RIAA gold & platinum ... and how they're really selling: May '07

May was another quiet month for new gold and platinum albums, as awarded by the Recording Industry Association of America based on shipments (not sales) upon the request of the appropriate record labels.

Each month, as a purely selfless public service, I list those awards ... and add the up-to-date sales figures for the albums in question, courtesy Nielsen SoundScan, just to see how close to the gold and platinum standards (500,000 and 1 million, respectively) they really are at the time of their certification. It's wholesome fun for the whole family.

The good news is there are a couple of six-times-platinum certifications this month -- both for American Idol champs and both pretty close to the 6 million mark in sales. Kelly Clarkson's Breakaway (5.8 million in sales) and Carrie Underwood's Some Hearts (5.62 million) are the honorees, and neither should have any problem eventually hitting the mark. Kelly's selling around 7,000-8,000 a week, so it may take a while to make up those 200,000 units, but her catalog sales may pick up with the release next week of her third album, My December. Carrie's selling 40,000 or so a week, sometimes higher when she's on TV or something, so she would appear to be about 10 weeks away from hitting 6 million.

One new platinum and five gold albums are discussed in what follows.

RIAA gold & platinum ... and how they're really selling/April '07 edition

It's time for our monthly ritual of listing the RIAA's latest album certifications for gold, platinum and beyond ... and checking them against actual sales to date. (To review briefly, the RIAA, at the request of its member record labels, certifies albums new and old for gold -- 500,000 copies shipped, not sold -- or platinum -- 1 million. Sometimes the actual sales figures may vary considerably, which is kind of fun to point out.)

It's an easy task this month, because -- alarmingly, from an industry standpoint -- there were only seven albums in the general field certified for anything in April. Either nobody's selling or nobody's asking for certifications ...

> Multiplatinum certifications (3, all triple platinum):

Beyonce, B'Day (actual sales, 2.64 million): Currently selling in the high 20,000s each week, so it should actually reach 3 million at least by the end of summer. So, a premature certification but not an invalid one.

Big & Rich/Horse of a Different Color (2.90 million): The country duo's first album, from 2004, is nearly there.

Mary J. Blige, The Breakthrough (2.92 million): It's down to around 4,000 a week, so it'll take a little while, but it'll get there.

> Platinum (1):

Billy Currington, Doin' Somethin' Right (805,000): Bit early, although the label understandably wants to give this rising country artist his first platinum award. Sold less than 8,000 last week, so at that pace it's still half a year away from actually reaching a million sold.

> Gold (3):

Lloyd, Street Love (355,000): It's the R&B singer's first gold, he's still around the top 30 and has a second big hit brewing on radio, so he ought to make 500,000 fairly soon (seven weeks if his current sales pace keeps up).

Smokie Norful, Nothing Without You (308,000): The gospel singer's second gold album has quite a ways to go in actuality, being off the chart and nearly 200,000 sales away from half a million. Kind of a faith-based certification, you might say.

Weird Al Yankovic, Straight Outta Lynwood (461,000): Is it possible that Mr. Yankovic has 10 gold albums now? More power to him. This should get to 500,000 shortly.

RIAA gold & platinum ... and how they're really selling

I'm physically gone as this appears, but I wanted to post the latest RIAA gold and platinum album awards and, as we like to do, compare them with actual Nielsen SoundScan sales as opposed to the shipment estimates used by the RIAA. As usual, we'll just deal with the most recent records rather than older albums just now being certified. You should note that I'm using last week's SoundScan totals; the current week's aren't available yet as I type.

> Multi-platinum:

March wasn't a big month for splashy certifications -- there are just four multi-platinum awards for recent albums, and they're all doubles (2 million shipped).

Akon, Konvicted -- 2.0 million sales to date: Well, the timing couldn't be better, as he just hit the 2 million mark. First such award.

Daughtry -- 2.11 million: An incontestable award for the newcomer.

Josh Turner, Your Man -- 1.74 million: Close enough for country; his first double platinum.

Norah Jones, Not Too Late -- 1.19 million: Not too late indeed; in fact, considerably early. I wouldn't bet against her eventually hitting 2 million, given her track record (two previous multi-platinum albums), but the key word is "eventually." This is a long way away from 2 million.

Platinum and gold awards follow.

Rock Hall: R.E.M. leads the jam

Sorry I was absent a while -- fell asleep during Eddie Vedder's speech. I'm kidding (I actually had to take time off to edit the story for the paper), but man, he went on a while, didn't he? Likable and self-effacing, even kind of funny at times, however, and the moment where he said, "How I wish it was Kurt Cobain giving this speech tonight" was touching, knowing that Cobain was a huge R.E.M. fan and hoped to work with them before he so rudely interrupted such plans.

I thought Michael Stipe went on a while too, with all those thank-yous, but the tributes to the other inductees was a very nice moment.

Nice to see them play The Stooges' I Wanna Be Your Dog with Patti Smith. When she started talking about doing a song her late husband co-wrote, I thought for a minute it would be an MC5 song (natural segue from The Stooges), but it turns out to be People Have the Power instead, with the whole gang (I saw Keith Richards, Vedder and Sammy Hagar by squinting at my minuscule AOL-provided screen, plus Stephen Stills, Ronnie Spector and various Furious Fivers).

And that appears to be it. I had a million other things to do while watching, since I was working, but if I had been watching as a leisure-time activity, my patience would have been tested, I'm sure. Still, it's great that there's finally a real-time broadcast of the show (maybe next year they'll spring for VH1 Classic on our TV satellite system here so I don't have to watch it on the computer screen).

Let me know what you thought, and stay tuned for more Hall of Fame-related concepts coming soon.

Rock Hall: Grandmaster cuts faster

Again, whatever your opinions of the inductees' merits, everything tends to blur into a haze of acceptance on the awards night itself. I think adding Grandmaster Flash & the Furious Five was a vital step in a needed opening-up of the Hall to a legion of worthy hip-hop artists to come -- they make a fine initial induction (otherwise it would have been the Beastie Boys, probably, and that just doesn't work for me).

The pride in Joseph Saddler's (GMF) voice when he said, "Every breakdancer, every graffiti artist, every DJ, every MC -- we here" -- that was a great moment.

Rock Hall: Van Halen goes in peacefully

Sammy Hagar and Michael Anthony, neither of whom are in what I guess you could call the "current incarnation" of Van Halen, were the only Van Halen members present for the induction, and they took the high road in their speeches, making sure to thank the absent David Lee Roth, Eddie Van Halen, Alex Van Halen, and even the brief-tenured singer Gary Cherone.

Eddie, of course, couldn't be there owing to his recent entrance into rehab. Roth could have, but apparently was unhappy with the opportunity he was presented to perform. Alex, well, I don't know.

