Do we need a little background on the HoF before
we explore why a band/artist who "rightly" belongs in the list has
never been voted? There's acommittee who
decide on a yearly list of nominees, and then a cadre of experts votes.
Musicians are eligible 25 years after their first recording has been released.
As of 2021, 351 have been inducted in one of several categories, such as
performer or early influence, non-performer and sideman. The number of
inductees varies by year. Awards may be given posthumously; 7 such were given
in 2020.
So ... is there bias? Well ... if your favorite
band has been eligible for years and still hasn't made the list, you're likely
to think there is bias. Does this constitute "snub"? Hard to say, but
I've got one that belongs but isn't, and the band seems to tick all the
necessary checkboxes, but ... and here is one possible catch ... they aren't
particularly relevant to many people any longer. Back in the 70s they were;
today - not so much. That said, Rolling Stone magazine readers voted them #2 deserving but snubbed a few years back and they still have not been voted in.
Except ... their best music is timeless. And
their lead guitarist and vocalist was the best of the best - until he died an
early death. And while the band has more or less hung in there ever since, it's
never been the same. And now, without Paul Barrere, who co-wrote this one below (and
passed in 2019), joining the list may be a dream.
I have not been the moderator here for quite some time now. Usually, that doesn’t make much difference, but it does with regards to our new theme. I have some ideas about how to treat the “Incompetent” part, and I will be presenting at least one of those as we move on. But I am not sure what was intended. Perhaps it is better not to know, but rather to put forward one’s own interpretation, which should make this a fascinating theme. But the “Can’t” part is easy enough. Can’t Find My Way Home immediately came to mind, and no wonder. The song is almost fifty years old now, and it continues to be covered in new and interesting ways. That is a fine definition of a classic.
You could say that the song deserves to be obscure. The lyric is barely there, consisting of only one verse and a chorus. The words express a sense of helplessness, and there is no resolution to this, no solace offered. But that is, in a way, the point. For all the idealism of the hippies who embraced the song and made it a hit, there was always a sense that they were fighting something they could not stop, something that was just too big for them. Of course, it did not hurt that the song was by a new supergroup. Blind Faith featured Steve Winwood from Traffic and Eric Clapton and Ginger Baker from Cream, and both of those groups had just broken up. Only bass player Rick Grech, then with the group Family, was relatively unknown. But Blind Faith was not popular just because of their lineup, nor was it simply the fact that they were one of the first supergroups. The talent that came together for this project delivered the goods, and it is ultimately the performance of Can’t Find My Way Home that makes it work, and has made the song an inspiration to musicians ever since. The song has brought together unlikely groupings of musicians for some great performances, so I wanted to include some of those.
Bonnie Raitt with Lowell George: Can’t Find My Way Home
In 1972, Bonnie Raitt was making wonderful blues-based music, but she was far from well known. Lowell George and his band Little Feet were just getting started themselves. Raitt would record her own solo version of Can’t Find My Way Home, although I couldn’t find it on any of her albums. But this version comes from a radio broadcast in New York City. Either Raitt or George could be playing the acoustic guitar or the slide guitar on this one, and there is also an acoustic bass part played by Freebo. This spare treatment really brings out the emotion of the piece.
Allison Krauss and Union Station: Can’t Find My Way Home
Allison Krauss and Union Station are known as a bluegrass group, but that label does not fully describe their artistry. This version of Can’t Find My Way Home honors the song’s roots in blues rock, while also updating the sound in brilliant ways. The recording was done for the TV show Crossing Jordan.
Sheryl Crow with Warren Haynes and Trombone Shorty: Can’t Find My Way Home
[Not Available for Purchase]
As seen here, Sheryl Crow and her band are a part of the jam band scene. She invites Warren Haynes and Trombone Shorty to join them on stage for this one, and Crow’s band supports them ably, with very satisfying results. Crow and her band do not show the elasticity that allowed the Grateful Dead to, for example, segue from Scarlet Begonias to Fire on the Montain, but this is still a strong performance. It makes me wonder why Sheryl Crow has not so far put Can’t Find My Way Home on any of her albums.
One of the funkiest pieces I know. It is a lesson in itself to compare Robert Palmer's version above with the original author's rendition, below. I used to have a vinyl copy of Sneaking Sally Through the Alley; I used to have a large LP collection that included a ton of Little Feat as well. I'm pretty sure, however, that I purchased this on it own merit and only later realized the signature slide guitar that ties the two together. It was in New Orleans that British singer Robert Palmer joined forces with Lowell George to create the album of the same name. The song is the third in a rolling sequence without break that begins with Sailing Shoes, continues with Hey Julia and then on to Sneakin' - arguably one of the finest sequences of songs ever. You may also know that Little Feat had earlier come out with a 1972 album titled Sailing Shoes - the song actually being written by Lowell George. The band for Sneakin' Sally is primarily the Meters, which included Art Neville (later one of the Neville Brothers), in addition to Lowell George and some slick mouth-harp work from Steve York as well. Sneaking Sally was written by Allen Toussaint, who we sadly lost in the fall of 2015. He is also the author of other hits you probably know, such as Dr John's Right Place, Wrong Time.
Let’s open our week of iniquity with the sin of greed, shall we?
Rickie Lee Jones had a hit on her debut album with Chuck E’s in Love, and there were two or three other singles. I don’t think Easy Money was one of them, but it’s a great song, and probably a better indicator of where Jones’ career was headed than any of the singles. The hint of jazz is here, as is the wonderful ability to draw characters in just a few lines. Easy Money is a morality tale told with a wink.
But then Lowell George of Little Feat took on the song on his solo album. George turns this into a soul-blues shout with great horn charts. There is no wink here. Instead, this is a bluesy lament of a deal gone wrong. So George clearly heard something different than I do in Jones’ original. But his version really works too.
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