ROCK HALL INDUCTIONS: THE BEASTIE BOYS

I started writing a post "reviewing" The Beastie Boys' induction into the Rock and Roll Hall of Fame last week, and planned to finish it either Friday or Saturday.  Obviously, it's a much different post now.

I've heard that Adam Yauch was admitted into the hospital on the same day that the induction took place.  I can only imagine the bittersweet feelings Adam Horovitz and Mike Diamond, and Yauch's parents, must have had, being at the ceremony that night.

I remember predicting that Chuck D would be the guy they'd call to induct The B-Boys and I'm glad I was right. Public Enemy had a long history with the Beasties, and he was so passionate about their importance.  I was glad that LL Cool J was also part of the induction. Chuck and LL deserve to be in the Rock and Roll Hall of Fame themselves, hopefully sooner rather than later.  (Rick Rubin was in the audience as a guest of The Red Hot Chili Peppers: it's interesting that he'd produced the Chilis, the Beasties and Donovan, as well as presenters Chuck, LL, and also Kid Rock who performed.  He should also be in the Hall of Fame soon!)

Chuck's speech was predictably longer.  But he made great points about how they always stuck together as a team, they were a TEAM of MCs, how they defied expectations and carved their own path. LL's speech was good too: besides pointing out that it was the Beasties who played his demo for Rick Rubin, he also noted that they really brought hip-hop to the suburbs.

Mike and Adam kept it pretty short.  I don't know how Adam H. kept it together while reading Yauch's speech for him.

Watching the performance a second time on TV, I liked it a bit better.  The Rock and Roll Hall of Fame wisely asked The Roots to perform at that segment (instead of Paul Shaffer's group, the house band for the rest of the night, and for nearly every ceremony). They were joined by the Beasties' longtime DJ Mixmaster Mike.  Black Thought was on the mic, along with Kid Rock and Travie McCoy from the band Gym Class Heroes.  Black Thought was a given, he's one of the best MCs in the game and has been since he started. Kid Rock is obviously influenced by the group.  I would have gone with someone like Q-Tip, Nas or Mos Def for the third spot though. They pretty much stuck to the hip-hop and rock/rap hybrids.  I guess they had limited time, but I thought they should have addressed their instrumental funk prowess (which would be easy for The Roots) and their hardcore punk background (which Mos Def or someone like Henry Rollins could have done). Still, they put together a cool performance and they probably didn't have a lot of time to rehearse it.

If you have a chance to check out this year's Hall of Fame induction ceremony, you should do so, especially if you are a Beastie Boys fan.

ROCK HALL INDUCTIONS: THE RED HOT CHILI PEPPERS

The current lineup w/ ex-drummers Jack Irons & Cliff Martinez
photo courtesy of WNCX in Cleveland 

I was fortunate enough to have attended this year's Rock and Roll Hall of Fame induction ceremony.  See my full report for CBS Local Digital here.

One of the highlights for me was the induction of The Red Hot Chili Peppers, a band I've been a fan of for more than two decades.

I was curious which members of the band would be inducted, and who would show up.  There are basically two classic lineups: first, Anthony Kiedis, Flea, drummer Jack Irons and the late Hillel Slovak on guitar. And second, the most popular lineup, Anthony, Flea, drummer Chad Smith, and guitarist John Frusciante, who quit the band for the second time a few years back. All six of those guys got in.

But I was wondering about the lineup from their first album: Anthony, Flea, drummer Cliff Martinez (who recently scored the film Drive) and guitarist Jack Sherman. Plus, guitarist Dave Navarro, who replaced Frusciante the first time he left, and Josh Klinghoffer, who is in the band now. Oddly, Martinez was inducted but Sherman wasn't.  If their 1984 self-titled debut is considered to be such a milestone in the band's career, why wouldn't everyone from the album be inducted?  I think the answer lies in that Martinez left under good terms, while Sherman was fired, and I think he later sued the band. The thing is, management shouldn't be deciding who is included, they shouldn't be able to re-write that history.

GUEST POST: KARA PAIN - "WHY DO THE BEASTIE BOYS DESERVE TO BE IN THE ROCK AND ROLL HALL OF FAME?"

Kara Pain, or as I call her, K-POW, is a former colleague from my days at SiriusXM. I knew her first as a member of the Liquid Metal team, and although she's a badass metal gal, it turns out that she's a lot more than that. She moved from NY to Seattle, where she's done stand-up comedy, improv, and she's also been heard on the FM airwaves.  If this was the '80s or '90s and she was doing this guest post for a 'zine instead of a blog, I'd advise you to keep this issue, as it would be a collectors item once she "hits it big." A couple of years ago, she was telling me about an debate she had with a well known music critic over The Beastie Boys.  So I asked her to use that as the starting point for her guest post, about why they deserve to be Rock and Roll Hall of Famers.  Take it away, K-POW... 


"Here's a little story, I got to tell..." 

I have a friend who is “in the biz.” I’m not saying this to sound cool; it actually has something to do with this blog post, so chill out.  The reason it’s important is because this friend’s career is based on subjectively judging music, it pays his bills. Anyway, said friend and I were discussing the Rock and Roll Hall of Fame one day and I mentioned how funny it was that the Beastie Boys were snubbed in 2011. Well, imagine my surprise when Friend disagrees, vehemently!

As he is a professional music critic, I battled as best I could against his musical knowledge to defend my point (which was a lot like fighting Uma Thurman in Kill Bill). I threw Platinum Record sales and Grammy wins at him, and while I wasn’t brought to slaughter, I was beaten and bruised. I couldn’t quite convince him of why The Beastie Boys deserved to be honored. The discussion has still plagued me, even as the B-Boys were inducted this year. I don’t really have to prove it to him or anyone else, but I just can’t let it go. Why did the idea spark so much passion in me? Why did this band deserve honor for contributing to the landscape of music and culture?

On April 12, 2012 the Rock and Roll Hall of Fame held its annual induction ceremony. You know the deal: 25 years (or more) after the release of their first record artists are eligible to be voted in based on the influence they’ve had on music. It’s kind of the Super Bowl ring of the music industry.  The whole induction thing started in 1983, and the nominating committee and voting body consists of a group of “rock experts” who vote on particular artists and how they were, or are. influencing the music scene. I put said experts into quotations, because come on…I think I’M a rock expert. 

Included among this year inductees are artists my parents listened to, the Small Faces, Freddie King, The Miracles. This year the Hall has also included Guns N Roses, The Red Hot Chili Peppers and The Beastie Boys. These bands can’t be over the 25 year mark, can they? They can!