But everything went smoothly, and both Michael and Sammy seemed sincere and emotional in their gracious speeches.

Rock Hall: JB -- on the night train

Can't help myself -- that footage of James Brown singing (or more properly, dancing) Night Train was unbelievable!

Hmm, looks like Van Halen's next. Supposed to be just Hagar and Anthony showing up -- let's see what happens.

Rock Hall: Patti plays with fire

After Because the Night, Patti Smith launched into her "mother's favorite song," a little ditty called Rock 'n' Roll Nigger. Well, she didn't shy from potential controversy.

After the performance, the screens showed her explaining her choice of the song in the press room. She said it was an attempt to redefine the word for "the outsider," hoping that in redefining it, it would "no longer be a derogatory word but be a word of honor for the outside artist."

Maybe. Still seems, to be charitable and use her words, "naive and idealistic." But a classic Patti Smith way to mark her induction.

Rock Hall: The night for Patti

I attended just one of these affairs, around 10 years ago the time they had it in Cleveland, but now that I'm able to sort of track it on the AOL feed, I'm reminded of how slow they unfold. A ton of filler (interesting filler, admittedly, of past inductees' speech highlights) between the Ronettes' live medley and the beginning of Patti Smith's induction.

Patti was obviously emotional, and by the end of her speech, so was everyone, I would imagine -- a heartwarming moment at the end when she told how her late husband, MC5 guitarist Fred "Sonic" Smith, told her she'd make the Hall of Fame someday and "to accept it like a lady."

Opening with Gimme Shelter, in a ragged but heartfelt version, was also a nice touch.

For a more formal account of the proceedings (through the Ronettes), check Elysa Gardner's report from the scene.

Rock Hall: Presenting the fabulous Ronettes

Amazing footage of The Ronettes -- there may be differing opinions on their qualifications for the Hall of Fame, but what killer records! (As the valiant re-creation of Baby I Love You by Paul Shaffer and the HOF house band shows.)

Ronnie Spector thanked pretty much everyone in the world (including, touchingly, the late great arranger Jack Nitzsche) except the man who made their induction possible: producer Phil Spector. However, considering his attempts to keep them out of the Hall, it's understandable.

Nice speech by Keith too.

Rock Hall: Aretha keeps it rolling

Very nice -- Aretha revisits her cover of Ben E. King's Don't Play That Song, another song Ertegun co-wrote. Touching mid-song dedications to former Atlantic producers Arif Mardin and Tom Dowd, too.

Then into her first hit with Atlantic, I Never Loved A Man. (Ertegun didn't write that, but the song utterly changed Franklin's career.)

Rock Hall: Touching Ertegun tribute

You can't help but be overwhelmed at the late Ahmet Ertegun's contributions to music. These tributes can be kind of static, but the sheer number of tributes is massively impressive, and I liked that they closed the film with Ray Charles singing Mess Around, which Ertegun wrote.

Sobering note: the montage before the Ertegun tribute, showing all the music people who'd died recently. Chilling.

Rock Hall show tonight

All you fans (and non-fans) of the Rock and Roll Hall of Fame ... we'll be putting a series of updated news stories about the Hall of Fame induction ceremonies tonight up on the site, and if all goes well, a few semi-live posts from me in the spare moments granted to me when I'm not editing those news stories.

Will Sammy Hagar say something outrageous? Will Patti Smith say something outrageous? Will Michael Stipe say something outrageous? Will David Lee Roth crash the party and say something outrageous? Well, it could happen. Stay with us.

Rock Hall presenters named

Here's who will be inducting the five new members of the Rock and Roll Hall of Fame March 12 (live on VH1 Classic):

Jay-Z for rap pioneers Grandmaster Flash & the Furious Five, appropriately enough.

Eddie Vedder for R.E.M.

Keith Richards for The Ronettes -- that should be fun.

Zach de la Rocha of Rage Against the Machine for Patti Smith.

Velvet Revolver for Van Halen (including Dave & Sammy).

A Hall of Fame opportunity

With the Rock and Roll Hall of Fame ceremony coming up, we'll be talking some more about that favorite flashpoint of a topic, but first -- here's a chance to be heard in a wider setting.

We're putting together a story about the Rock Hall and its sometimes controversial selections and omissions, and we figured that since many of you have been most eloquent and passionate in your opinions on these subjects, we could use your voices in the story.

So if you've got a strong opinion on the Hall of Fame or an artist who's been selected or snubbed, e-mail lifeblogs@usatoday.com, let us know a little about what you'd like to be quoted about, and you might just get a mail-back from a reporter to include you in the story. Star time, ladies and gentlemen.

More fun with gold and platinum awards

Around this corner of the blogosphere, we like to keep it real. I mean, who doesn't like to keep it real? For instance, find me a rapper in the entire United States who doesn't profess an urgent commitment toward keeping it real.

One way we like to keep it real here is to check out the new gold and platinum awards certified by the Recording Industry Association of America (RIAA), and compare them to actual sales to date. Most of the time the correspondence between the shipments tallied by the RIAA (or by the record companies requesting certification by the RIAA, more accurately) and the sales tallied by Nielsen SoundScan is pretty reasonable. Other times there are fairly glaring discrepancies. Which is the fun part.

The recently released January certifications are mostly on the reasonable side. But not all ... More details follow.

A different hall of fame: New Grammy HOF entries

The Grammy Hall of Fame differs from your favorite, the Rock and Roll Hall of Fame, in that it inducts songs or albums, not artists. (It does have the same basic 25-years-old requirement.) And it differs from everything else by inducting the widest variety of songs and albums imaginable. 2007's class includes everything from classical to weird Christmas novelties.

Among the more contemporary artifacts voted in by a Grammy organization committee are: The Turtles' Happy Together, Elvis Presley's Are You Lonesome Tonight, Van Morrison's Brown Eyed Girl, Dolly Parton's I Will Always Love You (the original, 1974 version), Desmond Dekker's great early reggae hit Israelites, Big Brother & the Holding Co.'s Cheap Thrills album, the first albums by Elvis Costello and The Ramones plus The Clash's London Calling and The Miracles' sublime The Tracks of My Tears.

The full list follows for your examination and analysis.

Canadians are cool

What a manic day for comments, thanks to our pals at the R&R Hall of Fame. I did want to assure the couple of people who questioned whether Canadian artists were eligible that, yes, they are. After all, it's not called the Rock and Roll Hall of Fame for American and British Artists Only -- No Canadians, Australians, Jamaicans or Irish Need Apply.

