact.
That’s my Fan Vote, so now I will make predictions for the Class of 2023.
My Predictions for the Class of 2023
1. Willie Nelson
A highly beloved icon across the industry and among many walks of life, he’s turning 90 this year, he’ll be a draw for a ceremony, I think everyone will agree that Willie is arguably the safest bet for this year’s ceremony.
2. Warren Zevon
Though not as big a mainstream artist, don’t count Warren out completely. A cult singer-songwriter who is highly revered among his peers, plenty of big names would be willing and able to either induct Warren or perform in his honor, so a name to keep tabs on.
3. Cyndi Lauper
One of the big pop stars of the eighties, plenty of mainstream recognition, just one award away from being an EGOT winner, and her success in the Fan Vote certainly doesn’t hurt. So Cyndi gets my fourth predicted inductee.
4. Joy Division/New Order
Of all the alternative acts on the ballot this year, I tend to lean towards Joy Division/New Order. With their presence in popular music and culture, you’ve got at least two strong fanbases to draw from, many voters are possibly more inclined to lean this way regardless of which of the two acts is their main point of reference. A possible reunion with Peter Hook probably doesn’t hurt, either.
5. George Michael
Admittedly, I initially pondered whether George or Cyndi might end up cutting into each other’s votes, meaning that one or neither would be inducted (not least because of both artists’ role in the heyday of MTV). However, I can now see both going in at this point. In George’s favor, he has huge mainstream success and appeal, very respected by his peers, a number of people would be eager to help honor him. And of course, the fact that he’s been neck in neck with Cyndi in the Fan Vote doesn’t hurt either.
6. The White Stripes
While The White Stripes haven’t been talked about as much this year, I’d say their chances are still very strong. One of the last really big rock acts, Jack White is well connected in the business, “Seven Nation Army” is sure to get an audience at the induction going, and a potential appearance from Meg, even if just to accept the award, would certainly intrigue many.
7. Kate Bush (if there are seven performers inducted)
I debated on which of my picks should be the “Wildcard”, but I ended up settling on Kate. While more UK centric, she’s a highly respected, innovative, and influential artist with many big names counted among her admirers and even collaborators, and giving the Colbert bump from Stranger Things, now is as good a time as ever to induct her.
Award for Musical Excellence: The Spinners
Clearly, there’s a push to get the Spinners in, and realistically, this is probably how it will happen.
Early Influences: Big Mama Thornton
With the Colbert Bump from the Elvis movie came renewed interest in Big Mama Thornton, and she would be a perfect choice for the Early Influences category.
While this ballot is a close call with many potential acts being neck-in-neck with each other, these are the predictions I managed to come up with. So, there it is.
Well, after about two years away, the Rock and Roll Hall of Fame has recently released its 2023 ballot, and while I’m two weeks behind, better late than never.
Key Recordings: The Kick Inside [1978], “Breathing” [1980], The Dreaming [1982], Hounds of Love [1985], “Don’t Give Up” [1986; with Peter Gabriel (2010 w Genesis/2014)], The Sensual World [1989]
Eligible Since: 2003
Previously Nominated: 2018, 2021, 2022
Kate Bush returns to the ballot for her fourth nomination, now armed with her resurgence courtesy of the use of her hit “Running Up That Hill” on Stranger Things. As far as Bush’s career, what can I say? From her debut single “Wuthering Heights” in 1978 at the tender age of 19-becoming the first female artist to hit #1 on the UK charts with a self-penned song-to being one of the earliest artists to utilize the Fairlight CMI on a commercial record, from being the first known artist to use a headset with a wireless microphone onstage to collaborating with mega elites like Peter Gabriel (2010 w Genesis;2014), Prince (2004), Elton John (1994), and David Gilmour (1996 w Pink Floyd), influencing and/or being covered/sampled by the likes of Radiohead (2019), PJ Harvey, OutKast (seriously, Big Boi is a MAJOR Kate Bush fanboy), Adele, Tupac (2017), Pat Benatar and Neil Geraldo (2022), Herbie Hancock, St. Vincent, Björk, Coldplay, Florence And The Machine, Boy George, Brazilian thrash band Angra, Tank, free jazz guitarist Sonny Sharrock, John Lydon (2006 w The Sex Pistols), The Prodigy, Fiona Apple, Tori Amos, Kim Petras, Lady Gaga, you name it.
Kate Bush is a brilliant artist, simply put. And while this is obviously not her first time on the ballot, the aforementioned resurgence means this is the best shot she’s ever had. I am definitely routing for Kate, she is a true diamond in the rough who’s shine has never dimmed but rather brightened as time goes on.
A Tribe Called Quest
A Tribe Called Quest in the early days. From left to right, Jarobi White, Q-Tip, Ali Shaheed Muhammad and Phife Dawg.
Members: Kamaal “Q-Tip” Fareed, Ali Shaheed Muhammad, Malik “Phife Dawg” Taylor†, Jarobi White
Genres: Alternative Hip Hop, Jazz Rap, East Coast Hip Hop, Progressive Hip Hop
Key Recordings: People’s Instinctive Travels And The Paths Of Rhythm (1990), The Low End Theory (1991), Midnight Marauders (1993), We Got It From Here…Thank You 4 Your Service (2016)
Eligible Since: 2015
Previously Nominated: 2022
A Tribe Called Quest, one of Alternative Hip Hop’s pillars in the early 1990s, make their second consecutive appearance on the ballot. The biggest act to come out of the Native Tongues collective, A Tribe Called Quest played a crucial development in the development of alternative hip hop, being among the first acts to based their sampling around jazz rather than the likes of James Brown and Parliament-Funkadelic as well as bringing forward more abstract lyricism and consciousness into hip hop. In addition, their album The Low End Theory has recently been inducted into the Library of Congress’ National Recording Registry, which is for sound recordings considered “historically, culturally, and/or aesthetically significant, and/or reflects life in the United States”.
A Tribe Called Quest, a phenomenal group, a group that really opened the doors for so many others such as The Roots, D’Angelo, Kanye West, J Dilla, Consequence, Scarface from the Geto Boys, OutKast, really, almost all alternative hip hop. It’s unfortunate that Phife Dawg isn’t with us anymore, but nonetheless, Tribe’s work and legacy speak for themselves, and the group would be a very welcome addition to the Rock And Roll Hall Of Fame. Can definitely see ?uestlove doing the honors of inducting them. Excellent pick, glad to see them back on the ballot.
