This year’s crop of nominees for induction into the Rock and Roll Hall of Fame is staggering eclectic and definitely stretches the traditional definition of rock and roll by a wide margin.
As we reported yesterday when the nominations were announced, such diverse acts as Motown girl group the Marvelettes are vying for a spot alongside Rush, Public Enemy and Donna Summer.
Below, I give a quick assessment to each act's chances, and boldly (and somewhat impulsively) declare yes or no on which artists will be inducted in the class of 2013. Only five acts go in each year, so many artists who are deserving will have to come back again later.
Rush: Finally! The Canadian power trio has long been one of the Rock Hall’s most glaring omissions...along with virtually any other act that borders anywhere near prog rock. They’re tremendously successful, tremendously influential, and still going strong. Now that they have finally crossed the threshold to getting nominated, I predict that like Guns N’ Roses, who got in the first time, so will Rush. There is so much pent-up demand for this one. YES
Deep Purple: Like Rush, Deep Purple has been long neglected when it comes to attention from the Rock Hall, who has tended not to give heavy metal its due. How else can you explain Judas Priest and Iron Maiden also being roundly ignored. They should be in for “Smoke On The Water” alone. Plus, given how many former members there are, it would be a blast to see who actually shows up at the induction. Sadly, it’s too late for co-founder Jon Lord, who died earlier this year. NO
Public Enemy: Closest thing to a sure bet this year. Chuck D and company represent political rap that has had broad social impact far beyond the music. YES
N.W.A.: One of the most seminal gangsta rap acts, N.W.A., like PE, produced music that spoke to the history of the times. They will definitely be rewarded down the line, but not this year. NO
Heart: As I’ve previously written about Ann and Nancy Wilson, regarding their long omission, If they had testicles, they would have been in the first year they were eligible. Having said that, Ann and Nancy Wilson have more balls than 99% of the rockers out there. Ann’s voice hasn’t diminished a bit--it can still peel the paint from the walls. YES
Joan Jett and the Blackhearts: Jett is a true believer. Her influence on rock, in general, and on female rockers, specifically, is undeniable. In fact, her earlier band The Runaways deserve to be as well. Dave Grohl called playing with her one of the highlights of his life. ‘Nuff said. However, in a year where she is up against Heart, it feels more like their year. NO
Randy Newman: Newman’s singular, often witty, take on our modern times filtered through his uniquely American view is a one-man history lesson. Plus, few singer/songwriters have ever captured the complexity of the male-female dynamic as honestly as he. YES
Donna Summer: She’s been nominated five time before, but like fellow nominees, Chic, has a bit of an uphill climb since some voters still look at disco-era artists as anathema to rock and roll. However, given the outpouring of love she received following her death earlier this year may cause voters to reconsider and realize that is a total artist who has long deserved inclusion. It’s a shame that her induction didn’t happen before she died. YES
Kraftwerk: No reason to exit the Autobahn yet. The seminal experimental rock band is rightly considered a pioneer in electronic music, but the competition is too tough for them this year. NEIN
Procol Harum: My desire to see them play “Conquistador” aside, PH falls into a somewhat nebulous category of British rock groups that blended prog rock, baroque, and blues. Like Deep Purple, it would be very interesting to see who shows up at an induction. They deserve the nomination, but induction is probably quite some ways away. NO
Chic: If it were based solely on innovation, Chic should have been in the first year they were nominated in 2003 (they’ve been nominated six additional times). However, any votes that they would have gotten this year will likely go to Summer. The Rock Hall is going to have to eventually acknowledge what the rest of us already know: Chic was far more than “just” a disco act. NO
Albert King: Two-thirds of the holy trinity of great blues Kings are already in as both B.B. King and Freddie King. Albert is more than deserving, but it won’t happen this year. NO
Paul Butterfield Blues Band: This seminal band has a vaunted place in the history books for its blending of rock and blues, but it may be some time before there’s a year that they land among the top five-- and it’s only going to get tougher as years go by and more acts become eligible. NO
The Marvelettes: The Rock Hall may not like disco, but the membership has bent over backwards to try to include black artists who influenced so many and yet have rarely gotten their proper due. The Marvelettes toiled in the shadow of the Supremes and may be a little bit of a tough sell. NO
The Meters: The Hall has tried to take care of New Orleans’ rich musical heritage by already inducting such acts as Professor Longhair, Fats Domino and Dr. John, but there as so many more that deserve consideration. The Meters helped define contemporary funk music in a way that few people even realize. They, along with the Neville Brothers and Irma Thomas, should all eventually be inducted. NO
Among the acts once again not invited to the party, all of whom should be considered: Hall & Oates, Kiss, The Monkees (I'm very surprised that Davy Jones’ death didn’t get them more consideration this year), Todd Rundgren, The Runaways, Moody Blues, Peter Gabriel (as a solo act), Stevie Ray Vaughan, Pat Benatar, Roxy Music and Iron Maiden.