The Beastie Boys started out as punk rockers. In 1982 the band released Polly Wog Stew.  A decent thrash punk record that sounded like, well, everything else that was already on the scene. The band, including Michael Diamond on vocals, Adam Yauch on bass, drummer Kate Schellenbauch, and guitarist John Berry (before Adam Horovitz joined) were doing what they thought they should to make it. You’re white, so make Punk Rock Music. After the exit of John and Kate the boys began to play around with the idea of rhyming over beats and samples and the truth of who they were, who they ARE, began to emerge.

In 1984, the Beastie Boys’ current lineup released a quirky fun track honoring an ice cream cake, Carvel’s Cookie Puss.  It was basically a phony phone call over a hip-hop track.  After friend and NYU student Tim Sommer handed over that track to another NYU student, Rick Rubin, who also just happened to be head of Def Jam records, the Boys were ready to emerge. Rick became their DJ and produced their debut album.

By 1988 the Beastie Boys became a mainstay of MTV. Licensed to Ill had already hit Number 1 on the Billboard 100, and was the first rap album to do so. They had managed to sneak into the Top 40 club and throw an all out hip-hop party. They weren’t gonna sleep and they would fight for the right to be there. Okay, I’m over-using lyrics to make my point here, but in the dawning of our multi-media culture, three white boys form Brooklyn were helping to change its face.

As I researched this article I found an underlying thread that seemed to follow the Beastie Boys story. When I YouTubed “Cookie Puss,” I read some of the comments and it surprised me that most of the conversation revolved around the color of the Beastie Boys skin.

I think The Beastie Boys just don’t worry about their skin color. Like many other people, they LOVE Hip-Hop and they wanted to honor it with their own style. They weren’t trying to be cool, or act like something they’re not. It was real, and that’s why it worked.

Racism exists, no doubt, and if you pretend its untrue then you’re only lying to yourself. However, I do think that the Beastie Boys have helped us to erase some of those lines, and assist in ushering in a generation that accepts differences far more readily. I mean, we’re the generation that helped finally elect the first black president. I know I’m probably pissing some people off by saying this, and I’m not crediting the Beastie Boys with all civil progression, OR with President Obama's election into office, definitely not. What I am saying is that they made their contribution, they made an impact. Where would we be, as a society, without habitual line crossers Jimi Hendrix, Duke Ellington, Elvis…you get what I’m saying? 

I grew up in a super eclectic area of New York and had friends of all shapes and sizes, and they were my friends because they were cool and fun, and that was all. We would sit on our stoops (front porches for those of you not from NY) and listen to music. Connecting through styles and tastes via lyrics and melodies. Beautiful.

Later on, The Boys grew up from fighting for their right to party, and communicated different messages.  Their music matured, and they matured as people.  In 1996 they organized the Tibetan Freedom Concert, bringing attention to the plight of Tibetans living in a country now occupied by China. They headlined four of these concerts over four years, and Adam Yauch was a tireless advocate for the Tibetan people. They put on the New Yorkers Against Violence Event, raising money for victims of 9/11. Also, they’ve actively participated in Habitat for Humanity, the ASPCA and the Lunchbox Fund which helps provide food for hungry school children. I’d say they are actively doing their part as being decent humans.  Top that off with phat rhymes and skills to pay the bills?!  Holla!

While they DO fool around, and sing about what seems like the immature babbling of a generation known for its excess, they said a lot to the younger ears behind them, who were listening and absorbing the cultural world around them.

“The true key is a trust in self
For when I trust myself, I fear no one else
I took control of my life, just as anyone can
I want everyone to see it's in the palm of your hand
The past is gone, the future yet unborn
But right here and now is where it all goes on.” – The Update

So I’ll ask the question again as I did in the beginning, only this time I’m going to answer it. Why do the Beastie Boys deserve to be in the Rock and Roll Hall of Fame?  Because they remind us to be true to ourselves, to ignore the boundaries people create to feel safe, to Fight for our Right. Isn’t that what Rock music is all about? Makes me think how exciting it'll be in another couple of years, when Rage against the Machine is inducted. Just a thought.

“I once was lost but now I'm found
The music washes over and you're one with the sound” - Shadrach 

MY VISIT TO THE ROCK AND ROLL HALL OF FAME

Today I visited the Rock and Roll Hall of Fame and Museum for the first time in years... I have to say that, although I've been there a couple of times, it always takes my breath away.

Now I know that that sounds a bit corny.  But I was standing near a guitar played by Muddy Waters.  And near guitars played by Howlin' Wolf, John Lee Hooker and Bo Diddley.  It's pretty amazing when you think about the effect that the fingers that played those strings had on the future of music.

At the same time, I saw guitars from Tim Armstrong of Rancid, Slash and Zakk Wylde.  The museum absolutely treats rock and roll as a living, breathing thing and I think that that's so important.  It's not just a wax museum.  It's a museum about the music, not just the inductees.

There was a lot to love about the museum. I really dug the exhibit about protests against rock and roll. It's great to remember how scary the music was to the establishment at one point.

There was a cool exhibit with props from Pink Floyd's Wall tour.  Amazing to have The Teacher looking down at you.  The scope of that album still blows me away, but standing next to the pieces from that tour's stage really fosters your appreciation of what an ambitious project it was - a concept album, movie and stage show, conceived all at the same time.   The big exhibit of the moment focuses on The Grateful Dead, but I only checked it out a bit.

Another theater had a film... I wasn't really sure what it was about, but it had interviews with Bruce Springsteen, Bono and Pete Townshend, among others. I've seen footage from these exact interviews before, but it's always fun to watch those guys wax about rock music. But there's one part where Townshend talks about his friends dying: Brian Jones, Jimi Hendrix, Keith Moon.  "They may be your fucking icons, but they're MY fucking friends!" And another part where he talks about how guys like Eddie Vedder, Kurt Cobain and Ice-T will keep doing what he does, even if he stops.

I went into one theater and they were playing a film showing the Rock Hall's 25th anniversary concert at Madison Square Garden from a few years ago.  I could just watch that at home, of course.  But watching Bruce Springsteen & The E Street Band performing "Born To Run" (with Billy Joel) on a huge screen was cool.  And I got chills watching Clarence Clemons playing that sax solo. 

Other screens had highlights from past induction ceremonies:  Alicia Keys' amazing speech about Prince, Prince owning Clapton's solo during the all-star jam on George Harrison's "While My Guitar Gently Weeps," the Cream reunion, the Talking Heads reunion, John Fogerty making his speech with his former bandmates standing coldly near him, and then performing afterwards with Bruce Springsteen and Robbie Robertson. They've had some great moments. 