Iron Maiden
L-R: Dave Murray, Janick Gers, Bruce Dickinson, Steve Harris, Nicko McBrain, Adrian Smith
Members: Clive Burr†, Paul Di’Anno, Bruce Dickinson, Janick Gers, Steve Harris, Nicko McBrain, Dave Murray, Adrian Smith, Dennis Stratton
Genres: Heavy Metal, NWOBHM, Progressive Metal
Key Recordings: Iron Maiden (1980), Killers (1981), Number Of The Beast (1982), Peace Of Mind (1983), Powerslave (1984), Live After Death (1985), Somewhere In Time (1986), Seventh Son Of A Seventh Son (1988), Brave New World (1999)
Eligible Since: 2005
Previously Nominated: 2021
Ah, yes, Iron Maiden. One of the most iconic metal bands of all time, over 130 million albums sold worldwide-all with little radioplay or mainstream support, might I add, the metal mascot of metal mascots in Eddie, one of the most influential rock or metal bassists Steve Harris, an array of British stamps in the band’s honor (joining the likes of The Beatles, The Rolling Stones, Pink Floyd, and Queen), revered as one of the greatest live bands of all time, leading figures in the New Wave of British Heavy Metal, one of the most rabid fanbases you’ll find in rock and metal, or all of popular music for that matter, you name it.
Giving Judas Priest getting in last year (through a back door induction, but I digress), it was only time before Maiden returned to the ballot, and while I wish Motörhead was occupying this spot, Maiden is certainly worthy of induction. And while I always figured on the Piece of Mind lineup plus Di’Anno and Burr being inducted, it is a pleasant surprise to see Dennis Stratton included, and I can’t complain about longtime guitarist Janick Gers being included as well. I can heartily agree with this one, no issue at all.
The Spinners
Top Row (L-R): Henry Fambrough, Billy Henderson, and Pervis Jackson Bottom Row (L-R): Phillipe Wynne and Bobbie Smith
Members: Henry Fambrough, Billy Henderson†, Pervis Jackson†, Bobbie Smith†, Phillipe Wynne†
Snubbed Members: G.C. Cameron, John Edwards
Genres: R&B, Soul, Philly Soul, Funk, Disco
Key Recordings: “It’s A Shame” (1970), Spinners (1973), New And Improved (1974), Pick Of The Litter (1975), “The Rubberband Man” (1976), “Workin My Way Back To You/Forgive Me, Girl” (1979), “Cupid” (1980)
Eligible Since: 1987
Previously Nominated: 2012, 2015, 2016
After seven years, The Spinners make their return to the ballot. From their early days in Detroit to their breakthrough with 1970’s “It’s A Shame” (co-written and produced by 1989 inductee Stevie Wonder), their move to Atlantic Records and collaborating with writer/producer Thom Bell to produce a string of hit songs and records that helped define 1970s Philly Soul. Though they haven’t always gained the same recognition of their peers at Motown or even some of their Philly Soul peers like The O’Jays, The Spinners have certainly made their impact. They remain a popular touring act, even with most of the classic members having passed on; they’ve influenced or been covered/sampled by the likes of David Bowie (1996), Elvis Costello (2003), Elton John (1994), Todd Rundgren (2021), The Doobie Brothers (2020), Boyz II Men, the Bee Gees (1997), Grandmaster Flash & The Furious Five (2007), Wu Tang Clan member Raekwon, legendary session guitarist Paul Jackson Jr., What Is This? (featuring members of Queens Of The Stone Age, 2012 inductees Red Hot Chili Peppers, and 2017 inductees Pearl Jam), DMX, Darryl Hall And John Oates (2014), Seal, Regina Belle, Jay Z (2021), 2Pac (2017), LL Cool J (2021), James Taylor (2000), Gladys Knight (1996 with The Pips), and MF DOOM among others; their music has been used in media such as Stripes (1981), Spaceballs (1987), Avengers: Infinity Wars (2018), Twins (1988), Black Joy (1977), That 70’s Show (1998-06), Malcolm In The Middle (2000-06), Donnie Brisco (1997), Cold Case (2003-10), Beauty Shop (2005), and True Blood (2008-14).
Very nice to see The Spinners back on the ballot, they’re way overdue for induction. I will say that I question the absence of two people-G.C. Cameron, Phillipe Wynne’s predecessor and cousin who sang lead on “It’s A Shame”, the group’s breakthrough hit that paved the way for the run on Atlantic, plus bringing Phillipe onboard, and then Wynne’s successor John Edwards, who was in the group for over twenty years and appeared on hits like “Workin’ My Way Back To You/Forgive Me, Girl” and “Cupid”. Hopefully, this is rectified by the Hall before too late, especially since they’re the only two 70’s members besides founding member Henry Fambrough still with us.
Soundgarden
The Classic Lineup: L-R: Ben Shepherd, Matt Cmaeron, Chris Cornell, and Kim Thayil
Members: Matt Cameron*, Chris Cornell†, Matt Shepherd, Kim Thayil, Hiro Yamamoto
Genres: Grunge, Alternative Metal, Heavy Metal, Hard Rock, Neo-Psychedelia
Key Recordings: Louder Than Love (1989), BadMotorFinger (1991), Superunknown (1994)
Eligible Since: 2013
Previously Nominated: 2020
Making their second appearance on the ballot is 2020 nominee Soundgarden. Grunge pioneers, their rise helping establish Sub Pop as a premier indie label (and influencing Kurt Cobain’s decision to sign Nirvana with the label), also helping bridge alternative and heavy metal alongside peers like Jane’s Addiction and Faith No More. Albums like BadMotorFinger and Superunknown are staples of 90’s Rock, Matt Cameron is among the greatest rock drummers of his generation, Kim Thayil a gifted guitarist in his own right, Hiro Yamamoto and Ben Shepherd are great bassists, and of course, you have a top flight singer, songwriter, and frontman in the late great Chris Cornell.
Honestly, I figured it was only time before Soundgarden returned to the ballot, but I’m nonetheless very pleased to see them here. I love Soundgarden, they really were the full package-the band, the singer, the songwriting, a signature sound all while continuing to expand their horizons. And giving that the ballot isn’t as jam packed with hard rock and heavy metal this year, Soundgarden has a much better shot this year than they did last time. And with their induction, this would be a second induction for Matt Cameron after being inducted with Pearl Jam in 2017. In addition, Cameron and Cornell going in this year would make Temple Of The Dog the second group after The Traveling Wilburys to have each member inducted without the group itself being inducted.
The White Stripes
Members: Jack White, Meg White
Key Recordings: De Stijl (2000), White Blood Cells (2001), Elephant (2003), Get Behind Me Satan (2005), Icky Thump (2007)
Eligible Since: 2023
First Nomination
The first newly eligible nominee on the ballot is power duo The White Stripes. One of the central bands in the 2000s garage rock revival, pillars of indie rock, one of the most critically acclaimed acts of their era, while also gaining commercial success thanks to their minimalist style, their unique aesthetic based around simple reds, whites, and blacks, the no-nonsense playing of leader Jack and drummer Meg, and the blending of punk, blues, and garage rock. And since disbanding in 2011, the group’s stature has arguably only grown.
What more can I say about The White Stripes? Easily one of the best rock groups of the 2000s at a time when we stuck in the middle of post-grunge and nu metal circling the drain, we had two supposed-siblings-who-were-actually-amicable-exes-but-acted-as-siblings-to-keep-the-focus-from-their-music coming in with no frills, no nonsense rock and roll filtered trough raw punk and blues. Album-wise, you really can’t go wrong with The White Stripes and breaking up when they did may very well have been the way to go, because they went out on a high note. With The White Stripes being inducted, that would make the fourth year in a row with a FYI, and I am naturally curious if the famously private Meg White performs with Jack or even attends.
