Rockin' the Vote: These 5 Should Make the Hall for 2011

Well, two of the voters in the recent Straight Lines Music Poll are going to be disappointed if our 2011 Rock & Roll Hall of Fame picks are on the money: Bon Jovi got two votes from SLM readers...and we didn't even know his mom and wife were followers... Seriously, someone's got some 'splainin' to do....

Anyway, over the past couple of weeks Straight Lines Music has taken a look at each of the dozen 2011 nominees, sketching their background, citing their influence, listing their breakthroughs, and providing some sample cuts for you to hear.

But which 5 make get the Straight Lines vote? Well, ladies first:

Laura Nyro, who has been nominated before but has never garnered enough support, clearly belongs, and this year "competing" with these 11 she's going to make it. A songwriter of the highest caliber and a fine, though possibly less-accessible interpreter of her own music, Nyro was at the forefront of the singer/songwriter movement and a transitional women's artist from folk to pop and rock. Without Nyro Joni Mitchell struggles to find an audience -- and maybe a record deal. Without Nyro which white woman pens soulful folk/blues with a jazz or pop influence? Without Nyro how does the 5th Dimension or Blood, Sweat & Tears break through? Without her soul the music that was to follow would be a little thinner, a little less adventurous, a little less interesting. She earns her way in on her own merits and based on what others did with what she wrote.

Still sticking with the ladies... Alice Cooper gets the nod, too, and not necessarily for valuable contributions but for contributions nonetheless. The dangerous early incarnation of the band energized teenagers, damaged eardrums, and scared parents -- all the stuff great rock & roll is supposed to do. Add to that the heavy (for its time) metal sound that can be considered a precursor to Metallica and others, Alice Cooper ripped a hole in rock's niceties and forced its way into the Hall. Then add the great hits and it's almost a dare to keep them out. And, despite those who prefer straight-on music to onstage dramatics, Alice Cooper (the later version) pioneered stage shows that many bands and artists would eventually emulate (and improve on). So Alice Cooper gets in because they were a great metal band and one of the first, because they looked good in ripped lingerie and helped make androgyny acceptable, because they put on groundbreaking if crude stage shows, and because they know what it feels like to be 18. In fact, they get in for "I'm Eighteen" alone.

Now the guys.

Neil Diamond is a no-brainer if there ever was one. Frankly, he gets in for "Cherry, Cherry" alone, but try this: Get a bunch of people in your car, hit the road, and fiddle with the dial until a Neil Diamond song comes out of the speakers -- you won't have to wait long to find one -- and note what happens. Just as with The Beatles, Simon & Garfunkel, the Beach Boys, Creedence Clearwater Revival and many other melodic impact artists, people will know the lyrics and will start singing along. And not just to "Sweet Caroline," either. Whether you consider his writing, his ties to Brill Building excellence, the pop hit after pop hit after pop hit, the length of his career, the devotion of his millions of fans, the dollars of record sales (supposedly not a factor in Hall voting), or the still sold-out concerts, Neil Diamond is the man -- and he would appreciate it if the Hall were to put it that way on his plaque. Just be wary when he strolls to the mic to accept as he has a greater flair for the drama than the dramatic.

Everyone needs a poet, so this year Tom Waits also makes the cut. His is a classic case of being loved by the critics (most of them and most of the time) and being loved by an almost cult following of fans. His very long career has careened from folk to blues to jazz to rock and back and then he mixed parts of all those together seemingly on a whim, generally to solid, engaging, challenging results. He's never been a Big Seller, though releases such as Swordfish Trombones have pushed their way up the chart. But Waits, in many ways like Bob Dylan, Neil Young, and Brian Wilson, walks his own streets in his own mind. His streets are darker, the wind is harder and colder, and most of the streetlights are broken -- but he finds his way.

Last but not least the Beastie Boys. Bands get in the Hall based on their entire output and impact (unless the Hall makes a specific designation of period) but the Boys (with one girl) get in starting with their output from 1984 when Rick Rubens began producing them for Def Jam and they became an impact rap band (from a less-impactful punk band). They hit the big time, bringing rap to the masses, and took another big step when Mix Master Mike joined up in 1998. But in addition to bringing rap to rock and showing it can work at a profitable and artistic level, the Beasties rock the vote by their groundbreaking successes with sampling -- a practice that has dominated rap and hip-hop ever since this band had huge success with Paul's Boutique. That, plus their willingness to fight and win a lawsuit alleging copyright infringement opened the door for hundreds and maybe thousands of bands to give new life to riffs and beats from hundreds of dead or no-longer-performing artists, introducing some of those folks (Hendrix etc) to a whole new generation of listeners.

So, that's the Straight Line on who's going to make it in the Rock & Roll Hall of Fame when ballots are counted. Let us know what you think...and don't wait until winners are announced!