I am a little perturbed at the few comments that suggest that rap doesn't belong in a hall of fame that seemingly, in their minds, should be reserved for longhaired classic rockers of the '70s and '80s. For very good reasons, it's not called the Rock Hall of Fame. Rock 'n' roll encompasses the music back to its roots, and those roots are principally in various forms of black music -- the blues, jazz, ragtime, etc.  To suggest that later forms of black music should somehow be excluded is a truly wrongheaded viewpoint.

End of sermon. Look forward to more comments.

Rock Hall reactions

Nothing like a little mention of the Rock and Roll Hall of Fame to drive traffic around here. As always, I'm impressed with the eloquence with which a lot of you make your points, even when I totally disagree.

But all those rattled by the Rush omission (gratuitous Pavement reference for indie cred purposes) or the lack of Kiss, Yes, the Moody Blues, etc. -- remember, they weren't even on the ballot. I'm always happy to publish comments bemoaning the injustice of such and such an act not being inducted, but it's a little off topic at the moment, when we have five acts on the ballot who did make it and four who didn't to debate.

Still, keep the comments -- on anybody -- coming.

Also, for those interested, here's an audio montage our online team has put together on behalf of the inductees.

Rock Hall admits five

So, the votes are finally in for the Rock and Roll Hall of Fame class of 2007. Set for induction March 12 are Grandmaster Flash & the Furious Five, R.E.M., The Ronettes, Patti Smith and Van Halen. Losing out are Chic, Dave Clark Five, The Stooges and Joe Tex.

As readers of this blog know full well, we've had lengthy discussions about the merits of these acts (and many, many more), so most of you know my take. I will, however, take this opportunity to sound off once more, artist by artist.

> Winners:

Grandmaster Flash: The impulse to represent early hip-hop is commendable, and these guys were pioneers before they recorded. Their actual recorded legacy is on the thin side, but the groundbreaking Wheels of Steel and spinoff act Melle Mel's The Message are monumental creations that justify their inclusion.

R.E.M.: As if there were any doubt ... Standard-bearers for the alt-rock legions.

The Ronettes: Great records, and more than you might think if all you've heard is Be My Baby or maybe Walking in the Rain. Ronnie Spector has a distinctive voice, but I'm still torn on this one because I give just as much or more credit to producer Phil Spector. However, if The Ronettes' inclusion leads to more artists from the sadly under-represented girl-group era making it (the Shangri-Las and Lesley Gore, for two), I'd be happy.

Patti Smith: Probably overdue. Unique artist, powerful records, great influence, still active so nicely timed.

Van Halen: We all went around and around on this one, with me eventually concluding that they had a solid case (for the Roth era, anyway; the rest is pretty dispensable). So I'm at peace with this, but wonder if both Dave and Sammy will show up (probably, right?).

Comments on the non-winners follow.

RIAA: November gold and platinum (and actual sales)

I've been duly reporting the highlights of the monthly RIAA gold and platinum album awards, but I thought it would be fun to see how many records these new gold and platinum albums had actually sold. (OK, I have a twisted concept of "fun," I admit it.)

Quick primer that you can skip if you're already well-versed in this whole RIAA vs. SoundScan thing: RIAA awards are based on shipments to retailers, not actual sales. Therefore, numerical discrepancies can occur (or, to paraphrase the car ads, actual mileage may vary) -- the point of interest is how wide are the discrepancies between shipments and sales. Gold level is 500,000 albums shipped, platinum is 1 million, multiplatinum kicks in every additional million. Multiple-disc albums generally (there may be exceptions) get to count the extra discs in the figures (i.e., double albums count each shipment as two). Certifications are requested by the record labels, who also supply the shipping stats. There is no requirement for certifications to mirror actual sales, but it sure makes the whole ritual seem a lot more credible.

All right, following is a list of the albums certified in November that are still on the top 200 chart compiled by Nielsen SoundScan, along with their sales figures to date (and perhaps the occasional comment from me).

Grammys: Omissions implausible

Great flood of Grammy comments Thursday -- and I was glad to see that thoughtful comments (which is not to say they weren't also passionate) dominated.

(Parenthetical note, literally: I also loved the worst song nominations, and please keep those up; I'll reveal the "winners" next week and nominate some of my own.)

Back to Grammys: I noted some of the acts you mentioned as notable omissions and have listed the ones I didn't comment on in one of my posts Thursday, along with my reactions. That stuff follows. But first, I want to echo and intensify an earlier reader comment: Most ludicrous category -- pop group vocal, featuring Keane's Is It Any Wonder, The Fray's Over My Head, Death Cab for Cutie's I Will Follow You Into the Dark (all falling on some part of the "sublime" spectrum) with the ridiculous (amusing, but not Grammy-worthy) Peas number My Humps and Stickwitu (not even amusing) by the Pussycat Dolls. Pop has always been kind of a catch-all, toss-anything-we-can't-otherwise-categorize category, but this is extreme.

Pop and rock Grammys: Edna Gundersen's take

USA TODAY critic Edna Gundersen points out her prime Grammy injustices

Bob Dylan’s paltry three nods, none in the major categories, is a surprising snub, particularly in light of Grammy’s usual preference for veteran artists. The Academy is to be applauded for avoiding autopilot picks of sentimental favorites long past their creative peaks, but Dylan delivered one of the best albums of his career this year.

The oversight in the best album category for twilight masterwork Modern Times might have been less odious if Dylan had been supplanted by worthy colleagues. But John Mayer’s sizzle-free Continuum and Justin Timberlake’s over-hyped FutureSex/LoveSounds?

As always, some of the year’s more adventurous albums are relegated to lesser categories: Neil Young’s Living With War in rock album and the Arctic Monkeys’ Whatever People Say I Am, That’s What I’m Not in alternative. Timberlake’s ascension to Grammy glory is another mystery, suggesting Grammy’s attempts to move into the 21st century occasionally result in voters mistaking groove-pumped commercial swill for musical art. How else to explain the inclusion in pop duo/group of the Pussycat Dolls for Stickwitu? By the way, if that wins, which posse goes to the podium?

Country Grammys: Brian Mansfield's take

USA TODAY critic Brian Mansfield looks at the Grammys' country choices:

Watching the Dixie Chicks get five nominations – three of the four overall categories among them – at the Grammys today surely felt like the slap to the country-music industry it was intended to be. But you can also be sure country music's defenders will be quick to put a positive spin on it, noting that country music got two of the five song of the year nominations (Not Ready to Make Nice and Jesus, Take the Wheel, pretty much the genre's polar extremes). And that's only fair, since the rest of the industry used the Chicks to make a political statement.