I'm writing this as I'm sitting in the press room waiting for this year's ceremony to start.  This time, the inductees aren't only artists who I had to play "catch up" with once I discovered them (although I *have* played "catch up" with The Faces), but some that I've been with since their early albums: Guns N Roses, the Red Hot Chili Peppers and the Beastie Boys. I'm looking forward to seeing some of those great moments tonight. 

The first time I went to the Rock and Roll Hall of Fame and Museum was actually opening weekend.  My then-girlfriend/now-wife suggested going on a road trip to Cleveland for opening weekend (a big concert marking the opening boasted Bruce Springsteen & The E Street Band doing their first show together in a long time, John Mellencamp, Aretha Franklin, Al Green, James Brown, Johnny Cash, Iggy Pop, Chuck Berry, John Fogerty and The Allman Brothers Band, among others). I had managed expectations about how cool the museum would be: I was picturing a Madame Tussaud's type deal. I was really happy when I saw it: they really do a great job of keeping the history and telling the story.  I'm glad that that is still the case today.  I couldn't give a higher recommendation for the museum: you really need to go.  I had a great time there today, and I can't wait to come back.  

BACK IN THE DAY: GUNS N ROSES "APPETITE FOR DESTRUCTION"

I've heard a lot of people arguing that Guns N Roses is getting into the Rock and Roll Hall of Fame based on one LP, 1987's Appetite For Destruction.  Normally I'd agree, that no band should get in based on one LP.  I'm cool with it.  I don't really have a problem with The Sex Pistols as Hall of Famers (even if they do), and they only had one album.  (But as Larry Flick rightfully points out, Never Mind The Bollocks, Here's The Sex Pistols kicked off a movement in a way that Appetite didn't).

That said, I think AC/DC could have been inducted just for Back In Black*, and the only other hard rock album with the impact of that classic is Appetite For Destruction**.

I remember the first song I heard by Guns was "Welcome To The Jungle," and I'm pretty sure I first experienced it on MTV's Headbanger's Ball.  At the time I was in a very "death to false metal" mode.  There were the cool bands, like Metallica, Slayer, Anthrax, Suicidal Tendencies and Megadeth. And then there were the lame (hair) metal bands, Poison, Warrant, Motley Crue, etc***.  Guns seemed to fall somewhere in between. They certainly weren't thrash.  They had a lot more of a Stonesy groove than the thrash bands (or the metal legends like Maiden and Priest) that I loved.  But they also seemed to have a little in common with the pop metal scene. I wasn't hugely into punk rock at the time, but I knew they had a punk influence going on.  They didn't sound totally original per se, but they definitely sounded different.  I got Appetite right after that Headbanger's Ball episode.

I was BLOWN AWAY. I could not believe how badass this album was.  The guitars were amazing, but never annoying like the shredders who were all the rage at the time. The bass was funky and cool. The drums swung (even though the drummer looked like he could fit into Ratt). And the singer: I'd never heard anything like this guy.

Most of the songs were like a fist to the face.  But then there was "Sweet Child O' Mine."  It was tender, but not wimpy, and had one of the coolest riffs I'd ever heard.  The only song I didn't like was "Paradise City," with it's synthesizers and chorus that kind of sounded like something Bon Jovi would do. To this day, I don't really dig that one, but I can tolerate it, and it doesn't ruin the album.

I don't listen to Guns as much these days, I don't know why.  I think Axl has lowered their status in my eyes, by turning the band into his solo project.  I don't mind when Trent Reznor does that with Nine Inch Nails, because that group was always Trent's project.  But I think Guns without Slash and Duff McKagan just isn't Guns.  I was OK with Gilby Clarke replacing Izzy Stradlin', and totally OK with Matt Sorum replacing Steven Adler. But no Slash and no Duff?  That's a dealbreaker.  I wouldn't buy into Guns without Axl either, of course. I know Axl's current version of Guns is touring and playing all of the Appetite songs, but I just can't imagine it sounds nearly as good as it would the original guys.

Anyway, I'm listening to the album as I write this, and it is still incredible.  Even, I must admit, "Paradise City." If you haven't heard it in a while, check it out.

* That said, I prefer Bon Scott-era AC/DC to Brian Johnson's era, but you just can't deny Back In Black.
**By the way, I'd argue that Guns did have a good handful of classics from after Appetite: certainly "Patience" from Lies, and "Dust N Bones," "Bad Obsession," "Civil War," "14 Years" and especially "You Could Be Mine" from the Use Your Illusion albums.
*** I've mellowed a bit on the hair metal thing.  I don't own any of their records, but I can definitely acknowledge that most of the hair metal bands had some good songs.  And, full disclosure, I wrote liner notes for some Warrant reissues, the younger me would have considered that a major "sell out."

THE FACES - A BEGINNER'S GUIDE

I've thought that The Faces have been overlooked by the Rock and Roll Hall of Fame for years, I'm glad that they are finally getting in. They've kind of been overshadowed by singer Rod Stewart's solo career: he's been in the Hall of Fame for over a decade.  With all due respect to Rod's solo career (his early LPs, recorded while he was in The Faces, were incredible), I prefer The Faces.

It's too bad that Rod hasn't participated in their recent reunion shows: guitarist Ronnie Wood (already a Hall of Famer as a member of The Rolling Stones), drummer Kenny Jones (who is a former member of The Who, but wasn't inducted with them) and keyboardist Ian McLagan have been doing concerts with Glen Matlock of The Sex Pistols on bass, and Mick Hucknall of Simply Red singing. (Original bassist/singer Ronnie Lane passed away in 1997.)

The Faces are being inducted along with their precursors, The Small Faces, which featured Jones, McLagan and Lane along with the late singer/guitarist Steve Marriott. Honestly, I'm not that familiar with The Small Faces, if anyone would like to contribute something about them to my blog, please let me know in the comments. My understanding is that their best album is 1968's Ogdens' Nut Gone Flake. But I love The Faces, and here's my primer:

The Compilation: The Best Of Faces: Good Boys... When They're Asleep. It's got their one big hit, "Stay With Me," but some other great performances: their cover of Bob Dylan's "Wicked Messenger," "Sweet Lady Mary," "Had Me A Real Good Time," and "Ooh La La" (sung by Ronnie Lane).

The Classic Album: 1971's A Nod Is As Good As A Wink... To A Dead Horse.  It's just a blast.  It has some of Rod's best vocal performances ever (including the aforementioned "Stay With Me") and yet Ronnie Lane's "Last Orders Please" is still a highlight.

The Box Set: Five Guys Walk Into A Bar... is a hell of a lot of fun. It has almost everything you'd want, including lots of great covers (part of the magic of Rod and Ronnie Wood is that they know when to write a song, and when to do someone else's).  John Lennon's "Jealous Guy," Paul McCartney's "Maybe I'm Amazed," The Temptations'  "(I Know) I'm Losing You" as well as the band's take on solo tunes by Rod ("Maggie May") and Ronnie Wood ("I Can Feel The Fire").