The 2013 Rock & Roll Hall of Fame induction ceremony will be held April 18. In order to be eligible, an artist must have released his or her first single or album at least 25 years ago. The final ballot goes to more then 600 music industry executives and journalists. For the first time, fans may also vote. All fan votes will be combined and counted as one of the 600 total votes. Vote through various websites, including rockhall.com and rollingstone.com.
Who do you think should get inducted this time?
Public Enemy is a sure bet, but after that it gets murkier
This year’s crop of nominees for induction into the Rock and Roll Hall of Fame is staggering eclectic and definitely stretches the traditional definition of rock and roll by a wide margin.
Sale will benefit ailing former guitarist Slim Dunlap
The Replacements have reunited to record a new EP of cover songs that will come out later this year.
Only 250 copies of the 10-inch vinyl EP will be pressed, and all will be auctioned online, according to Rolling Stone. Sales of the EPs will go to assist Slim Dunlap, who served as the band’s guitarist from 1987-1991. He had a stroke in February.
Singer Paul Westerberg and bassist Tommy Stinson cut the tracks in a Minneapolis studio in late September to cut the tracks. Drummer Chris Mars did not take part: Peter Anderson plays drums on the EP, while Kevin Bowe played guitar.
Among the tracks the foursome recorded were Hank Williams’ “Lost Highway,” and “Everything’s Coming Up Roses” from the Broadway musical “Gypsy.” (?!?!)
Remarkably, after breaking up 20 years ago and being subject to reunion rumors every so often that have been consistently shot down, this time Westerberg says the studio time may actually lead to a more collaboration. “It’s possible,” Westerberg told Rolling Stone. “After playing with Tommy last week, I was thinking, ‘All right, let’s crank it up and knock out a record like this.’ I’m closer to it now than I was two years ago, let’s say that.”
Given how quickly they knocked out these songs, which also include a cover of Gordon Lightfoot’s “I’m Not Sayin’” and Dunlap’s “Busted Up,” they could record a new album in a day. “Tommy and I strapped on guitars, not a word was said, and ‘bang’,” says Westerberg. “We still rock like murder.”
Swift explanations strike the perfect tone
In the last few days, the music world has had two episodes—one personal with Jason Aldean and one professional with the Foo Fighters’ Dave Grohl—that were dealt with directly and swiftly. As we head into the first presidential debate tonight, it seems to me that our politicians could learn a lot from how these issues were handled. In both cases, the artists acknowledged how important their voters, I mean fans, were to them and addressed the issues with clarity and, above all, honesty.
We’ll take the thornier one first. As Hitfix readers know, we don’t traffic in gossip, so we stayed away from reporting about country superstar Jason Aldean’s “run-in” with a woman at a bar in Los Angeles. But as you’ve probably seen by now, bright and early Sunday morning, photos of Aldean and former “American Idol” contestant Brittany Kerr appeared on TMZ. To use a beloved tabloid term, the two appeared to be “canoodling” just slightly more innocently than the level of the Kristen Stewart and Rupert Sanders. There were plenty of photos to incriminate Aldean, a married man, for acting inappropriately.