Now, I happen to be a big fan of Taking the Long Way; it's one of only two country albums this year I gave four stars, USA TODAY's highest rating. (The other, Alan Jackson's Like Red on a Rose, also got a best country album nomination, thank you very much.) But if you don't believe the Dixie Chicks nominations have a political element to them, just take a look at the Song of the Year and Best Country Song categories.

(After you've done that, check out the rest of Brian's commentary, which follows.)

R&B;/Rap Grammys: Steve Jones' take

USA TODAY's Steve Jones looks at the R&B and rap Grammy nominations:

For the most part, the Grammys got the urban categories right, though there were instances where they fell back on the usual suspects instead of making a bolder move.

The most glaring omission was in the rap album category -- Ghostface Killah's Fishscale -- and his single Back Like That, featuring Ne-Yo, should have been tapped for rap/sung collaboration. The Wu-Tang Clan vet delivered some of the most inventive, but not necessarily radio-friendly, rhymesof the year and should have been recognized for not coloring by the numbers. They could have gotten by with just one Eminem collaboration.

The rap-album category was tougher, with two powerhouse stars in T.I. and Ludacris and the more artistic Lupe Fiasco, Pharrell and The Roots as competition. The rap song category was representative of what hip-hop had to offer this year, with Yung Joc's snap music anthem It's Goin' Down and Fiasco's skateboard tale Kick, Push at opposite ends of the spectrum. Chamillionaire's Ridin' was among the most ubiquitous songs of the year, along with Rick Ross' Hustlin', which wasn't nominated.

The female R&B vocal category may have been better served by newcomer Keisha Cole's Love than veteran Natalie Cole's cover of Day Dreaming, and room could have been made for Teena Marie's Ooh Wee. Lyfe Jennings' S.E.X. would have added some edge to the male R&B nominations, which rightfully gave a nod to Lionel Richie, but didn't have to settle on Luther Vandross and Prince. Of the traditional R&B nominees, it would be nice to see soul legend Sam Moore take home a trophy. Contemporary R&B album offers a nice mix, with rising male stars Ne-Yo and Chris Brown battling it out with Janet Jackson, Kelis and Beyonce.

Grammy nominations: New artist

This is the last of my big-category instant analyses. I'm hoping to get Edna Gundersen, Steve Jones and Brian Mansfield to weigh in on some of the more specialized categories later this afternoon, and I'll also take some time to look at your comments, which I haven't had a chance to do yet in the rush of pontificating here.

On to best new artist, artist by artist:

> James Blunt: Has to be considered the favorite if you accept that Grammy voters roll down the middle of the road. Which is not necessarily the case -- Chris Brown and Corinne Bailey Rae may have upset prospects. In any case, Blunt had a huge year and probably, in a Grammy context (which takes into account more factors than sheer talent), deserves to be here.

> Chris Brown: Incredible commercial year, lot of potential, but may be insufficiently known to the mass of Grammy voters to win.

> Imogen Heap: Definitely the sleeper, just one of those very weird, intriguing records that Grammy voters fell in love with. I like it but don't think she belongs here this year.

> Corinne Bailey Rae: The most appropriate category for the new Norah, and it wouldn't shock me to see her win it.

> Carrie Underwood: Nice to see the Grammys overcome any lingering anti-American Idol prejudice to include an artist who's sold nearly 4 million records this year and is a darn good singer to boot. But country acts have a tough time winning, and that plus whatever Idol stigma remains will be enough to keep her from taking the trophy.

Who's missing follows.

>

Grammy nominations: Album of the year

This is actually my second take on this category. It's kind of like a "dog ate my homework" excuse, but the blogging software actually ate my completed post. Hope this one's as coherent.

There are a few omissions in the album-of-the-year category, but then again, there are only five slots and for the most part this is a pretty strong list.

> Dixie Chicks: Could be my No. 1 album of the year, so I'm not about to quibble with this selection.

> Gnarls Barkley: Complex, fascinating, eclectic album that definitely deserves the slot.

> John Mayer: I already vented about him (summary: I just don't hear it). If this was replaced by, say, Bob Dylan, I'd be content with the category.

> Red Hot Chili Peppers: Probably their best album, certainly rich in state-of-the-art rock tracks, and provides needed genre balance. Good choice.

> Justin Timberlake: Half the album deserves to be here; the other half should have been recycled. Might have been nice to see Mary J. Blige complete her sweep and take this spot.

Some of what's missing follows.

Grammy nominations: Record of the year

I'm going to post commentary on three of the big four categories: record and album of the year and best new artist (song of the year just isn't that gripping). Then I'll take a bit of time out to see what you've been saying and take it from there.

Record by record:

> Mary J. Blige, Be Without You: Seemed to be the No. 1 song for weeks (nine on our chart), but it's one of those universally appealing (or close), sturdy R&B/pop tunes, like Mariah Carey's We Belong Together, that can withstand saturation airplay. Not one of my personal top 5, but a good Grammy choice. Not sure it can beat Blunt, though.

> James Blunt, You're Beautiful: Inevitable choice, but I'm over it. Could well win, but hope not.

> Dixie Chicks, Not Ready to Make Nice: A powerful record, beautifully done, and -- considering it wasn't a hit -- nice to see represented. I'd probably vote for it (or else for Crazy), but I don't think it will win.

> Gnarls Barkley, Crazy: It seemed to be a natural, but I wasn't sure it would actually make it and am glad to see it did. One of the very few records that worked across most of the overly specialized formats on radio, and another song that wore very well through its extended and extensive airplay.

> Corinne Bailey Rae, Put Your Records On: The inevitable headscratcher. OK, you couldn't construct an artist in a genetics lab who's better suited to become a Grammy darling -- visions of Norah Jones, India Arie, Lauryn Hill, etc., must have danced through the voters' heads when they heard this. She has talent, she seems to be an interesting artist, but is this one of the five top records of the year? Not on your life. Won't win, but the prestige will give her career momentum a much-needed boost.

Back with album of the year shortly. A few ramblings on who's missing from this category follow:

Grammys: Instant analysis, Part 2

Though many of the Grammy nominations announced today were solid, and some surprisingly insightful or even cool (Death Cab for group pop vocal!), there are still a few bafflers. For one, I am confounded by the Academy's fascination with John Mayer. Yes, he can play guitar. Yes, I'm told he's cute. But that whispery vocal style drives me crazy, and the song nominated for male pop vocal, Waiting for the World to Change -- well, you can amuse yourself for minutes singing either The Impressions' People Get Ready or Marvin Gaye's Sexual Healing to it. Fun for the whole family.

It didn't make record of the year, though, and neither did Justin Timberlake's skin-crawling SexyBack, so credit to the voters on that one. 