Joy Division/New Order
Members: Ian Curtis†, Gillian Gilbert, Peter Hook, Stephen Morris, Bernard Sumner
Genres: Post-Punk, Gothic Rock, New Wave, Alternative Dance, Electronic Rock
Key Recordings: Unknown Pleasures (1979; Joy Division), “Transmission” (1979; Joy Division), Closer (1980; Joy Division), “Love Will Tear Us Apart” (1980; Joy Division), “Ceremony” (1981; New Order/Joy Division), “Temptation” (1982; New Order), Power, Corruption, & Lies (1983; New Order), Low-Life (1985; New Order), “Bizarre Love Triangle” (1986; New Order), “True Faith” (1987; New Order), Technique (1989; New Order), Republic (1993)
Eligible Since: 2004
First Nomination
Joy Division and New Order. What would modern indie or popular music be without these two intertwined groups? In Joy Division, you have THE post-punk band, a pioneer in gothic rock, one of the most influential vocalists of alternative music in the late Ian Curtis, a truly creative and unorthodox bassist in Peter Hook, an equally innovative and original guitarist in Bernard Sumner, a solid drummer in Stephen Morris, and a maverick producer in Martin Hannett. They put Factory Records on the map and showed that punk could be more than righteous fury but just as easily in mood and atmosphere. Hooky, along with Public Image Ltd’s Jah Wobble and Talking Heads’ Tina Weymouth, really established the bass as a crucial cornerstone of punk and widened its sonic palette in the process. And in New Order, you have a band overcoming the tragic death of their singer and beginning a new chapter. In the process, they would create a legacy that proved rich and vibrant in its own right, pioneering Alternative Dance in the process and achieving commercial success in the process. But most importantly, they are a musical phoenix, a symbol that things can always improve and get better.
What can I say? I love Joy Division and New Order, two amazing bands whose work has stood the test of time, both long overdue for induction. I don’t have a problem with them being inducted together, since not only do you have three of the same people in both groups, but even overlap in musical DNA. Let’s face it, Movement is probably not too far off from what a third Joy Division record would have sounded like, considering that the band had already begun experimenting with synthesizers before Ian’s death. Likewise, “Ceremony” began life as a Joy Division song before evolving into what became New Order.
Regardless, very pleased to see JD/NO on the ballot. And who knows? Maybe a reunion with Hook? Well, we can dream, at least.
Key Recordings: “Careless Whisper” (1984; Wham! Featuring George Michael), Faith (1987), Listen Without Prejudice Vol. 1 (1990), “Don’t Let The Sun Go Down On Me” (1991; with Elton John)
Eligible Since: 2010
First Nomination
From one eighties alternative mainstay to one eighties pop mainstay, the late George Michael makes his first appearance on the ballot. From his time with Wham! where he and partner Andrew Rigley scored hits such as “Wake Me Up Before You Go”, “Last Christmas”, and especially “Careless Whisper”, to his mega success as a solo artist, over 125 million records sold, with Faith alone selling 25 million to date, two time Grammy winner, collaborator with the likes of Elton John (1994), Queen (2001), Ray Charles (1986), Aretha Franklin (1987), Whitney Houston (2020), Paul McCartney (1988 w The Beatles/1999), and Mary J Blige, in addition to being an LGBT rights and HIV/AIDS research activist. And since his death on Christmas Day 2016 (giving “Last Christmas” a bit of cruel irony in hindsight), his legacy and popularity has continued to endure.
I can’t claim to be the biggest George Michael fan, but I do like some George Michael. Very talented guy, great singer, and really, you just can’t resist that saxophone kicking off “Careless Whisper”. An induction would obviously be bittersweet giving his death, but I’m sure plenty of artists would be happy to perform in honor of him. Also, if he is inducted, I’d love to see Ryan Reynolds induct him. Deadpool does love him some George Michael and Wham!
Duly noted. Make It Big did earn them that exclamation.
Rage Against The Machine
Genres: Rap Metal, Funk Metal, Alternative Metal, Hard Rock
Members: Tim Cummerford, Zack de la Rocha, Tom Morello, Brad Wilk
Key Recordings: Rage Against The Machine (1992), Evil Empire (1996), The Battle of Los Angeles (1999)
Eligible Since: 2017
Previously Nominated: 2018, 2019, 2021, 2022
Rage Against The Machine appears on the ballot. Again. A significant act in 90s Alternative and Funk Metal, pioneers in Rap Metal, politically and socially conscious lyrics and activism that resonates as much today as it ever did, very innovative and unconventional guitar work from Tom Morello, some classic tracks and records in the process (particularly the debut).
I’m going to be blunt, how many times are we going to see them on the ballot? It’s getting tiring at this point, not least because of Morello’s place on the Nominating Committee, which totally doesn’t look at least a little shady, plus all of their contemporaries who’ve struggled to get on the ballot. And for the third year in a row? They (really, Tom) do realize that the more you push an act on the ballot, the more apathetic voters get, right?
Putting that aside, I won’t complain about seeing them inducted, and it is fairly interesting that Soundgarden AND Rage could both be inducted, which would make Audioslave the third group to have each member inducted without the group itself being inducted. Beyond that, I’m not super blown away by this one.
Sheryl Crow
Genres: Rock, Roots Rock, Country Rock, Pop, Adult Alternative
Key Recordings: Tuesday Night Music Club (1993), Sheryl Crow (1996), The Globe Sessions (1998), C’Mon, C’Mon (2002), “Picture” (2002, with Kid Rock)
Eligible Since: 2019
First Nomination
Our third first time nominee appears in the form of singer-songwriter Sheryl Crow, who had previously inducted Fleetwood Mac in 1998 as well as taking part in the 2014 tribute to that year’s inductee Linda Ronstadt. Over 50 million records sold worldwide, nine Grammy wins (out of 32 nominations to date), being the rare winner of “Best New Artist” to not suffer the “curse” of the award, has collaborated with the likes of the aforementioned Fleetwood Mac, Johnny Cash (1992), The Rolling Stones (1989), Sting (2003 w The Police), Loretta Lynn, Vince Gill, Willie Nelson, Eric Clapton (1992 w The Yarbirds;1993 w Cream;2000), Michael Jackson (1997 w The Jackson 5;2001), Leon Russell (2011; Award For Musical Excellence), Prince (2004), Jerry Lee Lewis (1986), Smokey Robinson (1987), Barry Gibb (1997 w The Bee Gees), Miley Cyrus, Chris Stapleton, Stevie Wonder (1989), Scott Weiland, and so many more, in addition to contributing a James Bond theme with “Tomorrow Never Dies” as being accomplished on guitar, piano, harmonica, bass, accordion, ukele, cello, and autoharp.