GUNS N ROSES - A BEGINNER'S GUIDE

In the next few weeks and months, I hope to have a number of guest bloggers give their testimonials about Guns N Roses. Earlier this week, Guitar World Senior Editor Rich Beinstock wrote about his hopes that the band's original lineup will reunite for the Rock and Roll Hall of Fame induction ceremony.

I've heard people complain a bit about Guns because (a) they are getting in before other hard rock bands who have been eligible for years, like KISS and Motorhead and (b) they are essentially getting in for one album, Appetite For Destruction.

I think many of the guys in the band might agree with (a).  As for (b), my beginner's guide to GNR is this:

Get Appetite For Destruction.

It's just one of the greatest albums ever.

After that, you're probably in good shape with Greatest Hits, which includes the best songs from the Lies EP, the Use Your Illusion LPs , with a few of their later covers thrown in. Lies itself is pretty good (minus the hateful lyrics of "One In A Million" and "I Used To Love Her") and the Illusion LPs have a lot of good songs.

As for the Rock and Roll Hall of Fame induction ceremony: my prediction is that W. Axl Rose will perform with his current lineup of Guns N Roses, while Slash and Duff McKagan put together a band that will probably include Izzy Stradlin' or Gilby Clarke (or both), Steven Adler or Matt Sorum (or both) and a singer (perhaps Myles Kennedy from Slash's band). And the Slash/Duff band will perform as well.  But of course Axl/Slash/Duff/Izzy/Steven would just rule.

THE BEASTIE BOYS - A BEGINNER'S GUIDE

How did The Beastie Boys react to the news that they're being inducted into the Rock and Roll Hall of Fame? They haven't really said much. On one hand, they don't seem to take this kind of thing seriously. On the other, it has to feel pretty good to be acknowledged. Along with the Grandmaster Flash & The Furious Five and Run-D.M.C., they are the only hip-hop artist to be inducted thus far.  And they are the only band with roots in hardcore punk to be inducted.  Add to that, the fact that Adam Yauch has been battling cancer... well, that has to add some weight to this. I hope he's doing well, and I hope they show up and perform. I'd guess they'd do a hardcore tune, at least one hip-hop tune, one of their hard rockers and an instrumental funk jam. How many other bands have so many modes? So there's a lot of great stuff in the long line of LPs.

The Compilation: the 2 CD set Sounds Of Science has almost all of their modes: hardcore punk, their days as a Run-D.M.C. style Def Jam group, the Paul's Boutique era, their hard rock stuff, instrumental funk and even their country phase (which was very brief).  It has hits, album tracks and rare stuff too. And great liner notes by the band. If that's too much for you, go for the single CD Solid Gold Hits.

The Classic Album(s): They had a lot of game changers.  First, their debut full length, 1986's Licensed To Ill on Def Jam. It has lots of douchey anthems like "Fight For Your Right" and "Brass Monkey," but on the other hand, it was pretty groundbreaking and has lots of amazing tracks.  They completely flipped the script and risked everything by leaving Def Jam, Rush Management and producer Rick Rubin for L.A., Capitol Records and The Dust Brothers for 1989's Paul's Boutique. At the album tanked at the time. Now: it is considered a classic.   After that, they picked up their instruments again for another classic, 1992's Check Your Head. This sort of mapped out the rest of their career, which they'd split between straight up hip-hop, hard rock tunes with Adam Horowitz on the mic, hard core punk tunes with Mike D shouting, and instrumental funk jams.

After that, they still released great albums but nothing as groundbreaking. Still, 1994's Ill Communication is amazing, 1998's Hello Nasty is great. I think 2004's To The 5 Boroughs is totally underrated, and ditto for this year's Hot Sauce Committee Part 2. I also dig their instrumental album, 2007's The Mix-Up. And, although they weren't at their best as a hardcore band, the 1994 compilation Some Old Bullshit is still solid, plus it has their legendary prank call "Cookie Puss."

GUEST POST: RICHARD BIENSTOCK ON GUNS N ROSES AND THE ROCK AND ROLL HALLL OF FAME

I was Richard Beinstock's counselor at sleep away camp a million years ago. Imagine my surprise when I bumped into him at a screening of a Cheap Trick concert DVD and realized that he is Senior Editor of Guitar World magazine! I asked him what he thought about Guns N Roses' upcoming induction into the Rock and Roll Hall of Fame.  Here's what he said.


I can’t say that I followed the Rock and Roll Hall of Fame ballot too closely this time around; like any Annual Big Music Event from the Grammys on down, its impact and sense of import in the music world seems only to cool year over year, beyond any bands/managers/label people/media/music geeks/etc. who might have a stake in the whole deal. But come on—Guns N’ Roses! Whether or not you care about this kind of thing at all, who doesn’t want to see this go down?

So Gn’R—while at the end of the day their glory run was relatively short, and their catalog of output relatively slim, the question of whether the band would make the cut was always a no-brainer. Because fuck it, they made what very well might be the greatest hard rock album ever. Top 5 at least, IMO, and the beauty here is that millions of others likely feel the same. So case closed.

So now they’re in, and thus begins the real speculation. Because as much as a Rock Hall induction is considered an honor, in this case it also comes off as something of a dare. Everybody wants this reunion. Everybody’s talked about this reunion. Everybody in the band has been asked about this reunion for something like 15 years now. So it stands to reason that whoever snags this reunion is the proverbial shit. Even if they didn’t deserve inclusion, if I were Jann I’d throw ‘em in just for the potential glory of being the Dude That Made It Happen.

Which bears asking: Beyond all the wondering about Will They Or Won’t They, maybe the question is, Why Would They Do It For, Of All Places, The Rock Hall? No amount of guarantee, no promises of bazillion-dollar tour grosses, no mega-manager muscle, has been able to bring the five originals to the table all these years. So how does the Hall of Fame turn out to be the big man with enough pull to make it happen?

First, some history…or, actually, not. Without delving into the filthy minutiae, let’s just agree that a reunion comes down to Axl Rose  capitulating to stand onstage next to Slash, the man he’s pinned as a cancer and more or less blamed for every bad thing that’s ever happened to him. There may likely be no love lost in the opposite direction, but Slash is, at least outwardly, a fairly reasonable and relaxed adult, and would likely take the plunge. As for the others, Steven Adler’s been praying for this day to come since he wrapped up his drum tracks on “Civil War”; Duff McKagan, like Slash, is a sensible man and still has a relationship, if somewhat tenuous, with Rose; Izzy Stradlin', for all his time spent laying low, releasing killer, Keef-y albums without bothering to tell anyone, and doing whatever other cool-ass things Izzy does, has still managed to find the time to jam with Slash on his 2010 solo disc and pop up beside Axl at a few Guns gigs. So the connections are there. But if the promises of renewed fame and fortune haven’t led them to pull the trigger, why should jamming awkwardly through a few old tunes in front of a stuffy room of suits do it? The answer is it shouldn’t. But the weird thing about the Hall of Fame is that it often does. Hell if I know why.