A little too much James Blunt acclamation (five nominations) for my taste, although I'm not one of the many critics who loathe him. That really-high-vocal style can wear on you pretty fast, but this year was his moment in the sun, so I can't get too bent out of shape.

In fact, on first glance, I'm not too upset about anything, at least for the celebration of the mainstream and the familiar that the Grammys generally is. But who knows what resentments will boil up when I start analyzing specific categories.

Instant Grammy analysis, Part 1

I plan to do a few quick overviews of the Grammy nominations, starting with an overall look in this post, then hitting certain key categories in separate posts. You can see the whole list here and a really quick general story here. This stuff will be more commentary-oriented (meaning really opinionated).

As I said in the story linked to above, a lot of old Grammy favorites got shut out in big categories. Two examples: Bob Dylan and Christina Aguilera (or at least their "people"; don't know how much the artists themselves care) have to be disappointed. Christina is very highly regarded in the Grammy community for her vocal skills, and was a favorite to grab a slot in both record and album of the year. Dylan had a shot for both, but was regarded as practically a shoo-in for an album nomination, given the critical accolades he earned for Modern Times.

Mary J. Blige led with eight nominations, and good for her -- Be Without You is a song that deserved its multiple honors. I'm also thrilled to see the Dixie Chicks get so much Grammy love -- five nominations, including all three of the "big four" categories they were eligible for: record, song and album (obviously, they would have a tough time qualifying for best new artist). Not Ready to Make Nice and Taking the Long Way Around were musically great (leaving the political implications aside, although they may have played a role in the voting).

Hipness points to the Academy for recognizing Gnarls Barkley, too -- four nominations, including record and album, the two biggest. (I've already seen a story questioning why they were left out of best new artist -- but it's not as if Cee-Lo and Danger Mouse are newcomers ...).

Back with more on nominations I'm not so thrilled about, then we'll get into categories.

Grammy nominations: Who deserved them and who got robbed

The nominations for the only general-music awards that really matter, the Grammys, are just out. Take a look at the list and then vent: Who's missing? Who doesn't deserve to be there? Who has been overrated by the Academy, and who's been underrated? What's the most preposterous nomination this year? What's the best? Who are you rooting for? When am I going to stop asking questions?

Right now. I'll share my jaundiced perspectives shortly, and look forward to reading yours (jaundiced or not).

Rock Hall: What we have to look forward to

I pulled this comment from MD Ray out of the queue because I thought it might start us off in an interesting new direction as far as Hall of Fame possibilities go. (Not that I'm saying to quit sending currently eligible suggestions -- I'll keep that going indefinitely, although I'm not crazy about going over the same ground (e.g., Donna Summer/Lovin' Spoonful/Rush/Moody Blues, etc. You know who you are.)

Anyway, here's Ray's comment:

As the Eligibility for the HOF continues to move into the 1980s, now it is 1982 I believe, I think it will be interesting to see the vast fall-off of new artists that will be eligible.  In 1982, you had REM, who are a first ballot election and should be.  (And why isn't Joe Jackson in the HOF??)

Here is my list of those coming down the pike, with an * next to the ones on the bubble or too new to really confirm yet.  These are in no particular order and would love to hear thoughts and feedback.  Who did I leave off?  Or who should not be on here?

Ray's list, reordered chronologically and with occasional commentary, but no value judgments (yet; those will come later, but you all go first) inserted by me, follows.

Summarizing Summer's Hall of Fame case

The flood of pro-Donna Summer Rock & Roll Hall of Fame comments, whether they're part of an organized initiative or not, have displayed a lot of passion and intelligence, and made me reconsider my viewpoint ... to an extent.

Back about a month ago (Nov. 1) during the course of this record-smashing (timewise) thread, here's what I said about Summer.

***********************************************

> Donna Summer: The other standout disco icon besides Chic. Many innovations on her records (the icy futuristic electronic vibe of I Feel Love, the rock/disco fusion of Hot Stuff), but those came from her producers, so if somebody from the disco era gets in, better it be the musical geniuses of Chic.

*************************************************

I stand by that -- in disco terms, Chic is The Beatles, Donna maybe The Supremes. Which is also a high honor. (Outside of disco, I don't rate her accomplishments that highly; more on the level of Laura Branigan, and definitely, despite some high spots early in her Geffen phase, not Hall-worthy.)

Watch me contradict myself in the commentary that follows ...

Rock Hall reactions: Wrapping up the week's suggestions

As promised, one last look this week at your suggestions for worthy Rock and Roll Hall of Famers. But first, this reminder: if you didn't see your favorite artist evaluated/eviscerated by me this week, check the November (and October 31) archives for posts beginning with the words Rock Hall or Rock and Roll Hall, and the act's probably in there. If not, send me a comment and I'll put 'em on the next list.

Adam & The Ants: Really negligible impact on the American rock scene, and pretty novelty-oriented, I always thought. Give me Dexys Midnight Runners (well, the first album and first three singles, anyway).

Association: Probably a bit underrated, as they were more versatile than Never My Love or Cherish would suggest, but their image as an MOR pop group will be impossible to shake.

Atlanta Rhythm Section: Good point made about their past as The Candymen, who backed Roy Orbison memorably; and Classics Four, but add all of it up and it's still predominantly colorless pop and rock on the bland side.

Bread: See Association comment, substituting Baby I'm a-Want You and Make It With You for the Association songs. I do have a soft spot for Everything I Own, though (and David Gates was a Leon Russell/Al Kooper-level producer/arranger/songwriter in the '60s).

Kate Bush: That would be wonderful, but she'd be running up one steep hill to get the nominating committee to go for her. Again, lack of U.S. impact is probably fatal.

Boz Scaggs: If his old partner Steve Miller isn't in, not much hope for Boz. Up to me, I'd take Steve first.

Stylistics: Not a distinctive enough image, although their keening falsetto vocal style was nothing if not distinctive. Also, probably not enough crossover appeal.

XTC: Merit and longevity and eclecticism, yes. Commercial impact: almost below zero into the range of negative numbers.

Rock Hall reactions: The latest batch, S-Z

Here's the wrap-up on version 3.0 (I think) of Rock and Roll Hall of Fame submissions, although I'll deal with some stragglers and other related topics Friday.

Small Faces: One of my favorite bands ever (Steve Marriott edition, not so much the Rod sequel). At their best, rivals to The Who and The Kinks, great singer, wonderful Marriott/Ronnie Lane songs, just the coolest. But they managed to muster exactly one hit in the USA (Itchycoo Park), so don't look for an induction soon ... or ever.

Sonny & Cher: They have kind of a clownish image -- not entirely fair, considering Cher's singing abilities and longevity and Sonny's production and songwriting credits, which date back to the '50s and include, besides the S&C stuff, Needles & Pins and She Said Yeah (great rocker by Larry Williams covered by the Rolling Stones). But in the eyes of the nominating committee, they'd be considered a hippie novelty act.