While I might not be the biggest Sheryl Crow fan, I don’t have an issue with her, very talented and accomplished woman. For somebody that a lot of people initially dismissed as a flash in the pan, Sheryl has truly proven herself as an enduring presence in popular music across multiple genres, and has generally stayed true to herself in the process. All of that in addition to being a breast cancer survivor and subsequently doing a lot for breast cancer awareness and research, I definitely have nothing but respect for her, so no problem at all with her being on the ballot OR being inducted.
Cyndi Lauper
Genres: New Wave, Pop Rock, Synthpop
Key Recordings: She’s So Unusual (1983), “Goonies R Good Enough” (1985), “True Colors” (1986)
Eligible Since: 2009
First Nomination
Cyndi Lauper, the one and only. Icon of the 80s, fashion, and feminism, humanitarian, LGBT rights activist, inspiration to the likes of Katy Perry, Lagy Gaga, Kim Petras, and Tegan and Sara, Songwriter Hall of Fame inductee, Hollywood Walk of Fame Star recipient, key figure in the Rock and Wrestling crossover of the 1980’s,composer of popular Broadway musical Kinky Boots, just one Oscar short of being in the EGOT Club, singer of the Goonies’ theme song. Cyndi Lauper has seen it all, done it all, with her debut album She’s So Unusual remaining a cornerstone of the 80’s, to the point of being inducted by the Library of Congress into its National Recording Registry, which recognizes recordings that historically, culturally, and aesthetically significant.
Cyndi Lauper is a name I wasn’t necessarily expecting to see on the ballot, but I certainly welcome it. Not only because I’m happy for the people at InductCyndiLauper, but also because she really would be a welcome presence at the Hall. And they’ve already got her in the Women Who Rock exhibit, so a solid pick all around.
Key Recordings: Shotgun Willie (1973), Phases and Stages (1974), The Red Headed Stranger (1975), Wanted! The Outlaws (1976; with Waylon Jennings, Jessi Colter, and Tompall Glaser), “Mammas Don’t Let Your Babies Grow Up To Be Cowboys” (1978; w Waylon Jennings), Stardust (1978), Always On My Mind (1982)
Eligible Since: 1986
First Nomination
After Dolly Parton’s induction last year, we have another country music icon on this year’s ballot in the Red Headed Stranger himself, Mr. Willie Nelson. One of the founding fathers of the Outlaw movement, American icon, one of the great songwriters even before hitting stardom in the 70’s, countless awards, produced and starred in the pilot of long running and much beloved series Austin City Limits, 60 million records sold worldwide, multiple stabs at acting, a beloved figure among young and old, liberal or conservative, and many people across different walks of life.
Super cool to see Willie on the ballot, a true legend and icon. Giving that Paul Shaffer has pushed for Willie, and he’s likely not the only one, it makes total sense to see Willie’s name on the ballot, and he’s a welcome addition to the ballot. Country music is one of the key genres that gave birth to the bastard we know and love as rock’n’roll, and Willie is more rock’n’roll than most the rock bands currently inducted. And definitely get him in while he’s still here, especially as the man is turning 90 this year.
Missy Elliott
Genres: Hip Hop, R&B, Progressive Hip Hop
Key Recordings: Supa Dupa Fly (1997), Miss E…So Addictive (2001), Under Constrution (2002)
Eligible Since: 2023
First Nomination
The Queen of Rap herself, Missy Elliott, is the second newly eligible nominee on this year’s ballot. Singer, songwriter, rapper, actress, producer, you name it, Missy “Misdemeanor” Elliott has done it. Since the release of her debut Supa Dupa Fly in 1997, which had the highest chart debut for a female rapper at the time at #3, she has sold 40 million records worldwide, won four Grammys, received the MTV Video Awards’ Michael Jackson Video Vanguard Award, and became the first female rapper inducted into the Songwriters Hall Of Fame.
Very pleasant surprise to see Missy on the ballot, she’s extremely deserving of recognition, and I’m naturally happy for Mary at the Rock Hall Watchers podcast since she’s been passionate about seeing more women inducted and particularly seeing female rappers be nominated and inducted. And honestly, I’d say she has a very strong chance of being inducted this year, which could give 2023 two FYI artists in Missy and The White Stripes.
Warren Zevon
Genres: Rock, Folk Rock, Hard Rock, Blues Rock, Singer-Songwriter
Key Recordings: Warren Zevon (1976), Excitable Boy (1978), Sentimental Hygiene (1987), Life’ll Kill Ya (2000), The Wind (2003)
Eligible Since: 1995
First Nomination
Last but not least, maybe the one nominee that truly surprised me, the late Warren Zevon is receiving his first nomination, perhaps thanks to a letter by 1999 inductee Billy Joel. While most know him for “Werewolves of London” and “Lawyers, Guns,& Money”, the man was a songwriter’s songwriter. Known for his wit and sardonic lyrics, what Warren lacked in regular commercial success he more than made up for with the admiration and respect of his peers. Among those who’ve covered him, expressed admiration for him, or even collaborated with him are the likes of Linda Ronstadt (2014), Jackson Browne (2004), Bonnie Raitt (2000), Hank Williams Jr., Bruce Springsteen (1999), Pixies, The Everly Brothers (1986), The War On Drugs, members of both Fleetwood Mac (1998) and Eagles (1998), George Clinton (1997 with Parliament-Funkadelic), Carl Wilson (1988 w The Beach Boys), R.E.M. (2007), Tom Petty (2002 w Tom Petty & The Heartbreakers), Bob Dylan (1988), and GG Allin.
I’ll admit that Warren Zevon is an artist I didn’t immediately “get” when I was younger, though I could always recognize and respect the man’s talent. But who knows? Maybe it was the pandemic aging me to a certain extent, but I’m really glad I’ve revisited Warren Zevon, because I *get it* now. And of course, I’m naturally very happy that he’s shown up on the ballot after all these years. And giving just how revered he is in the biz, Warren’s arguably one of the safest bets this year.
OVERALL THOUGHTS:
That is the 2023 Rock and Roll Hall Of Fame ballot. There’s maybe a nitpick or two, but overall, a pretty good if rather small ballot. I am a little bit disappointed not to see at least three or four more names on here, and as Mary rightfully pointed out, you could easily have put women like Grace Jones on the ballot, or bring Mary Wells or The Marvelletes back, maybe even finally nominate Diana Ross solo. And of course, I can think of other names that could be on the ballot, but that’s for another post.
No matter, it’s smaller than it could or really should be, but it’s a respectable ballot, and I can’t gripe too much. I’m not going to predict the Class just yet, I’ll save that for when we get closer to the Class being officially announced, but welcome back to The Musical Zamboni, happy to be back after all this time.
The Class of 2021 is here, folks! The first ballot with John Sykes as Chairman of the Nominating Committee, the most gender-diverse in the Hall’s history and the most racially diverse in who knows how long.
I shared my predictions not long ago, and let’s see how I did this year. In 2019, I got 5 out of 7 right, and in 2020 I got 3 out of 6 right. How will my odds be this year?
Tina Turner*
My first prediction to turn out correct right out of the gate, Miss Tina Turner herself.