So assuming Axl does indeed play ball, who’s on that stage with him? Duff and Slash for sure. Izzy (or at least a “Where’s Izzy? sign), a hesitant yes. Gilby Clarke? 30/70. Any latter day exes? No. Dizzy Reed? 80/20. Fortus/Bumble/Ferrer/Stinson/Ashba/Pitman? No …unless Axl works in some weird stipulation whereby the current Guns incarnation has to get airtime as well.

That leaves the drum chair, where the likely scenario is a split, with Adler and Matt Sorum each taking a spin for their own songs. Which, while fanwise, everyone loves the former and is lukewarm about the latter, is probably as it should be. The interesting thing there will be what happens the proverbial day after, when the contracts are signed and tour announcements are made. Adler would be the hopeful choice, though the more stable Sorum the likely winner. Only time will tell whether it would be harder for Adler to survive a reunion tour or the prospect of being left out of a reunion tour. Either way, I’m pulling for him, the band and the Rock Hall to make Cleveland for, at least one night, every music fans’ Paradise City.

One last game-changing scenario:
Axl shows up really, really late…meaning not at all. The four original instrumentalists are on site, and Rose is the lone hold out under the assumption that, hey, Guns N’ Roses still exists, and if you wanna see the band perform, then the band, as it is now, performs. This is where the Rock Hall can still use its muscle to make true magic happen. I’m talking “Welcome to the Jungle” … featuring Mick Jagger! “Paradise City”…. guest vox Bono! “You’re Crazy” … with Bruce! “One in a Million” … sung by Adele!

Let’s just hope the pairings don’t go so well that they decide to wring a whole album’s worth of material out of the thing…

THE ROCK AND ROLL HALL OF FAME'S BALLOT

Well, today the Rock and Roll Hall of Fame announced the artists on this year's ballot.  If I were a voter, of course I'd be writing in KISS on my ballot, as they were passed over again.  That said, there are some cool artists on the ballot as it stands, and I'd have a hard time voting for just five.  But if I was a voter, I'd go with:


The Beastie Boys: no other band has jumped from style to style like them and done it all well.  Hardcore punk, hip-hop, hard rock and instrumental funk.  Add in one of the funniest phony phone calls of all time, and the fact that they introduced a generation to the plight of Tibet and the concept of non-violent protests, these guys absolutely deserve to get in.  I just hope that they do... and that Adam Yauch is healthy enough to perform at the ceremony.

The Red Hot Chili Peppers: When they started out in the '80s, I doubt many people would have expected this band to last twenty five years, or to be able to age so well.  I love their early albums with drummer Jack Irons and the late guitarist Hillel Slovak, but they really came into their own when drummer Chad Smith and guitarist John Frusciante joined for Mother's Milk.  Of course, the followup, Bloodsugarsexmagik, is a classic, as is lots of the band's second era with Frusciante (Californication is one of the best comeback albums ever). I imagine Anthony Keidis, Flea, Iron, Slovak, Smith and Frusciante will be included if the band is inducted.  I wonder if they'll include Dave Navarro and current guitarist Josh Klinghoffer.

Eric B & Rakim: I was impressed to see them included on the ballot (while being disappointed that LL Cool J, on the ballot in the past but as of yet not inducted, wasn't included). Ask any MC who knows what he's talking about: Rakim is one of the greatest of all time, if not the greatest.  I don't know if their influence on rock and roll is as obvious as that of LL, Run-DMC or Public Enemy (who are not eligible until next year).  But a lot of rock artists were listening to hip-hop during the golden era of the late '80s and early '90s, and if you were listening to hip-hop at that point, you were definitely listening to this incredible duo.  I wonder if they'll perform together if inducted.  Rakim has been doing their music in concert, but is never that cool when talking about Eric B.

Joan Jett & The Blackhearts: Every few years there's someone who comes along and kicks everyone's ass and reminds them what rock and roll is about. That's what Joan Jett did in the '80s.  She can do gigs with indie punk bands, then do the county fair with Meat Loaf or someone, and then tour with a metal band. She's respected by everyone and rightfully so.  I would vote for her if only for her song "Bad Reputation," it's just righteous.  I should also mention that she's a great music fan, and anyone who heard her former radio show on The Underground Garage would agree.  I wish she still did that show.

The Cure: as long as there as moody kids into weird dark music, there will be a place for The Cure.  They have a pretty incredible body of work, and they really developed over time.  I mean to go from "10:15 Saturday Night" to "Fascination Street" to "Just Like Heaven," that's a lot of ground and they don't really get credit for their diversity.  I wonder which members would be inducted (other than Robert Smith, of course).

I'd have a hard time not voting for The Faces/The Small Faces.  I love The Faces, they are one of the greatest pure rock and roll bands ever.  I always thought that they deserved to be inducted more than Rod Stewart did for his solo career. I think his best vocal performances were with them. I have to confess though, I don't really know much about their precursor, The Small Faces.

I'd also like to see Guns N Roses inducted. Like anyone else who was alive in 1987, Appetite For Destruction rocked my world, and they deserve to get in just for that album. And of course, who wouldn't want to see who shows up for their induction? They shouldn't get in before KISS though.

Heart is a great group, I don't know if I'd vote for them, but I certainly wouldn't object to it if they got in. I wonder which members (other than Ann and Nancy Wilson) would be included? Ann Wilson is one of the great classic rock singers.  Freddie King is a great blues guitarist, a huge influence on Clapton (as well as Beck and SRV). Definitely wouldn't object to his induction, I'm not a huge expert on the guy beyond "Hideaway." Rufus with Chaka Khan is a cool funk group, but I wouldn't vote for them. The Spinners were a great Philly soul group, I wouldn't object to them either. I've discussed Donna Summer as a Hall of Famer with Larry Flick: I don't mind a disco diva being in the Hall of Fame, especially because I think "I Feel Love" is pretty radical and badass.  But if disco is going to be represented, I'd lean more towards voting for Chic (not on the ballot this year). I think War is actually a really underrated group, I'd like to see them get in at some point. The two artists on the ballot I would object to: Donovan (I just can't take his music, its way too hippie for me) and Laura Nyro (great songwriter, but not a rock and roller).  

