With a little more than a week away from the 2019 Rock & Roll Hall of Fame ceremony in Brooklyn, there is still no confirmation which songs will be honored in the ‘HOF Singles’ category. Introduced haphazardly by 2014 Rock Hall inductee and Nominating Committee member Steven Van Zandt, ‘HOF Singles’ spotlights songs from artists not inducted into the Rock Hall that had a significant impact on the development and legacy of rock and roll. Although Van Zandt mentioned these artists could still be inducted in the Performers category, there is a very low probability that will happen. In fact, none of the artists whose songs were honored last year appeared on the most recent HOF ballot. In a nutshell, the category is nothing more than a consolation prize and this is probably the most recognition they will ever get from the Rock Hall. Regardless of my concerns and overall objection to the ‘HOF Singles’ that I wrote last year, it’s still worth analyzing which potential songs will be included in the second class of the newly-formed category.

            When the official inductees were announced on SiriusXM’s Volume last December, Joel Perseman mentioned the ‘HOF Singles’ would return with another batch of 5-6 songs. More interesting is his desire to see songs included from artists who have never been nominated for induction into the Rock Hall. That’s why I’m not predicting the likes of MC5, Devo, The Marvelettes, and Mary Wells as they still have a fighting chance to return. At the same time, however, I’m not predicting artists who still have a legitimate shot for a nomination and they cannot (and should not) be pigeonholed in this category. The likes of Tommy James and the Shondells, Lesley Gore, Love, T. Rex, The Guess Who, and Television could easily pop up on the ballot in any given year. And for the record, I’m not predicting the late great Dick Dale to be honored in this category. Instead, he should be nominated and inducted in the Performers category as he should’ve many years ago when he was alive. He is the ‘King of Surf Rock’ and influenced countless guitarists with his brilliant instrumentals. If the Rock Hall decided to choose a Dale song in this category, “Miserlou” would fit the bill, but he’s so much more than that one song.

           The six songs predicted all have one thing in common: they are included on the Rock & Roll Hall of Fame’s ‘Song That Shaped Rock’ list, so they have a decent shot to get selected next week. My predictions represent the diversity of rock and roll with doo-wop, folk-rock, shock-rock, pop, heavy metal, and even hip-hop included in the mix. And I made a conscious effort to choose two songs each from the 50s, 60s, and 70s.

            These predictions are simply predictions. If any of them come to fruition, I’ll be pleasantly surprised and not heartbroken if I’m completely wrong. It’s not like the Rock Hall gives this category much thought anyway when there’s no subcommittee announced and the artists are not contacted that their song will be honored. Well, here goes nothing, here’s my predictions…

“American Pie” (1971) performed by Don McLean

            If there’s one thing the Rock & Roll Hall of Fame loves, it’s baby-boomer nostalgia. Literally, the opening lyric to Don McLean’s hit “American Pie” is “A long, long, time ago…” Almost every adult I know born from that generation has fond memories of this song and knows the lyrics by heart. And this is surprising given the song’s allegorical and bleak lyrics and overlong by pop standards (nearly 9 minutes in-length). “American Pie” centers on “the day the music died,” referring to the fatal February 1959 plane crash that claimed the lives of early rock pioneers Buddy Holly, Richie Valens, and The Big Bopper. McLean penning “American Pie” not only guaranteed these musicians’ names would forever live in the public consciousness, but also created an almost mythological level of nostalgia that few songs have done in American popular music. Even beyond the repeated lyric “the day the music died,” “American Pie” also transcends listeners to a specific time and place in American history: teenage life in the post-World War II years which culminated in the birth of both rock and roll and the Civil Rights movement. Part of the song’s appeal is how McLean’s lyrics resonated with so many baby boomers of his generation: everyone can relate asking someone out to prom, drinking whiskey in a bar with friends, and driving in a Chevy. A timeless and great song, “American Pie” was chosen as the fifth most important song of the 20th century by the Recording Industry of America (RIAA), behind only the likes of “Over the Rainbow,” “White Christmas,” “This Land is Your Land,” and “Respect.” That alone proves how important and enduring “American Pie” has remained in American culture.

“Earth Angel (Will You Be Mine)” (1954) performed by The Penguins

             “Earth Angel” is one of the definitive doo-wop songs in rock and roll’s first decade. The song’s simplistic lyrics (the singer’s undying love for their partner) and the four-part harmonies with minimal musical arrangements helped set the template for later rhythm-and-blues records. Beyond the lawsuits and controversies over the song’s ownership, “Earth Angel” was the first R&B record released by an independent label to land on the Billboard’s pop charts. The song was famously covered by Melvin Berry during the school prom scene in Back in the Future (1985). “Earth Angel” has been covered several times by the likes of The Crew-Cuts, Bobby Vinton, New Edition, and even Blink-182. When the Library of Congress created the National Recording Registry in 2005, “Earth Angel” was chosen for preservation and ranked #152 on Rolling Stone’s list of the ‘500 Greatest Songs of All Time.’ As the years pass, the likelihood of doo-wop groups getting a nomination are becoming slimmer with more modern acts getting the nod. The Penguins are a one-hit wonder, so this is their best chance to get recognized by the Rock Hall in any capacity.