Carole King*
Just as I suspected, Carole and Tina both get their second inductions this year. Beginning as a songwriter with former husband Gerry Goffin, Carole would go on to become a highly accomplished performer in her own right.
With this induction, Carole becomes
The third woman to be inducted twice
The second person to be inducted into two or more categories after Ringo Starr, who received the Award For Musical Excellence in 2015 after his 1988 induction with The Beatles. She also surpasses Ringo for the longest period between inductions at 31 years.
The second two time inductee this year.
She’s the first person to be inducted as both a performer and non-performer.
While people were not quite as confident in Carole’s induction as they were in Tina’s, I still felt pretty safe predicting her. Just like Tina, it took far too long for Carole to return to the ballot, but once she’s there, she had it in the bag.
The Go Go’s (Belinda Carlisle, Charlotte Caffey, Gina Schock, Kathy Valentine, Jane Wiedlin)
Three in a row, man. The five gals who became the first self contained all female band to top the Billboard Album Charts, their debut being a landmark of American New Wave and putting IRS Records on the map.
I knew it, I just knew it would happen. The stars were aligned for these ladies. With this induction, the Go Go’s become
The Foo Fighters (Dave Grohl*, Taylor Hawkins, Rami Jaffee, Nate Mendel, Chris Shiflett, Pat Smear)
Just as virtually everybody expected, The Foo Fighters are being inducted this year. One of the biggest bands of the past 25 years or so, born out of the ashes of Nirvana, the Foo Fighters may not be the most innovative band, but they’re like the Doobie Brothers-a good, solid, likable band you can depend on. And you know what? Sometimes, that’s all you really need.
With this induction, Dave Grohl becomes…
The third two time inductee this year, and the only man being inducted a second time this year.
The twenty sixth person to receive a second induction.
The second Clyde McPhatter Club member to receive both inductions on the first year of eligibility after John Lennon.
The second drummer to be inducted twice after Ringo.
Jay-Z
Jay Z is my fifth prediction in a row to come true, and I’m right back to 2019 for momentum. He’s taking us back into the New York Groove for our potential first post-COVID ceremony, and besides that…
He’s the first living solo rapper to be inducted and the third solo rapper overall after 2Pac (2017) and The Notorious B.I.G. (2020).
The eighth hip hop inductee overall, and fifth to be inducted for the First Year of Eligibility.
The second FYE inductee this year after The Foo Fighters.
Todd Rundgren
Well fellow Hall Watcher Nick Bambach, you got me motherfucker!
For me, it’s not so much Todd going in at all but more that he’s being inducted as a Performer rather than for the Award For Musical Excellence, which is how I always figured he’d be inducted. No matter, this maverick of rock is being honored, and he’s more than deserving.
But wait! There’s more! More categories to cover, so let’s get it on!
Non-Performers:
Clarence Avant
Inducted into the Non-Performers category this year is the Black Godfather himself, Mr. Clarence Avant.
While many here may not be that familiar with Avant, let me give you a rundown as well as a recommendation of The Black Godfather on Netflix. To sum it up, Clarence Avant…
Has managed artists such as Little Willie John (1996), Freddie Hubbard, Tom Wilson (producer of Bob Dylan, Zappa and The Mothers Of Invention, Kim Weston, Jimmy Smith, and pianist and score composer Lalo Schifrin.
Founded Sussex Records, which launched Dennis Coffey (“Scorpio”), Bill Withers (2015), and Searching For Sugar Man subject Rodriguez.
Served as executive producer on Save The Children, the 1972 benefit show and 1973 film which notably brought together all of the major labels of popular black music at the time (Motown, Stax, Atlantic).
Later founded Tabu Records, which notably helped launch Jimmy Jam and Terry Lewis’ careers as producers and songwriters.
Was a key figure in getting Soul Train off the ground.
Needless to say, a rather accomplished man. And giving that he just turned 90, good to see him being honored while he’s still kicking.
Early Influences:
Charley Patton†
The Father of The Delta Blues, Mr. Charley Patton. He wasn’t already in? Wow. So while we’ve been getting more modern, it’s nice to see our history still remaining apart of the Hall.
Kraftwerk (Karl Bartos, Wolfgang Flür, Ralf Hütter, Florian Schneider†)
I’ll be a ding dong dally, Kraftwerk. Electronic pioneers that have done so much to shape popular music in the past 40+ years. Honestly, popular music of the past 40+ years is unthinkable without Kraftwerk. But they have had to keep reappearing on the ballot, go figure.
Should they be in as Early Influences? Sure, hey’re actually finally in as they should already be.
Gil Scott-Heron†
Son of a bitch, Gil Scott-Heron! The great Gil Scott-Heron, Jazz poet and hip hop pioneer, a man who’s work is as relevant as ever. Very pleasant surprise here, indeed.
Award For Musical Excellence
Billy Preston†
After all these years, the Black Beatle himself is finally in.
Besides his work with the Beatles (Let It Be, Anney Road, “Get Back”, the rooftop show, and on several of the band members’ solo projects), he was also…
The protege of Ray Charles (1986) and would often work with Charles in later years.
Performed with artists such as Mahalia Jackson, Sam Cooke, Little Richard, The Everly Brothers (all 1986), The Rolling Stones (1989), Aretha Franklin (1987), Eric Clapton (1992 with The Yardbirds;1993 with Cream;2000), Sly & The Family Stone (1993), Red Hot Chili Peppers (2012), King Curtis (2000), and Elton John (1994) among many others.
Co-wrote “You Are So Beautiful”, which became a hit for Joe Cocker.
Served as the namesake for a track off Miles Davis (2006)’s Get Up With It.
Was the first musical guest on Saturday Night Live.
Also had hits of his own as a solo artist. Among them are “Will It Go Round In Circles”, “Nothing From Nothing”, and the clavinet instrumental “Outa Space”. Seeing as this is theoretically a catch-all type of award, Billy is a perfect choice as somebody who had success in multiple areas.
Sadly, Billy Preston had a fairly tragic life and died in 2006 after years of addiction and health issues. With that said, his career is more than deserving of recognition, and I’m very pleased to see him get his due.
Randy Rhoads†
Yes, guitar god Randy Rhoads is in the Rock And Roll Hall of Fame. A classically trained guitarist who set his first foot in the world of rock as co-founder of Quiet Riot, Randy got his big break as the lead guitar player for ex-Black Sabbath (2006) vocalist Ozzy Osbourne. Appearing on Blizzard of Ozz and Diary Of A Madman and hits like “Crazy Train”, “Flying High Again”, and “Over The Mountain” among others, Randy became one of the first true shred icons after Van Halen before his tragic death in a plane crash in 1982.
While it’s disappointing to see Metal be underrepresented once again, it’s definitely good to see Randy receive recognition. We’re coming up on forty years since his death, yet he continues to endear and inspire. Giving that Tom Morello has talked about getting a Randy honored in the past, it’s not too surprising that he’s being inducted this year.