TOMORROW ON OUTQ: NEXT YEAR'S ROCK HALL INDUCTEES (?)

Tomorrow morning on The Morning Jolt with Larry Flick on SiriusXM OutQ, I'll be in the studio talking about who *I* think should get into the Rock and Roll Hall of Fame next year, and who actually has a chance of being inducted. I've written a lot about this lately (just check my last ten or so posts), and it is always an interesting conversation topic. Tune in!  If you don't have SiriusXM, you can get a free online trial here.

THE ARGUMENT - 5 MORE FOR THE HALL OF FAME

Well, it's been over a week since this year's Rock and Roll Hall of Fame induction ceremony, congratulations to Tom Waits, Alice Cooper, Dr. John, Darlene Love, Neil Diamond and Leon Russell.  In the past few days, I've written "arguments" for who I think I deserves to be inducted in 2012 (and soon afterwards): KISS, The New York Dolls, Public Enemy, Bill Withers, Rush, Joy Division and Randy Rhoads. I'm about to wrap this theme up.  But there's five more artists I'd suggest for induction in the next few years.

The Cure. Some people may say that they haven't aged well, but I disagree.  I'd argue that they are sort of timeless. No matter what is the "in" thing, there's always going to be kids dressed in all black playing songs that reflect their feelings of alienation. But most of those songs won't be as good as the ones that Robert Smith has written. Sometimes The Cure is "in," and other times they aren't, but Smith has never seemed to care what's going on in the music scene. It's funny that a lot of people don't even know what they're about. I remember in the mid-90s going to see The Cure - a metal friend of mine was at the same show.  The next day he remarked that the show was really close to being a metal show. Everyone wearing black, really intense band, loud guitars.  I mean, "Fascination Street" is loud guitar rock.  I've read that Hendrix is one of Smith's biggest influences. This isn't the kind of the music that Hall of Fame voters generally gravitate towards, and they've never gotten much support from Rolling Stone, but they represent rock music that lives outside of the mainstream, and maybe occasionally visits. That's an important part of rock music though.

The Beastie Boys. Has any band ever had a more unlikely career arc? Starting out as an average hardcore punk band (nowhere near as good as say, Bad Brains, Black Flag or Minor Threat), they transformed themselves into the biggest hip-hop group ever (at the time) in the mid '80s with Licensed To Ill, using Run-D.M.C.'s template of Rick Rubin production, spare beats, loud guitars and cool samples. They then created a mind blowing album of hundreds of layers of samples on Paul's Boutique. For Check Your Head, the put everything together - hip-hop jams, hard rock anthems, hardcore punk rants, and even added some really funky instrumental tracks. They became one of the few bands who could unite hipster, suburban jocks, punks and hip-hoppers, not to mention the Lollapalooza crowd. Along the way, they created the template for The Jerky Boys and a million morning radio shows (for better or worse) with "Cookie Puss," made fake country music as Country Mike, shot some iconic music videos, and went from being drunken brats to global activists, without losing any of their cool. They made it cool to care about a tiny country that many Americans never heard of on the other side of the world. And an unbelievable catalog of incredible songs.

The Red Hot Chili Peppers, one of my favorite bands ever. Like The Beastie Boys, influenced by hardcore punk, hip-hop and funk, but coming from an entirely different place (the Hollywood Hills). Also like the B-Boys, they started out as pranksters who weren't necessarily a band you'd take too seriously, but they grew up over the years, and their writing got deeper. Everything came together on Bloodsugarsexmagik, as perfect of an album as anyone's ever done. I can't wait to hear their new album, which will hopefully come out later this year.

No one works in the service of the music like Emmylou Harris. She always seems to know the right thing to do, the right inflection, to make a song hit the exact right note. She's a great writer, but if she doesn't have anything, she has no problem using other people's materials. It's not about her ego. She's a great collaborator: of course she came up with country-rock legend Gram Parsons, and then went on to become a legend in her own right. But still, it seems that she doesn't mind singing backup if she likes the song or the artist enough. And talk about aging gracefully, she seems to get better with each year. I think her older friends prefer her '70s or '80s albums, but my favorite is the one where I discovered her: Wrecking Ball.

Motorhead. I think the Rock and Roll Hall of Fame should be, above all else, about influence. Few bands have influenced more groups than Motorhead. Heavy metal would be a different genre without Motorhead. Check out their documentary, it's a big "exhibit A" for why they should be inducted.

Of course, there are lots of other artists who I think should get in, including Black Flag, Warren Zevon, LL Cool J, Willie Nelson, Loretta Lynn, The MC5, The Replacements, X, Cheap Trick and Peter Gabriel to name a few. So, tune in next year for more discussions on this topic!

RANDY RHOADS - THE ARGUMENT

Inspired by the news that Ozzy Osbourne's first two solo albums are going to finally be reissued in remastered, and original form, I've been thinking about Randy Rhoads. (Here's my post on those albums.) A friend of mine (Noa from the blog Metal Injection) asked me why Randy isn't in the Rock and Roll Hall of Fame. I think he should be.

But, he can't be voted in as a regular artist, as he never released a record under his own name. They used to have a "sideman" category, which they replaced this year, with the Award for Recording Excellence, which went to the very deserving Leon Russell. I think Randy Rhoads should get it next year.

Whatever you think of heavy metal, the guy was one of the most influential guitarists of the '80s, along with Eddie Van Halen. Did he inspire a lot of pointy guitar fretboard tapping speed demon guitarists who forgot about the song in the quest for flash? Sure. But he also played on two of the greatest metal albums ever, 1980's Blizzard of Ozz and 1981's Diary of a Madman. I actually think that Ozzy deserves to be inducted for his solo career based on those albums - but I don't mind if that doesn't happen, Oz is already a Hall of Famer as a member of Black Sabbath.  I just think Randy deserves his due for his incredible playing on these albums, and the influence he's had.

TONIGHT ON FUSE - THE ROCK AND ROLL HALL OF FAME INDUCTION CEREMONY

Tonight Fuse will broadcast an edited version of the Rock and Roll Hall of Fame induction ceremony. Alice Cooper, Tom Waits, Dr. John, Darlene Love, Neil Diamond and Leon Russell were all inducted at this year's ceremony. There were some great speeches and performances, from what I heard, so check it out!

For those of you on Twitter - on Monday night during the actual ceremony, it seemed that people were Tweeting using the hashtag #rockhall2011.  But I think tonight during the broadcast, the hashtag is #fuserockhall.

Hopefully, there will be some people using #rockhall2012, debating who they think should get in next year!

JOY DIVISION - THE ARGUMENT

One era/genre of music that has been ignored by the Rock and Roll Hall of Fame, more than heavy metal, arguably more than prog rock, is the post-punk era. It spawned U2 and R.E.M., but hasn't gotten much attention from the voters, which is a shame.