“I Put a Spell on You” (1956) by Screamin’ Jay Hawkins

            Screamin’ Jay Hawkins was arguably the first “shock-rock” artist and often incorporated macabre objects onstage in a very theatrical performance style. He often began his live sets rising from a coffin, singing into a skull-shaped microphone, and throw smoke bombs onstage. It’s some of the most bizarre stuff you’ll ever watch and he was definitely ahead of his time. Accompanied by darkly mysterious lyrics and the raw sounds of Hawkins’ operatic and scream-filled vocals made “I Put a Spell on You” a hypnotic experience. Hawkins’ gimmick-heavy persona influenced later shock-rockers such as Alice Cooper, KISS, and Marilyn Manson. “I Put a Spell on You” became a cult classic in the years following its released and covered hundreds (if not thousands) of times by the likes of Nina Simone, Creedence Clearwater Revival, The Animals, Buddy Guy, Joe Cocker, and, yes, even Marilyn Manson. Hawkins was born in Cleveland, so there is a slight chance he is honored when the ceremony returns to the Museum’s home state next year.

“Rapper’s Delight” (1979) performed by The Sugarhill Gang

            This is perhaps my riskiest prediction for a few reasons. First, “Rapper’s Delight” is a hip-hop song and the genre is sporadically honored by the Rock Hall. Little Steven, who introduced the category at last year’s ceremony and he’s largely considered one of the proponents of the HOF Singles category’s existence, is probably not a big hip-hop fan. Second, the song’s lyrics are a bit cheesy, nonsensical, and parodied too often to be taken seriously by modern audiences. Unlike later hip-hop songs focusing on controversial issues facing the African-American community (e.g., Grandmaster Flash and the Furious Five’s ‘The Message’ and N.W.A’s ‘Fuck tha Police), “Rapper’s Delight” at its core is a lighthearted party song devoid of political agendas and social issues. Finally, the song uses the guitar riff of Chic’s iconic disco anthem “Good Times” for its musical groove and we all know Chic’s track record with the Rock Hall (a record 11 nominations and still no induction).  Regardless, “Rapper’s Delight” is arguably the first hip-hop song to achieve any level of mainstream success and popularity. Produced by Sylvia Robinson, “Rapper’s Delight” is one of the most important songs in not only hip-hop, but popular music and proved audiences were ready to embrace what would become the most popular genre of the last few decades. The song has been honored several times over the years including induction into the Grammy Hall of Fame (2014), preservation in the Library of Congress’ National Recording Registry (2011), and ranked #251 on Rolling Stone’s list of the ‘500 Greatest Songs of All Time.’ With no representation of hip-hop present at this year’s ceremony, “Rapper’s Delight” is the genre’s only hope.

“The Loco-Motion” (1962) performed by Little Eva

            Written by the great and Rock Hall-inducted songwriting duo Gerry Goffin and Carole King, “The Loco-Motion” is both a fantastic dance song and a definitive example of the Brill Building Sound of the early 1960s. A ‘HOF Singles’ induction for “The Loco-Motion” would help shed some spotlight on the lesser-known artists who collaborated with big-name producers and songwriters. And the likes of Little Eva should not be forgotten. “The Loco-Motion” is one of the easiest sing-alongs in the history of rock music and continued the tread of incorporating specific dance moves in the lyrics. When Dee Dee Sharp turned down the song, Goffin and King asked their babysitter Little Eva to record a demo after watching her song and dance in their house and the rest is history. At the young age of 16, Little Eva had a #1 pop hit and followed that up a few more top-40 singles by the end of 1963. She’s not a one-hit wonder by any stretch, but “The Loco-Motion” is her sole memorable song.  “The Loco-Motion” is one of the few songs to be covered by different artists and achieve major success on the Billboard Hot #100. Grand Funk Railroad’s version hit #1 in 1974 and Kylie Minogue’s version peaked at #3 in 1988, which proves the song’s lasting popularity and how it resonated with different generations.

“Wild Thing” (1966) performed by The Troggs

            If there’s one song on this list that embodies Little Steven’s love of garage rock and the 1960s British Invasion, it’s The Troggs’ “Wild Thing.” Written by Chip Taylor (brother of Oscar-winning actor Jon Voight) and performed a few times before The Troggs entered the picture, “Wild Thing” was apparently recorded in two takes and in a 10-minute timeframe. The song quickly rose to #1 in the U.S. a mere 6 weeks after its release and became a late 1960s rock anthem. The song proved to be a major influence on punk-rock for its visceral attitude, distorted sounds, and raw energy. Along with the Kingsmen’s “Louie, Louie” (1963), which was part of the inaugural ‘HOF Singles’ class last year, became a definitive garage rock anthem that thousands played in their garages with the volume cranked all the way up. “Wild Thing” is one of the few rock songs I can think of that features an ocarina during the midpoint solo, which I honestly thought was organ. And who can forget Jimi Hendrix’s rendition at the 1967 Monterey Pop festival where he famously set his guitar on fire? Hendrix’s performance elevated the song to legendary heights, but the song’s popularity started with The Troggs. With British Invasion-era contemporaries The Zombies getting inducted in the Performers category next week, maybe The Troggs will also be honored as a ‘HOF Single,’ there’s certainly room to include them.

Post your comments on my predictions and if you agree with them. If not, which songs you think should be inducted this year?