Spinners: An illustrious run of hits in the '70s, fine singers all, but probably deemed a little too anonymous for Hall consideration -- when it comes to soul, they like the bigger-than-life Otis Redding/Solomon Burke/Wilson Pickett types.

Cat Stevens: His '60s stuff is overlooked (First Cut Is the Deepest, great song), while his '70s hits are considered to be lightweight fluff (not unjustly, I'd say). Even without the political controversy potential, I can't see it happening.

Sting: Not eligible yet as a solo artist. I could see it coming to pass, but I for one wouldn't be very happy about it.

Stray Cats: Way too ephemeral, and not exactly innovative either. (There are plenty of rockabilly revivalists of equal ability.)

Television: No commercial impact, and not colorful enough to be considered in the Stooges/MC5/Sex Pistols vein. Sure were good, though.

Luther Vandross: It's time to start considering him very seriously. His stature in the R&B world is close to unparallelled in the last 25 years, and he crossed over plenty too. If Chic can be on the ballot, I don't see why Luther couldn't be.

Stevie Ray Vaughan: Technically eligible now, if you count his early singles with The Cobras (I have one of those) and stuff like that, but they'll probably consider him for 2008, 25 years after the first album. May have built up enough combined guitar-whiz and rock martyr points to make it.

Ventures: I can sympathize with this one; these guys were certainly one of the most, if not the most, influential instrumental guitar bands ever. (Although for sheer artistry I'd have to go with Dick Dale and Link Wray.) But their case isn't improving as the years go by and the memory of Walk Don't Run and Perfidia and The 1000lb. Bee fades. (The Ventures in Space -- that was my fave.)

Dionne Warwick: Possibly viewed more as an interpreter than an original artist, so closely is she tied to Bacharach & David in the critical mindset. The Spector-puppet image is probably what will keep The Ronettes out, and Warwick, however undeservedly, may be affected by a similar syndrome.

Paul Weller: A singular record of near-zero success in the USA, with The Jam (so awesome) and the Style Council (who had a hit) and as a solo artist, so no chance.

Rock Hall reactions: The latest batch, N-R

I've got one more of these Hall of Fame posts set up after this (to finish the alphabet), but there are a few more stragglers that have come in, so I may round those up Friday. I'm willing to comment as long as you're willing to suggest.

Olivia Newton-John: I'm thinking the nominating committee regards her as an artistic featherweight, despite her hits. Will not be seriously considered.

Ted Nugent: Not enough hits or unique musical gifts, and his flair for publicity is not the sort of thing that would endear him to the NomCom. I'm sure he'd come up with quite an acceptance speech, though.

Phil Ochs: His career is a depressing saga with some impressive musical high points (Pleasures of the Harbor, Chords of Fame), but he doesn't strike me as a must-have for the Hall. (Tim Hardin, though ...)

Oingo Boingo: Maybe the L.A. branch. Never translated into national hitmakers. Personally, not a fan.

Pantera: Not eligible yet, not going in when they are -- too extreme for the Hall.

Phish: Also not eligible yet, will probably be dismissed as a cult-appeal jam band, without the necessary golden-age mythology that propelled the Grateful Dead into prominence.

John Prine: A great and lasting talent but insufficient commercial impact.

Raspberries: Fabulous but all-too-brief peak, and missing the element of legend that gets bands like The Stooges and The MC5 onto the nomination shortlist.

Diana Ross: As a solo artist, probably too spotty a track record, both artistically and commercially.

Leon Russell: Songwriting (and his amazing '60s session and arranging work) should give him a boost, but probably too quirky for the Hall (and me, actually).

Rest of the alphabet later today.

Rock Hall reactions: The latest batch: K-M

And another installment: You set 'em up, I assess 'em.

Kool & The Gang: This was an intriguing notion, a long-lasting R&B/funk/disco/jazz (a little, in the early days) band that made a nice contrast to the classic rockers that dominate the suggestions. The problem seems to me that people who like early, Jungle Boogie-era Kool, when they were frequently more of an instrumental fusion R&B/funk troupe, don't necessarily think much of the J.T./commercial-peak-era Kool (Fresh, Celebration, etc.), and vice versa. So I'm not sure you'd find receptive nomination committee members who could appreciate the totality of their legacy. Still, a band worthy of consideration.

Patti LaBelle: Another interesting one -- going on 45 years of recording, encompassing a girl-group phase (with The Bluebelles), an avant-R&B era that also spawned some big hits (with the trio Labelle), and a long solo career with a lot of R&B hits and a devout fan following. (Also, extra points from me for originating Groovy Kind of Love.) Potential drawback: perception as a pure R&B artist with little crossover success (recently, anyway). Of course, you could say the same thing about Solomon Burke, and he's in.

Cyndi Lauper: A very brief, though spectacular, reign, followed by long years of cultishness. So, not really much of a chance.

Level 42/Mark King: A different kind of nomination. Yes, Mark King is a nimble bass player. That and an airline voucher will get him a ticket to Cleveland.

Little Feat: The Lowell George period had its incandescent moments; I can't say I care much for the aftermath. But in any case, no hits dooms the band to cult -- and non-Hall -- status.

Kenny Loggins: Even if you throw in the cool early psych singles with the Second Helping, Kenny's image cannot be sufficiently bolstered to attract any attention from the NomCom (I get tired of typing nominating committee). Unless they launch the Hall at Pooh Corner ...

Jeff Lynne: Proposed as an individual nomination rather than ELO, which allows us to include his excellent early work with The Move and the Idle Race, a bit of solo stuff and the Traveling Wilburys, all of which is a net gain and an interesting notion -- but maybe not one the Hall would actually consider.

Maze: A Frankie Beverly fan (loved some of those early Butlers records myself). Maze is so ingrained as an R&B institution with just about zero crossover credentials that it just isn't going to happen.

Harold Melvin & The Blue Notes/Teddy Pendergrass: I think if there had been a real impetus to get them in, one way or the other, it would have already happened. Now their impact is receding into history, more difficult to recall. They were big in their day, though, and you can't beat their original version of Don't Leave Me This Way.

Steve Miller: I think somehow his pop-hits period (roughly Take the Money and Run onward, although that's kind of a cool rock song) undermines his "underground" period (1968-75, roughly), and again, few people are fans of both periods. Which probably is what's keeping him out, despite his longevity, cool credentials, significant abilities and all.

Eddie Money: Maybe the San Francisco branch.

More Thursday.