An amazing musician and a good guy by all accounts, the world lost a great deal when we lost Randy. So here’s a toast to Randy, may he Rest In Peace.
LL Cool J
For our third and final Musical Excellence Award recipient, we have hip hop legend and repeat nominee LL Cool J.
I admit, I’m a bit puzzled he’s going in this way while Todd goes in as a Performer despite being a better fit for this category, but I digress. LL Cool J is finally in for his contributions as hip hop’s first solo star, and we have one less name to keep sitting through every year.
Overall Thoughts:
Needless to say, I did not see a lot of this coming, doubt most did. Not saying they’re bad surprises, they’re not, but there you go. Let’s get the cons out of the way.
However, women appear in any of the additional categories, broadening the gender gap further. In the Early Influence category, for example, you could have honored Big Mama Thornton. Then there’s the Carter Family, which would give you about six women in Maybelle, Sara, Janette, Helen, Anita, and of course June. Ella Fitzgerald, Count Basie? In the Non-Performers, you could have honored somebody like Sugarhill Records CEO Sylvia Robinson or Stax co-founder Estelle Axton. Musical Excellence, you could honored somebody like Carol Kaye or Merry Clayton. Everybody being honored this year is deserving, but if we’re trying to be more inclusive and address the gender gap, I feel the Hall missed an opportunity here.
Another missed opportunity would be Fela Kuti. Certainly can’t help but feel bad for his fans, who truly went in thinking “we might get Fela into this institution. And if he’s seem, then maybe we’ll be seen.”The Hall has faced criticism for being too American centric, and seeing as only one recipient comes from another country, a Fela Kuti induction would have been a good chance to widen their scope and audience. His darkhorse victory in the Fan Vote is certainly a testimony.
And of course, the blurring of categories, let’s just get that out of the way. First, I want to reiterate that everybody being honored is worthy of induction. Any criticism is aimed at the process, not the artists themselves.
The current definitions of the Performers, Early Influences, and Award For Musical Excellence are as follow:
[An award given to artists] who, in their careers, have created music whose originality, impact and influence has changed the course of rock & roll.
[An award given to artists] whose music and performance style have directly influenced and helped inspire and evolve rock & roll and music that has impacted youth culture.
[An award given to artists] whose originality and influence creating music have had a dramatic impact on music.
The definitions are so generic and vague that you honestly have to wonder “why have categories?” There’s clearly a reason for them, yet they’re rendered so meaningless now that literally anybody can go in.
With the Early Influences category, now the Influences category, you risk pushing aside the artists the award was meant for. There aren’t any shortage of acts to honor in this category-the fact that we’re only now recognizing Charley Patton says it all. And if we’re just using this category to shoehorn in acts we haven’t gotten inducted through their proper category, we’re essentially kicking people like Big Mama Thornton, Sonny Boy Williamson II, The Weavers, The Dominoes, and Blind Lemon Jefferson to the curb.
Even if one wants to argue “oh, the Early Influence is being updated to now mean 50+ years, the Hall’s just updating it and evolving it.” Why not update and evolve the Performers category? That’s where most of the issues lie to begin with. Besides, all inductees are supposed to be influential, so what is different about these acts? Why have a “Influences” category?
With the Musical Excellence Award being turned into what essentially looks like a consolation prize, you’ve taken away from many side musicians and artists a chance to rescue the credit and recognition they’re so rarely afforded. Or people that are considered worthy of recognition by the Hall yet don’t quite fit into a category. Wouldn’t Todd have made more sense than LL, who’s clearly a Performer?
With artists being rushed through regardless of getting enough votes for the Performers category, you not only reduce these honors to a Consolation Prize and take away from people in arguably greater need of recognition, you also have to wonder what’s the point of voting? I mean, if the Hall will just induct whoever, not even respecting their own process, some voters naturally have to wonder “why bother?”
Neil from Future Rock Legends has suggested having an artist of the Nominating Committee’s choosing honored, and that’s actually an idea worth contemplating. You can also, you know, simply induct more Performers and allow voters to pick more artists to honor. I’m sure that wouldn’t hurt. You could even have a Fan Vote selected inductee as some have suggested. It allows the public to feel engaged and provides the Hall with a headliner for a ceremony. There’s no reason why we have to choose between crowd pleasers and pioneers, both can coexist.
Seeing as I don’t want to be all negative, I feel it’s only right for me to acknowledge the good points this year. So here they are….
Counting additional categories, we have a total of thirteen inductees this year. This is the largest class we’ve had since 2012 (seventeen-six performers, the six backing groups being retroactively inducted alongside their frontmen, one non-performer, one Early Influence, and three Award For Musical Excellence recipients). Giving the massive backlog (which I plan to cover in depth in the future), a larger class is the best thing the Hall could do at this point. Whatever complaints I’ve had about the way this class was achieved, the scope is not among them.
Literally half the acts honored in the Performers involved women-3, the most since 1996. With the Go-Go’s, we finally have an all female band in the Hall, and five more women that can vote on future ballots.
Tina Turner is finally being honored for her solo career. The woman has been through pure hell, has touched innumerable lives, and she’s finally in as a solo artist.
Ditto for Carole King. Such an accomplished woman, so many classic songs, has enriched our lives both through her own work and through her contributions to other people’s career. And both she and Tina are still alive to enjoy their solo inductions.
We have three people joining the Clyde McPhatter Club (those who’ve been inducted two or more times), the most since 1997 (when David Crosby went in with CSN, Neil Young with Buffalo Springfield, and Stephen Stills with both). And two of them are women! A first for the Hall, and hopefully it will happen again in the future.
We also have the most racially diverse class since 2015, which had eight people of color. That is the same number we have this year, with three of the Performers featuring a person of color (two being black and one being biracial), and the Non-Performer, two of the Influences, and two of the Musical Excellence Award recipients all being black. With a larger class, that can potentially increase the likelihood of representation in future classes.
Warts and all, this is still a very solid class and a step in the right direction for the Hall. The work isn’t done by any means, but there’s potential for things to get better.
As many know, today marks five years since we learned of the loss of Prince. I can still remember it so well-at an award ceremony, my mother informed me when we were sitting down, and I was completely dumbstruck. Not only because I was actually in purple, but also because I couldn’t comprehend of a world without Prince.
Rather than focus on the sadness of losing Prince, I want to instead remember the joy his music has always brought me, so what better way to do that than naming a favorite track off each album of his? I will say I’m only focusing on studio albums for this post. I also am not covering any of his side projects or spin-offs since those aren’t proper Prince records.
Now let’s go crazy!
For You
His very first effort, recorded when he was 19 years of age. Though not Prince’s strongest effort or one in which he’d found his niche yet, it’s not without its merits. Never mind that it’s still better than an album written, performed, and produced entirely by a 19 year-old newcomer has any right to be, there are hints of what’s to come. You have the titular introduction hinting at the more experimental touches of future records, the infectious synth grooves of “In Love” that he’d soon perfect, and even the rock edge of closing track of “I’m Yours”. But of course, it’s perhaps rather obvious what I will pick as the standout.