Within hours of the photos first surfacing, Aldean, who has a new album coming out Oct. 16, responded via Twitter and his FB page:
“I wanted to talk to you directly, so you were hearing the truth from me and not just reading allegations made about my personal life on gossip websites. The truth is that I screwed up. I had too much to drink, let the party get out of hand and acted inappropriately at a bar,” Aldean wrote. “I left alone, caught the bus to our next show, and that’s the end of the story. I ultimately ended up embarrassing my family and myself. I’m not perfect, and I’m sorry for disappointing you guys. I really appreciate being able to work through this privately with my family and for all your continued support.”
Here’s what Aldean did right:
*He tweeted the message instead of having it sent through his publicist, which, even though she undoubtedly held his hand in the process, gave it the feel that he was speaking directly to his fans, which is very important to country music fans who value the direct connect with artists.
*He owned up to his mistake without assigning blame to the photographers or Kerr or anyone else. He doesn’t say his actions were misinterpreted, nor does he feel any need to over explain. He takes responsibility and does not pass the buck.
*He stopped any potential rumors over whether their dalliance continued after he left the bar by stressing he left alone, etc... (of course, now he has a big old bullseye on his back and heaven help him if it comes out this was more than an isolated incident or there is more to this particular story).
*He apologizes without groveling to his fans, many of whom, according to message boards, seem all to willing to give him a pass and brand Kerr as a “slut” and “homewrecker.” He also mentions his family, but doesn’t apologize to them publicly as Stewart did to Rob Pattinson in her heartfelt, but cringeworthy, statement.
On Saturday, while playing the Global Citizen Festival in New York with his band the Foo Fighters, Grohl struck terror in the heart of the band’s fans when he announced from the stage that the band had no shows planned after this and “I don’t know when we’re gonna do it again.” Grohl said something similar when playing a U.K. festival this summer, but it didn’t set off the same panic.
Tuesday, aware that many fans wanted some clarification, Grohl’s publicist sent out a letter from him, which we originally ran yesterday.
Dave here. Just wanted to write and thank you all again from the bottom of my heart for another incredible year. (Our 18th, to be exact!) We truly never could have done any of this without you...
Never in my wildest dreams did I think Foo Fighters would make it this far. I never thought we COULD make it this far, to be honest. There were times when I didn't think the band would survive. There were times when I wanted to give up. But... I can't give up this band. And I never will. Because it's not just a band to me. It's my life. It's my family. It's my world.
Yes... I was serious. I'm not sure when the Foo Fighters are going to play again. It feels strange to say that, but it's a good thing for all of us to go away for a while. It's one of the reasons we're still here. Make sense? I never want to NOT be in this band. So, sometimes it's good to just... put it back in the garage for a while...
But, no gold watches or vacations just yet... I'll be focusing all of my energy on finishing up my Sound City documentary film and album for worldwide release in the very near future. A year in the making, it could be the biggest, most important project I've ever worked on. Get ready... it's coming.
Me, Taylor, Nate, Pat, Chris, and Rami... I'm sure we'll all see you out there... somewhere...
Thank you, thank you, thank you...
Here’s what Grohl did right:
*He thanks his fans in a way that is genuine...repeatedly.
*He assures the fans that this is a hiatus, not an end. He doesn’t have much more to say than he did on Saturday, other than to say that the Foo Fighters are “my life.” It’s nice to hear that a band means as much to the artist as it does to the fans. Sometimes, it doesn’t feel that way.
*He reassures, but doesn’t make any promises he can’t keep. Fans are no closer to knowing when they will get new music, if ever, from the Foo Fighters. There’s ambiguity and the fans have to live with that, but there’s also not the feeling that he’s leaving something left unsaid.
*Fans know where to find him. During the hiatus, he’ll be working hard on the documentary. He’s not disappearing.
Both of these statements could pass factcheck.org’s honest test.
As far as the latest dust-up between “American Idol” judges Mariah Carey and Nicki Minaj, we’ll leave that one to Nigel Lythgoe to figure out.
It's a close race on the Billboard Hot 100
Maroon 5’s “One More Night” squeaks by Psy’s surging “Gangnam Style” to spend its third week atop the Billboard Hot 100.