Rock Hall reactions: The latest batch, H-J

Continuing my run through the Rock and Roll Hall of Fame suggestion slate. For anyone new to the series, my comments are a combination of personal opinion and a projected assessment of the act's chances based on my take on the Hall's nominating committee's frame of mind.

Steve Harley: Love Make Me Smile, but I don't think he'd even make it in the U.K.

Emmylou Harris: I could see this happening someday, when the cosmic indices are properly aligned. She's now amassed 30+ years' worth of high-quality work, even if you don't count her first album (which she doesn't). In a rare happenstance, a lot of her more recent material is even better than her early stuff. Her influence is widespread, her respect level among fellow artists is astronomically high; maybe the only thing that might keep her out is that her hits were pretty much confined to country, and country has its own Hall of Fame (which is highly selective and hasn't seen fit to induct her yet).

Warren Haynes: At the risk of enraging hordes of jam-band fans, yeah, right.

John Hiatt: Everything's there except the hits ... and maybe, in the nominating committee's minds, distinctiveness that would raise him to an acceptable Elvis Costello level. I'm a fan myself.

Hootie & The Blowfish: OK, who's the joker?

Janis Ian: Could not imagine her being considered, long and worthy career notwithstanding.

Billy Idol: Would never be taken seriously, and rightly so.

Indigo Girls: Not eligible for a while, never going to make it anyway, in that the committee has no special fondness for earnest folkies.

James Gang: Joe Walsh himself is more likely, in that you could add the Eagles and solo careers. James Gang wasn't around long enough and didn't get big enough.

Jan & Dean: Too ephemeral and novelty-oriented, though at his peak (around early '64) Jan Berry was pretty much the production equal of Brian Wilson, though he didn't develop a similar trajectory that would take him to a Jan & Dean Pet Sounds equivalent.

Judas Priest: Maybe if Rob Halford promised to ride a motorcycle onstage to deliver his acceptance speech. But seriously, don't think the doors are going to open.

More shortly.

Rock Hall reactions: The latest batch, A-F

I've been jotting down your latest round of suggestions for the Rock and Roll Hall of Fame, and by rough count there's about 60. I need to check a few to see if I've covered them before (I know Kiss and Rush and the Moody Blues have been mentioned previously, for instance), but it will still be quite a list. I crave your pardon in advance if I accidentally comment on an artist I've already dealt with. (To look at earlier posts on the subject, check the archives for November, and there's a couple at the tail end of October as well.)

Anyway, I'll alphabetize them and tackle a few at a time over several posts.

Badfinger: Adored by classic pop fans, but their career was far too tragically brief, and a little short on hits: Come and Get It, No Matter What, Without You (which they wrote, but Nilsson had the first hit) and my massive favorite, Baby Blue. That resume will not get them into the Hall of Fame.

Big Star: An even slimmer body of work, and no hits at all, so their case would have to rest entirely on influence (which is profound but not in a very commercial way) and sheer artistry (also profound, but not enough).

Black Crowes: Little eligibility problem there; hang on till 2015 or so when they hit the 25-year mark. Although, since they've stopped mattering on a commercial level, it may not be worth hanging on to see if they make the Hall.

More suggestions and comments follow.

Rock Hall discussion: Still open for business

The debate over the merits of the artists inside and outside the Rock and Roll Hall of Fame is a contender for most popular topic in the short history of Listen Up (and certainly a more varied discussion than the rather two-dimensional Dixie Chicks and Barbra Streisand threads, which essentially amount to "they're unpatriotic degenerates" or "stalwart defenders of freedom of speech").

Anyway, taking my cue from the volume of comments that came in over Thanksgiving, which indicate it's an issue that's far from exhausted (especially for INXS and Stevie Nicks fans), I'll keep it going with more commentary on your suggestions. I should have an installment coming up later today, I hope. Meanwhile, keep the comments coming

Still more R&R; Hall suggestions, M-Z

Here's part two of your latest batch of Rock and Roll Hall of Fame suggestions:

Madonna: When she's eligible (next year?), she should breeze in, unless there are lingering prejudices against (take your choice) dance music, overpublicized celebrities or women in general. On musical merit, versatility, creativity, success, longevity, there's no question she belongs.

Johnny Maestro/Brooklyn Bridge: Wow. One for the alternate universe. (Although I do greatly like Johnny's solo version of Come See Me (better known, if you can call it that, as a Pretty Things song).)

Mountain: You know, not every onetime axe hero deserves a nomination ... or even a mention.

Mike Nesmith: Has been influential in a lot of ways (video pioneer, early country-rock innovator, multimedia guy) but still has to overcome that Monkees stigma and otherwise has not had all that many hits.

Alan Parsons Project: Uh-uh.

The rest follow.

Still more R&R; Hall suggestions, A-L

Before I left, I wanted to wrap up the latest batch of your Rock & Roll Hall of Fame suggestions. These are new ones, not the familiar Rush/Moody Blues-type suggestions. Once again, alphabetical listings plus brief comment:

Bad Company: Free actually invented all their riffs and techniques, and did it better.

Blue Oyster Cult: Maybe their cowbell. Not successful enough (or, Reaper apart, great enough, I think).

Cher: Longevity, check. Versatility, check. Critical respect, checkmate. Unlikely to make it.

Culture Club: Ephemeral '80s pop bands have little chance.

Cure: These guys have lasted and have the musical merit, but may lose out to the next act, which follows.

Should Van Halen be in the Hall of Fame

A while ago, before Faith Hill vs. Carrie Underwood took over my dwindling reserves of available time, I said I would devote more commentary to the subject of Van Halen -- who have just designated Eddie's son Wolfgang, 15, as their new bassist -- and their suitability for the Rock and Roll Hall of Fame. A number of you have made strong, cogent arguments for their inclusion, swaying me to the point that, at least, if the band does get voted in for next year's ceremony, I will cheerfully accept the will of the electorate.

Yes, they were extremely successful over a long period of time; they were innovative; they were highly influential; they were the acknowledged leaders in the hard-rock field for much of the '80s. One analogy that could be made is to Cream: Neither band had a great singer (although David Lee Roth was at least a dynamic personality), neither wrote a ton of great songs (and I'd most likely give Van Halen the edge in this department), but both were the kinds of bands that inspired thousands of kids to pick up guitars and imitate their axe heroes, and both profoundly shaped the prevailing rock styles.

But ... read on for the buts ...

Top touring awards from 'Billboard'

Here are some of the just-announced Billboard touring awards for 2006 (plus a little self-back-patting).

Top tour (based on dollar gross): Rolling Stones

Draw (ticket sales): Rolling Stones

Package: Kenny Chesney, featuring Dierks Bentley and other artists

Boxscore: Madonna ($22 million for eight dates in London)

Breakthrough act: Nickelback

Festival: Bonnaroo

Comedy tour: Larry the Cable Guy

Legend of live (career honor): Elton John

Continue for the thrill-packed back-patting segment ...