Now we come to the self titled sophomore effort. First off, that is a total 1979 album cover, am I right? Now onto the music. Once again made entirely by Prince, this continues in the R&B/funk and disco vein of For You; however, I feel there’s stronger songs here than on its predecessors. And in contrast to For You, it’s harder for me to pick a favorite. There’s a couple songs that I’m not as into, but those are the exceptions. Of course you’ve got to love “I Wanna Be Your Lover”, I absolutely love the high energy synth-pop funk of “Why You Wanna Treat Me So Bad?” (with a pretty sweet guitar solo near the end), the disco jam of “Sexy Dancer”, and “When We’re Dancing Close And Slow” is such a sweet slow jam. As a rock guy though, it’s perhaps obvious, once again, what my favorite is? And yes, it is….
We enter a new decade with Prince emerging with the Minneapolis Sound, his blend of funk, pop, rock, and New Wave. The album was a total game changer for both the artist and for popular music as a whole, be it for its sexual frankness or its punky edge.
Of course I love this album. It’s such a nasty, sleazy record that still sounds fresh forty years later. And while there’s no shortage of jams here, and one of them helped pave the way for The Time, but my favorite’s got to be “Head”. You’ve got the synth-funk, the sexy, sleazy lyrics, Lisa’s vocals which fill the track with an ever greater sense of lust, and an absolutely wicked solo by the one and only Dr. Fink.
An album that I’ve seen be criticized for repeating Dirty Mind, and while that’s true to an extent, I do think this album is better than its often given credit for. While it isn’t as radical a change as we expect from Prince, we do begin to see his songwriting mature on here, along with more varied subject matter. Because let’s face it, Dirty Mind really is basically sex and partying (though I love it all the same). We see a more self-reflecting nature in the title cut, some social commentary in cuts like “Ronnie, Talk To Russia” and “Annie Christian”, and even “Do Me, Baby” brings us back to the slow jams of the first two records while still showing how far Prince had come since then. Even musically, there’s a more experimental touch on cuts like the aforementioned “Annie Christian” and the rockabilly flavor of “Jack U Off”.
For a favorite, I really adore “Private Joy”. But man, and it might be a fairly obvious pick, but I’m going with the title cut.
The culmination of Prince’s Minneapolis Sound, the first album to be recorded with The Revolution, and Prince’s commercial breakthrough. One of my very first Prince records, and it’s worthy of all the praise and accolades it receives.
You kick things off with “1999”, a song filled with impending doom as the atomic bomb may or may not drop off. Life is short, so let’s enjoy it while we can, this is anti-nihilism personified.
No shortage of potential favorites here. For now, I pick the epic track known by an acronym. Let’s have it for some Dance, Music, Sex, and Romance.
Prince’s biggest album, the peak of his popularity, a frequent choice for Best Prince Album. As far as me, it’s certainly up there, and is easily among my favorites. As great as 1999 was, this manages to one-up even that one. It truly has this epic feel to it, a story consisting of love, romance, passion, angst, tragedy, and triumph.
Musically, there are traces of the funk and Minneapolis Sound, but now Prince crafts a much denser, multi-layered sound. In terms of pop craftsmanship, this is Prince at his absolute finest. At the same time, you get some of the psychedelic undertones that would show up on the next few records as shown by cuts like “Computer Blue”, “Darling Nikki”, and even “Let’s Go Crazy”.
Once again, every track is an absolute knockout and I would normally try to pick a deep cut. But honestly, I’m picking “When Doves Cry”. Its stark, contemplative nature is quite poignant, poetic even, the balance between electronic and acoustic instruments is spot on, and this is probably as emotionally forthcoming as Prince ever was, certainly as far as the bigger songs go. Plus, this was one of the first Prince songs that I ever heard and perhaps the one that really showed me that he wasn’t just some eighties pop star.
It’s 1985, Prince is right there with Michael Jackson and Madonna in terms of commercial success, so what’s he gonna do next? An overtly psychedelic record with minimal publicity. There aren’t as many songs that immediately make you think “single”, not as much of Prince rocking out on his guitar, and the last track has some kind of conversation between Prince and God.
And I love it! Compared to what came before it, it didn’t hit immediately. I knew “Raspberry Beret”, absolutely loved that song, and the same with “Pop Life”. But the album really grew on me with its very idiosyncratic nature, and I really like that rather than try to repeat the success of Purple Rain, Prince thought “I’m set for life, so now I’m just gonna do whatever I want to do.” And in hindsight, Purple Rain clued us in that a record of this kind was at least a possibility with Prince.
For a favorite, I’m going with the epic track “Temptation”. Almost certainly the most rocking song on here, it’s mix of the rock with funk, psychedelia, and even a dash of prog. And even that bit with Prince and God talking, it’s so goofy and I love it. Overall, a great way to conclude a grower of an album.
Parade-Music From The Motion Picture Under The Cherry Moon:
The final album with The Revolution, the soundtrack to Under The Cherry Moon, the album that put Prince back in good graces with critics, and the one with “Kiss”.
Under The Cherry Moon the movie didn’t do too great. Many of the criticisms applied to Purple Rain can apply to Under The Cherry Moon, and while there are some fairly entertaining moments-particularly when Prince and Jerome show themselves to be pretty decent comedic actors, it ultimately lacks the spark or energy that made Purple Rain transcend any objective critique one could make of it as an actual movie. It’s not quite as bad as it was made out to be in 1986, it’s certainly not as bad as Prince’s next film, but it’s still not that great in terms of film quality or entertainment factor.
That being said, the album itself is excellent! Retaining the psychedelia and experimental qualities of its predecessor, Parade now brings in jazz and baroque influences that give this album a certain sophistication that’s, in some ways, unprecedented in Prince’s discography. Some tracks I got right away, some I needed to live with before they sunk in properly. Now it’s neck and neck with Purple Rain and another album coming up as my favorite Prince record. There’s this very smart, very artistic streak underpinning the record. I reviewed the album on here previously, but that’s a really early one I need to update at some point to do this record justice.
As for my favorite? So many amazing tracks on here, but believe it or not, my favorite is the piano instrumental “Venus de Milo”. So beautiful, really hits me in the feels. It’s cinematic in its sensibility and scope, with a real romantic quality that recalls Rogers and Hammerstein. At the same time, there’s this bittersweetness, accentuated by its short length that leaves you wanting more, longing for more time. It’s a track that can get me choked up, certainly did after Prince passed (along with another song on here of course).
The first album by Prince after disbanding The Revolution, derived from albums-that-never-were such as Dream Factory, Camille (as Camille), and the triple album Crystal Ball. Originally intended to be a triple album, Prince ultimately reduced it to a double as a compromise with Warner Bros.
The album that competes with Purple Rain for the title of Best Prince Album, and rightly so. That third album that competed with Purple Rain and Parade for my personal favorite? This one, baby! Like many of the best double albums, this is a dense, sprawling quest. It features many twists and turns throughout, many little things that add up to something bigger, with that one little detail that reveals itself to be of great significance. And when you come back? Nine times out of time, you’ll find that one detail you might have previously missed.