Joy Division kind of started post-punk and symbolized it. They weren't punk, but were definitely inspired by it. I've read stories where bassist Peter Hook said he was inspired to buy a bass after seeing The Sex Pistols.

Joy Division resembled rock bands, but didn't really sound like much that had come before them. A bit of Bowie, a bit of The Velvets.  They had little or no traces of blues, or really anything else.  I hesitate to say they were "totally original" (because no one is), but even today, you listen to those records, and they are so unique. I think they sort of pioneered the idea of actual "alternative" rock. I mean "alternative" in the classic sense of the word, the dictionary definition.  Not the marketing term that was beaten into the ground in the '90s. Once you had alternative bands who didn't know about Joy Division (or The Velvet Underground), it was kind of a signal that they were full of shit.

Yes, they had a short career because frontman Ian Curtis committed suicide in 1980, at age 23. But their impact was immense: U2, R.E.M., The Cure and pretty much any goth band that came afterwards, Jane's Addiction, Nine Inch Nails, Bjork... lots of artists who worked outside the mainstream and had ravenous followings, so many of them were inspired by Joy Division. This isn't the type of band who the Rock and Roll Hall of Famers tend to pay much attention to, but they should.

RUSH IN 2012 - THE ARGUMENT

This is where I'm going to lose some people. I realize that Rush isn't for everybody. But I think they belong in the Rock and Roll Hall of Fame.

Anyone who reads this blog knows that I am a huge fan. They were my first concert (Grace Under Pressure tour in 1985), my first favorite band. But, to be honest, I didn't think that they were a band that should be inducted, and here's why. If I were a voter, I'd have two main criteria in mind: (1) obviously the body of work, even if it is a small body (as is the case with Buddy Holly or Cream) and (2) their influence.

Rush's body of work speaks for itself, it's mind-blowing.  I just wasn't sure how influential Rush was! They sort of exist in their own genre, and their influence isn't always so obvious. That was one of the things that turned my head around when I saw the excellent documentary, Beyond The Lighted Stage (which won the Audience Prize at last year's TriBecca Film Festival). I knew that Les Claypool of Primus (one of my favorite bands ever) is a huge fan, but his band is also like Rush - kind of their own genre. But watching all the different musicians talking about Rush's profound influence on them: Trent Reznor, Vinnie Paul of Pantera, Billy Corgan, Tim Commerford of Rage Against The Machine, Zakk Wylde, Danny Carey of Tool,  Taylor Hawkins of Foo Fighters and Kirk Hammett. Then I also thought of other artists, like Kim Thayil of Soundgarden, Vernon Reid of Living Colour, Steve Harris of Iron Maiden, all the guys from King's X, Jeff Ament of Pearl Jam, and I'm probably forgetting lots of other people.

It's not necessarily that people are trying to copy Geddy Lee's bass playing, Neil Peart's drumming or Alex Lifeson's guitar playing (he is one of the most underrated guitarists, in my opinion). Although I'm sure some musicians do try, the smart ones avoid even attempting that (the rest end up as favorites of subscribers to guitar or drum magazines, but without much appeal outside of that). You don't hear many (or any) bands that you'd refer to as "Rush clones." It would be stupid to try do copy them, you just couldn't do it.

I think it's more of an idea of being heavy but also really intelligent. Precise but really passionate. And not being boxed into any one thing. Yes, there are common elements to Rush songs, but they really progressed a lot. They started out as a heavy blues rock band, influenced mainly by Cream, The Who and Zeppelin. By the end of the '70s, they were something very different. In the '80s, they incorporated new wave and even reggae influences (particularly The Police and Talking Heads). In the '90s, Neil Peart even took a break from recording to re-learn how to play the drums.  This from the guy who has topped every drummer poll on earth!

Neil of course has been their lyricist since joining the band, and early on, his J.R.R. Tolkien and (especially) Ayn Rand influence insured that rock critics wouldn't really like him.  But while he was inspired by Rand, he wasn't a disciple by any means. He simply reacted to her theme of being an individual (which is kind of rock and roll in its own way, and something any rock and roller should respect). That's a theme that's always been inherent in Rush and their music. They do what they do, they are what they are, they never change to fit in, and they do things their own way.  Oh yeah, and they have an embarrassment of classic songs and albums (I'll cite everything they released between their 1974 self-titled debut and 1984's Grace Under Pressure in the "classic" category. They've done a lot of great work since then, of course: 2007's "Far Cry" and 2002's "One Little Victory" are two of my favorite Rush songs.

Much of what determines the Rock and Roll Hall of Fame is how well a band has fit into Rolling Stone magazine. I'm not hating on them: I've been a subscriber for probably more than 20 years! And I think that a lot of their inductees are great choices: the first five or so years of induction, they're hard to argue with. I am not someone who thinks that the Hall of Fame should resemble the playlist of a classic rock station. But get over yourselves, voters: Rush deserve to be in, period!

BILL WITHERS IN 2012 - THE ARGUMENT

Bill Withers never really seemed to fit into any category - and didn't seem to care - but he was such an incredible songwriter. (I use the past tense, because he is one of the few musicians to retire and stay retired. He's the first to remind you that he's retired if you talk about his career in the present tense.) He is in the Songwriters Hall of Fame, and I think he should also be in the Rock and Roll Hall of Fame.

People may not think of him as rocking because of "Lean On Me" and "Just The Two Of Us," which are incredible songs.  But hell, if "You Don't Bring Me Flowers" didn't keep Neil Diamond out of the Hall of Fame, surely "Lean" and "Two Of Us" shouldn't bother anyone.

His debut album, 1971's Just As I Am, is just classic. Produced by Rock and Roll Hall of Famer Booker T.  Jones, (and featuring lead guitar from another hall of famer, Stephen Stills), it is funky and badass as hell (the late, great, Al Jackson Jr. plays drums on many songs - the drummer for Booker T. & The MGs, he played on tons of Stax classics, as well as on many of Al Green's greatest songs). With classics like "Grandma's Hands," "Harlem" and the immortal "Ain't No Sunshine," plus covers of "Everybody's Talkin'" and The Beatles' "Let It Be," it's just amazing.

The follow-up, 1972's Still Bill, was also incredible: it has the ubiquitous  "Lean On Me," but also two really funky badass tunes, "Use Me" and "Who Is He (And What Is He To You?)" And after that is one of the best live albums ever, 1973's Live At Carnegie Hall, which has one of his most powerful songs, "I Can't Write Left Handed," which John Legend & The Roots covered on Wake Up. That's pretty much what you need to know about Bill.  He had some cool songs after that - "Just The Two Of Us," and also "Lovely Day" - but the first three records are the real deal.  Do yourself a favor and pick them up, and then see if you agree with me, I bet you will.