In the closest race for the top spot since February, “One More Night” grabs the crown because of its radio play and streaming, although “Gangnam Style” outsold “One More Night” by almost 100,000 digital downloads. The Hot 100 combines airplay, streaming, and digital sales.
That’s not the only excitement on the chart: Taylor Swift’s “Begin Again,” the second track she’s released from her forthcoming album, “Red,” blasts onto the Hot 100 at No. 7, making it the highest debut by a female since Katy Perry’s “Part of Me” entered the chart at No. 1 in March, according to Billboard. The first single from “Red,” “We Are Never Ever Getting Back Together,” spent three weeks at No. 1.
Otherwise, things remain fairly static on the Top 10. Fun.’s “Some Nights” remains at No. 3, Swift’s “Never” at No. 4 and Pink’s “Blow Me (One Last Kiss)” at No. 5.
Justin Bieber’s “As Long As You Love Me” featuring Big Sean rises 7-6. Flo Rida’s “Whistle” drops 6-8, Alex Clare’s “Too Close” holds at No. 9 and Owl City/Carly Rae Jepsen’s “Good Time” falls 8-10.
Outside the Top 10, Ke$ha’s “Die Young” enters at No. 13, while Rihanna’s “Diamond’s” starts its chart run at No. 16.
Can the U.K. teen break through in the U.S.?
Cher Lloyd arrives on U.S. shores today with her debut album, “Sticks + Stones.” Followers of the U.K. version of "The X Factor" will recognize her name from her stint on that show, which led to her signing with "X Factor" creator Simon Cowell’s Syco label.
Fellow U.S. “X Factor” judge L.A. Reid picked Lloyd up for the U.S. in hopes of having his first true breakthrough act since taking over Epic last summer. Sadly, she’s not going to be it...at least not with this album.
Lloyd is not untalented (and yes, we realize that’s damning her with faint praise), but there are so many hands in the mix here in the desire to genetically engineer a pop star that it’s hard to tell where she ends and the producers’ studio synthetic wizardry begins. All the A-List studio kings are here, whether it’s Max Martin, Shellback, Red One, Mike Posner or Savan Kotecha.
Producer/writers Shellback and Kotecha are responsible for first single, the stompy “Want U Back,” which has sold more than a million copies in the U.S. The song reached No. 12 on the Billboard Hot 100, driven more by sales than radio play.
At various times, she’s either imitating Nicki Minaj (“Behind The Music”) or Avril Lavigne AND Ke$ha ( “Oath”), The Spice Girls (“Swagger Jagger”), Beyonce AND Rihanna (“End Up Here”) or , in perhaps the biggest stretch, M.I.A. (“With Ur Love”). Guess what? They all do themselves better than she does.
The 19-year old has an sassy playfulness, exhibited on the catchy “Superhero” and bouncy, rapping “Grow Up” featuring Busta Rhymes. She can also evoke a Katy Perry-like appeal on ballad “Beautiful People” featuring Carolina Liar’s Chad Wolf. However, overall “Sticks + Stones” feels like a soulless endeavor that’s so manufactured, anyone hoping to discover who Lloyd is as an artist will have to wait until the next album...if there is one.
Title track from her new album laments a lost love
The drip toward the Oct. 22 release of Taylor Swift’s fourth studio album, “Red,” continues. Today, we get a lyric video for the title track.
“Red” is about —say it with me— a love gone wrong. Musically, it falls closer to the upbeat pop of “We Are Never Ever Getting Back Together” than the quiet country beauty of ballad “Begin Again.” In fact, the only thing remotely country about “Red” is the banjo that periodically appears in the tune.
[More after the jump...]
Who else makes our Top 10?
Did you hear that sound Sunday night? It was the door slamming on eligibility for the 2012 Grammy Awards.
The Grammy year runs Oct. 1-Sept. 30, so Sunday at midnight marked the last moment that artists could release albums for consideration. The Grammy nominations will be announced Dec. 5 during a CBS special. The 55th annual Grammy Awards will take place Feb. 10, 2013.