Stylistically, this is the culmination of almost all things Prince-the funk, the rock, the pop, the trippy and experimental, the soul and R&B. It’s sensual, romantic, sexual, lustful. It’s soft spoken and it’s aggressively outspoken. It’s for one, and it’s for all. Sign O The Time is many contradictions that tie together perfectly.
For a favorite, I go with “Strange Relationship”. A really fun, quirky pop tune with the experimental touches that provides the perfect balance of accesible and artistic.
Recorded over the span of seven weeks in the Winter of 1987 and 88, the first album recorded at Paisley Parks Studio, the album that Prince delivered as a last minute replacement for the Black Album. Despite possessing a hit in “Alphabet St” and the highly regarded tour, this marked the first album of Prince’s since Controversy to miss the Top Ten, peaking at #11 on the charts. It also gained notoriety for its cover depicting Prince in the nude, as well as the original gsk
For all the gushing I’ve done up to this point, I’m now going to be a little more critical here. The album is not without its good points, and I’m certainly in favor of an album with positive vibes. Indeed, the positive energy through much of Prince’s music has always been one of the most appealing aspects for me. Unfortunately, the material isn’t really there. There is the odd solid cut, but the material seems undercooked and the album seeming genuinely rushed (which it was). And while Shiela E proves herself an excellent addition, the album itself feels somewhat stagnant by Prince standards.
To pick a favorite off the album, I’ll go with “Anna Stesia”, which possesses this dark, lustful funk undertone that makes it stand out nicely on the record, mixing the delicate piano with synthesizers that, dare I say it, have a near-industrial quality to them.
Ah, the Batman album. Created in conjunction with the 1989 film, it was Prince’s biggest record since Purple Rain as well as his first #1 record since Around The World In A Day. It’s also commonly perceived as a misfire in Prince’s career, a quick chashgrab to keep Warner Bros happy.
This is obviously an album a lot of people hate. For me, this holds a special place in my heart as one of my biggest introductions to Prince. Huge Batman fan, ate up anything Batman, so when I see the Joker and his gang vandalizing an art gallery or parading the streets of Gotham while cranking Prince, I’m sold. Musically, it’s not a groundbreaker on par with Dirty Minds or 1999, but as a funk party record based on a cool movie that Prince just saw, it’s actually pretty enjoyable.
There’s maybe a track or two I don’t like, but otherwise I can’t really complain much. For a favorite, I’ll go with “Scandalous”, one of the best ballads that Prince ever did as far as I’m concerned.
Prince makes his first album of the 1990s, and his third movie. Which came off like a really terrible play that not even Morris and The Time could make watchable. Don’t watch Graffiti Bridge. It’s fucking terrible.
Listen to the soundtrack instead, which is actually pretty good.
Now we see Prince going New Jack Swing on here, and seeing as two of the seminal writers and producers got their start with Prince, I’d say Prince has this right to go New Jack Swing. Plus, I’m a sucker for New Jack Swing. In addition, we really see the funk and rock making strong comebacks on here, right down to a collaboration with George Clinton. That said, the album also feels somewhat bloated with a share of weaker cuts. And on the note of New Jack Swing, it’s execution on here is somewhat hit or miss on here.
I do enjoy parts of this album, and if I have to pick a favorite? I’ll go with “We Can Funk”, the George Clinton collaboration.
The official debut of the New Power Generation, an album with several popular Prince cuts and an increasing hip hop influence.
This was an album that didn’t really grab me at first, but it’s definitely a strong offering in the Prince catalogue. Compared to its predecessor, it’s much more cohesive and is more successful at incorporating the New Jack and hip hop influences.
If I’m going to pick a favorite? I’ll go with “Money Don’t Matter 2 Night”. A fantastic smooth soul cut that has a vintage feel in contrast to much of the album, throwing us back to the seventies. Lyrically, it’s as powerful a song as he’d ever write, portraying the corrupting power money can and often has had over us. Yet there’s this beautiful simplicity to it, a sense of you and your significant other caring for each other no matter what.
Now the Love Symbol enters the picture. This is the second and final album credited to Prince and The New Power Generation, a concept album depicting an Egyptian princess as played by Prince’s future first wife Mayte Garcia falling in love with a rock star who she trusts with a religious artifact known as the Three Chains o’ Gold while she escapes from seven assassins.
Quite frankly, I barely follow the storyline and just focus on the music. And fortunately, the music is pretty darn swell. Regardless of the storyline, it achieves a really tight, cohesive flow that makes it feel like a singular work rather than a collection of songs. Likewise, it takes some cool twists and turns like the jazzy “Love 2 The 9’s” and the reggae fusion of “Blue Light”. Overall, this is easily among the best 90s Prince efforts and one I can give a solid recommendation for.
For a favorite track, I pick the opening track “My Name Is Prince”. The swagger, the bravado, the cocky boast that only Prince can do.
Now we arrive at Come, an album made at the height of Prince’s battles with Warner Bros. Going through various forms during development, the album was meant as a counterpart to The Gold Experience, symbolizing the metaphorical death of “Prince” while Gold Experience would be the newer and better artist, the Artist Formerly Known As Prince and now known as the Love Symbol that cannot be pronounced. However, Prince was not able to properly illustrate this concept as Warner Bros refused to release both simultaneously.
First off, yeah, that cover is pretty eerie, especially in light of Prince’s actual death. Fittingly, this album has a darker tone in sound, and it naturally sticks out quite a bit in the discography as a result. It’s one of his weirder albums and not one that gets a lot of great press, but it’s definitely grown on me over time. It’s not a perfect record (other than maybe as a way of sticking it to Warner Bros), but there’s certain some fairy compelling material on here that makes it an album that’s at least worth looking into. It’s definitely not an album I’d use as a starting point for newcomers, but I think hardcore Prince fans will find some cool gems here.
For a favorite, it’s definitely “Pheromone”. Dark, sexy, seductive, with a lustful mystique throughout.
The follow up to Sign O The Times that never was, the album that would be pure, unadultered Princely funk. And the album that he pulled after a bad ecstasy trip, resulting in him putting out Lovesexy as a replacement. Then years later as he was looking for any way to get out of his contact with Warner Bros., he decided to put this out as a way of getting closer to fulfilling said contract.
This is about as crazy a record as Prince ever made, certainly up to the point (a couple coming up might challenge it for crazy factor). And the tracks slam, what can I say? I hope this gets a proper rerelease in the future, because it’s a great record. Plus, you’ve already put Prince’s music on streaming services so you’re past the point of properly honoring his wishes.
There’s probably no tracks more madcap that “Bob George”, which can basically be summed up as gonzo funk as delivered by that skinny motherfucker with the high voice.
That’s Part One of this undertaking. I’ll post Part Two within the next few days since there’s a lot of music to cover and a lot to take in reading wise. Thank you to everybody reading this, and may you come back for Part Two!
Until then, I’m Zoot Marimba and I write this crummy blog!
The Music Zamboni 