PUBLIC ENEMY IN 2012 - THE ARGUMENT

Last year, I included Public Enemy among the artists who I thought should have been voted into the Rock and Roll Hall of Fame in 2011. Actually, I'm not sure they were eligible: I think their first single came out 25 years ago, but their first album didn't come out until 1987, so I think should have been on the ballot next year. To me, Public Enemy are one of those bands, like U2 or The Clash, that should just go to the head of the class and be inducted in my opinion.  They shook the world.

I know some people feel that hip-hop doesn't belong in the Rock and Roll Hall of Fame. To me, they are heavier than most metal bands, and more punk rock than most punk rockers. They are badass, they have a message, they get black and white folks to rock together.  They are rock and roll.

When their second album, 1988's It Takes A Nation Of Millions To Hold Us Back, came out, they were the most badass, scary, in your face band out there, it did not matter that they were using turntables and samplers instead of guitars.

LIke reggae, country music and jazz, hip-hop figures strongly into the fabric of rock and roll. With the possible exception of Run-DMC, no band influenced more rock bands than PE. And none scared your parents the way PE did (not even N.W.A.).

I don't want to make it seem like it is only about that album, though. Their debut, 1987's Yo! Bum Rush The Show is pretty great. Nation's follow-up, 1990's Fear Of A Black Planet, is also a classic. And the next year's Apocalypse 91: The Enemy Strikes Black, is the most underrated albums ever. And speaking of underrated, their 2005 album New Whirl Odor had some great songs (particularly the collaboration with Moby, "MKLVFKWR"). At it was criminal that more people didn't hear their latest album, 2007's How Do You Sell Soul To A Soulless People Who Sold Their Soul? 

Chuck D and Flavor Flav may not have been the best MCs - they would probably admit that Rakim and KRS-One were better - but the entire unit of Public Enemy had a power that no one else had.  They toured with Anthrax, with U2, with Sisters Of Mercy. I don't know any rock bands that appeal to all of those artists.

THE NEW YORK DOLLS IN 2012 - THE ARGUMENT

Last year, after the Rock and Roll Hall of Fame induction ceremony, I posted a list of artists who I thought should be inducted in 2011.  I'm glad that two of them - Alice Cooper and Tom Waits were both inducted this year. My number one choice for the Rock Hall in 2012 is KISS.


Another band I think should be inducted is a band who surely influenced KISS: The New York Dolls. 


I was a latecomer to this band for sure. One reason: they broke up in 1975, didn't really have any radio hits, and frontman David Johansen got more popular than the Dolls were as a solo artist, first under his own name, and then as Buster Poindexter. Plus, their look reminded me of a lot of hair metal bands, which has never been my thing. 


When did I change my mind?  I can give you a date. August 14, 2004.  That's when a reunited version of the Dolls (albeit, only featuring two original members, Johansen and guitarist Sylvain Sylvain, the rest of the members had passed away by then) performed at Little Steven's Underground Garage Rock Festival at Randall's Island in New York City.  It was the Dolls' first New York performance in a few decades. I was lucky enough to be on the stage (I was covering the event for VH1), and watching Johansen strut onto the stage... it was just cool. The band kicked ass.  I got their self-titled debut from 1973 (really, the only one that you need to have, it's a classic) and became a fan. 


The Dolls' influence is really widespread.  Former NY Dolls fan club president Morrissey was the guy behind their reunion. He curated the UK festival Meltdown, and convinced Johansen, Sylvain and Arthur "Killer" Kane to reunite (Kane passed away soon after, sadly). But the band for the tour was, at one point, supposed to include Nikki Sixx of Motley Crue and former Guns N Roses guitarist Izzy Stradlin'. That kind of tells the story: what other band has influenced The Smiths and The Crue? Other bands influenced by The Dolls include The Clash, The Ramones and R.E.M.


It would have been nice if The Dolls got in this year, their new album (their third since reuniting) Dancing Backward In High Heels, came out today (the day after the induction ceremony). Later this year, they will be opening a tour for the Crue and Poison. On one hand, it's annoying that they have to open for anyone, much less those guys, on the other hand, the Crue and Poison don't need an opening act, so it's cool to give The Dolls the gigs.  I hope some of the fans care. And here's hoping that the Rock and Roll Hall of Famer voters wise up to this very influential band. 

FIVE COOL THINGS ABOUT THE TOM WAITS/NEIL YOUNG JAM

I got this watermarked photo of Tom Waits and Neil Young from last night's Rock and Roll Hall of Fame induction ceremony from Getty Images, the photo was taken by Michael Loccisano, and I was led to the photo from the always-great Neil Young blog Thrasher's Wheat.

So you know that I'm a huge Neil Young fan. If pressed, I  might say he's my favorite artist ever. But I didn't think he would be the right guy to give a speech about Tom Waits last night. My one and only choice would have been Les Claypool of Primus. And it seems to have turned out pretty well, the excerpts of Neil's speech that I read seemed cool, and Neil and Tom jammed on "Get Behind The Mule."  Here's five cool things about that.

1. Tom's set included not just "Get Behind The Mule," but "House Where Nobody Lives" (both from my favorite Waits album, 1999's Mule Variations), "Make It Rain" (from his last full length, 2004's Real Gone) and the title track of 1985's Rain Dogs. It would have been easy as hell for Tom to do "Ol' 55" and "Jersey Girl," and everyone would have felt good about it (including Fuse, who will air an edited version of the show Sunday night). Instead, three of the four songs are from his last few albums on Epitaph.  These songs may not be what got him voted into the Rock and Roll Hall of Fame, but they are compelling reasons for why he was voted in.

2. Neil has already recorded a version of "Get Behind The Mule." Neil played lead guitar on Booker T. Jones' 2009 Potato Hole (also on Epitaph) album, which featured a cover of this song. The backing band on that album was The Drive-By Truckers, who had written a song about Young, "Ronnie and Neil" from their 2002 classic, Southern Rock Opera. That song was about Neil and the late Lynyrd Skynyrd singer Ronnie Van Zant. What did Neil think of the song? The Truckers never met him: Neil recorded his leads on his own.

3. Neil pretty much ripped off the song for "Get Behind The Wheel" for his 2009 album Fork In The Road.

4. Tom could have easily performed with Paul Schaffer's house band, but instead bought guitarist Mark Ribot and multi-instrumentalist David Hildago of Los Lobos with him. These guys (and Neil) capture the vibe of his songs way more than Schaffer's band would (with all due respect).

5. For Pete's sake, it's Neil Young and Tom Waits jamming together!