In July, we looked at early contenders for album of the year with the caveat that September would see a rush of contenders. The past two months have given a little perspective on some earlier selections. For example, I would not expect Fiona Apple’s “The Idler Wheel...” to still be a front-runner.
Here are my predictions for the ten albums most likely to get an Album of the Year nod. There will be five titles in contention, six if there is a tie among Grammy voters. I listed them alphabetically, but I’d put Mumford & Sons and Frank Ocean under sure bets.
The Black Keys, “El Camino”: This album seems to have garnered less excitement than “Brothers,” but it’s a very solid effort that continues to expand on Dan Auerbach and Patrick Carney’s musical exploration that combines rock and blues in a way that appeals to both the mainstream audience and purists.
Bob Dylan, “Tempest”: Dylan devotees love this album, calling it his best and most cohesive in years. This year also marks the 50th anniversary since he released his first album. He’s won this award before in 1998 for “Time Out Of Mind.” Voters may be aware that time to honor our greatest living singer/songwriter could be running out.
Florence + The Machine: “Ceremonials”: Flo and friends’ second album didn’t have the massive mainsteam hit like “Dog Days Are Over.” It has something better: a breadth of cuts that keep springing forth from the set, making the album far more consistent than “Lungs.” There seemed to be a new video every month and the act spent a lot of time touring here, which got them in front of lots of eyeballs, as well as ears.
Maroon 5, “Overexposed”: It’s not a likely choice, to be sure, but it is a pop album that delivered this year: two top 10 hits and counting, and helped continue bring back Maroor 5 on the back of “Moves Like Jagger.”
John Mayer, “Born & Raised”: John Mayer’s latest suffered greatly due to his inability to promote it properly because of his vocal issues. It’s a shame because it is a beautiful album, full of nuanced guitar playing and songs from a singer who has grown up in front of us and is finally acting like a man.
Mumford & Sons, “Babel”: While the British folk-rock group isn’t everyone’s cup of tea, even people who don’t love their furious acoustic tunes, admire their musicianship and the emphasis they put on live instrumentation. They’ve been nominated before and were good enough to play with Dylan, for goodness’s sake.
Frank Ocean, “Channel Orange”: Released to universally strong reviews, “Channel Orange” is an exceptionally intimate, interesting R&B album that appeals to a wide audience. Plus, Ocean’s story is a compelling one that complements, instead of overshadows, the music. If he can keep momentum going, he’s the closest thing to a sure bet for a nomination.??
Bonnie Raitt, “Slipstream”: Grammy favorite Raitt’s first album in seven years showcases her seemingly effortless guitar work as well as her always touching, raspy vocals. Every year, the Grammys look to honor veteran artist and she could fall into that slot, although even suggesting that she’s in any way a token nominee denigrates her great work on “Slipstream.”
Bruce Springsteen, “Wrecking Ball”: As he did with “The Rising," The Boss taps into these troubled times and crafts an album full of what we need to hear, even if we don’t want to. Plus, the strength of a number of cuts, including “Rocky Ground,” “Jack of All Trades,” and “We Take Care of Our Own” are undeniable, even if the album as a whole is not consistently great. ??
Usher, “Looking 4 Myself”: Seven studio albums in, Usher released a tour de force that displayed a new maturity, without sacrificing his famous playful or sexy sides. He fearlessly incorporated other styles in a way that never felt forced or contrived, but instead seemed to be a natural evolution. The set hasn’t sold particularly well, so lack of commercial success could hamper its chances. ?
Dr. John, “Locked Down”
Gotye, “Making Mirrors”
Norah Jones, “Little Broken Hearts”
Lionel Richie, “Tuskegee”
Rihanna, “Talk That Talk”
Jack White, “Blunderbuss”
Who do you think will be nominated on for Album of the Year?
Can he take you to paradise with the new track?
Bruno Mars is one of the brightest names to emerge in the pop world over the last few years as an singer, writer and producer (as one-third of the Smeezingtons).
He returns today after nearly a year away with “Locked Out Of Heaven,” the first single from his sophomore set, “Unorthodox Jukebox,” out Dec. 11.
[More after the jump...]
Glastonbury 2013 will go on without them
As rumors of a Smiths’ reunion light up the the internet again today, we reached out to former lead singer Morrissey’s publicist, who shut down the possibility of the British band reuniting at Glastonbury... or anywhere else.
“The Smiths will NEVER get back together,” Morrissey's rep replied to our email request for a response to the flurry of rumors running rampant. That mean, of course, that this round of speculation would seem to be like the 1,289 ones before it: totally false. The uppercase is from the publicist, not us. She sounds suspiciously like she's quoting Taylor Swift's current single, doesn't she?
Ever since the band broke up 25 years ago, these rumors crop up periodically with varying degrees of support and varying amounts of zeros after the dollar sign (The going rate was apparently $75 million six years ago for a 40-date Morrissey/Johnny Marr outing). Despite Morrissey saying he would “rather eat my own testicles” than reform the band, the rumors still come back again like a bad penny every so often.
This time, ground zero seems to be a U.K. entertainment website called Holy Moly, which is reporting that it is hearing from more than two sources that “The Smiths will reform in 2013...It’s a done deal...Dates are booked...Glastonbury is one of four dates.” As you will recall, there have also been rumors that Coachella offered to turn the whole event vegetarian if that would lure non-meat-eater Morrissey to reunite with his former bandmates. But there is apparently not enough tofurkey in the world to get this crew on stage together again.
As badly as The Smith fans want to see Morrissey reunite with Marr, Andy Rourke and Mike Joyce, it looks like, to paraphrase one of their album titles, “The Smiths Are Dead” ... and remain so.
Ambitious studio set aims big
Some bands hide their pretensions of grandiosity. Muse would not be one of those bands. Like Queen, the British rockers have a flare for the dramatic and their guitars seem to be perpetually set on stun.
On the group’s sixth studio album, “The 2nd Law,” lead singer Matt Bellamy and the band take the listener on a journey surrounded with prog-rock power chords, shrieking vocals and lyrics filled with heavy portent. And that’s just on the album opener, the Led Zeppelin-influenced “Supremacy.”
Muse’s overwrought flamboyance has helped make it one of the most popular touring bands of the last several years. But what works well with 18,000 fervent followers with raised arms in an arena can just sound like too much excess in the confines of an album. With its operatic chants and message about vengeance, explosive first single (and Olympics theme) “Survival” felt more like a parody than a true anthem. The band toned down the theatrics for second single, the synth-poppy “Madness” and was rewarded with a No. 1 tune on Billboard’s Alternative Songs chart.
While the album’s volume and thrust is set to 11 the majority of the time, there are moments of loveliness and surprise on “The 2nd Law.” (The album takes its title from The Second Law of Thermodynamics, which states a object that keeps growing cannot sustain expansion and will eventually dissolve...or something like that)
“Panic Station” has a sprightly Franz Ferdinand-like bounce that will delight fans of the band’s pop side. The first part of “Animal” features a strong jazz-meet-Rush guitar lead by Bellamy that pierces through the song. On jaunty “Big Freeze,” Bellamy recalls David Bowie on “Heroes.”
“Explorers” is Muse at its most majestic Queen-like, as Bellamy channels Freddie Mercury as he chants “Free me from this world...it was a mistake, prisoning ourselves.” Plus, the lulling piano end will remind any Queen fan of “Bohemian Rhapsody.”
For a band that wears so many of its influences on its sleeve, Muse still ends up coming up with its own brand of explosive rock that draws on metal, pop, and, at times here, even funk. Bellamy’s clear, powerhouse vocals tie it all together.
But when Muse gets too inside its own geek-boy mythology, it is severely testing the limits of all but its most devoted fans. On the two-song closing “The 2nd Law: Unsustainable” and “The 2nd Law: Isolated System” suite, the noise level ratchets up as a voice actually reads the thermodynamic law.” The cacophony gives way to a “Tubular Bells”-type second movement before the voices come back, filled with doom about an economic collapse (based on the same theory as the law).
“The 2nd Law” will likely have Muse fans salivating over the group’s continued bombastic musical salvos, while non-believers will have plenty more to hold against the band.