Have a little more Faith ...

Related stories on Faith Hill, with a few quotes from artists in support of her general good character, and a longer one with a second-hand comment from Carrie Underwood.

This is getting to be a longer spin cycle than a broken-down laundromat.

The best possible Faith on it

Not to fan the flames any further -- well, actually, I'm not against that; this Faith Hill discussion has been pretty interesting so far -- but I thought I'd weigh in with an opinion at this point. I'm starting to lean toward the joking theory.

Watching longer versions, it seems as if she's starting her hand gestures before the announcement, not as an anticipation of a win but more as an exaggerated routine for the benefit of whoever was around. The "what!!??" outburst could be real anger/spite/frustration but it also could fit as part of the exaggeration for comic effect scenario; it's really hard to tell without being there. Similarly, her instant reaction afterward, as reported by Brian Mansfield earlier ("Oh my God, did they realize I was joking?") could be interpreted as instant cover-my-posterior damage control but sounds more like honest dismay, realizing her clowning around could be misinterpreted.

Which is a sound realization. As many of you have said, even if it was a joke, it was badly timed and badly placed. As The Sister of Don Francisco posted on the Idol Chatter blog, "If a joke requires a massive spin operation the next day to clean up the PR damage......I think you've found the working definition of a lousy joke."

So Faith deserves some ribbing, even a bit of anger. But I would hate, as some others have mentioned, to see this blown up to Dixie Chicks proportions, with radio boycotts and fans deciding not to buy her records any more. I'd rather see it treated as a good laugh (for everyone but Faith, I guess) and a fun discussion flashpoint, not as a career buster.

One more testament of Faith

This just in, as the Faith Hill affair continues (although soon to be bounced out of the public's celebrity consciousness by the Britney Spears divorce news). I reprint it just as I received it from the Country Music Association, without comment. (That doesn't mean you can't comment, of course.)

Statement From Clarence Spalding, President CMA Board Of Directors:

"There has been a lot of public discussion about Faith Hill's on-camera reaction during the announcement of the Female Vocalist of the Year Award. Having been there, I can assure you that Faith was in no way being disrespectful of Carrie Underwood or her accomplishments. It was a playful moment caught on camera that has been blown out of proportion and taken out of context. Faith has always shown the utmost respect for Country Music artists and the CMA Awards. This inadvertent moment does not reflect who she is as a performer or a respected member of this community."

Martina's song

Two questions as to what song Martina McBride was singing on the CMA Awards Monday night, so I'll jump in with a quick answer. It's called Anyway, and it's a new song.

Trying to save Faith, part 2: Backstage report

USA TODAY's Brian Mansfield was backstage at Monday's CMA Awards when the Faith Hill incident occurred. Here's his take:

I didn't actually see Faith Hill's gaffe until I watched it on YouTube this morning. I was too busy watching Carrie Underwood's reaction. (I follow the football when I go to Tennessee Titans games, too.) Within seconds, though, the backstage press room was buzzing. Reporters started calling friends and co-workers who were TiVoing the show, asking them to replay the moment and confirm their impressions. At the same time, apparently, people watching at home started text-messaging people in the audience, and by the time everybody got to the after-parties, it was all anyone was talking about.

After the show ended, I tried to get reaction from people as they left. Most I talked to hadn't seen it – I don't believe the live audience saw the same video TV viewers did. But one friend had been standing near Hill when she realized that the producer cut away to Carrie just a little later than Hill thought he had, and overheard her say something to the effect of, "Oh my God, did they realize I was joking?"

More Faith-based analysis follows.

Trying to save Faith

Before I dive into your comments about Faith Hill's reaction to Carrie Underwood's CMA Awards female vocalist victory (and there are a lot about to be posted), I wanted to update with the new official explanation, which is a two-parter:

FAITH HILL STATEMENT: “The idea that I would act disrespectful towards a fellow musician is unimaginable to me. For this to become a focus of attention given the talent gathered is utterly ridiculous. Carrie is a talented and deserving Female Vocalist of The Year.”

GARY BORMAN (MANAGER) STATEMENT: “I’ve worked with Faith for many years now and the idea that she would ever insult or undermine another artist, let alone another human being’s success is absolutely preposterous. Those who know her know that she’s incapable of such actions. She was being playful while the nominations were being read and playful after.”

And for those of you who haven't checked out just what the furor is all about, see for yourself.

CMA wrap-up

The CMA Awards are now history, with Brooks & Dunn holding on to their early lead to top the winners with four victories (single, song, video, duo). Other multiple winners: Brad Paisley won two (album and musical event), as did Carrie Underwood (Horizon (breakthrough artist) and female vocalist, the latter something of an upset -- well, it seemed to upset fellow nominee Faith Hill, who was caught on camera projecting considerable apparent dismay. (It sure looked that way to me, although I should add that her management company stated after the show that she was joking around and didn't know she was on camera.)

Other winners: Kenny Chesney took the big one, entertainer of the year. Rascal Flatts won group for the fourth straight year. Keith Urban won his third consecutive male vocalist award (but wasn't there to accept it, still being in rehab). Randy Scruggs won his third musician award.

Concert highlights: My favorite moment was when Miranda Lambert knocked over a mike stand and nearly smashed her guitar to illustrate the psycho behavior of the protagonist of her new song, Crazy Ex-Girlfriend. Musically, Carrie Underwood's Before He Cheats (another rather vandalistic tune) was impressive, as were Brad Paisley's guitar solo in She's Everything, Vince Gill's duet with Sheryl Crow on What You Give Away, Alan Jackson's vocal on Like Red on a Rose and Little Big Town's harmonious Bones.

Snarkiest moment: Brooks & Dunn introduced Montgomery Gentry, whose Troy Gentry is embroiled in a bear-hunting controversy, by saying they were "loaded for bear."

Brooks & Dunn leading in early CMA action

Brooks & Dunn look to be a lock to dominate the 40th annual Country Music Association Awards. They've won single, song and video of the year for Believe, and no one expects them to lose the duo category, which they've won 13 times in the last 14 years. (Update: They won it.) Their only loss so far -- vocal event, in which their Building Bridges, with Sheryl Crow and Vince Gill (the opening performance of the night) lost to Brad Paisley and Dolly Parton's When I Get Where I'm Going. Rascal Flatts, unsurprisingly, won vocal group.

Standout performances so far: Sugarland's rocking Settlin', Alan Jackson's understated Like Red on a Rose, and Carrie Underwood's gritty Before He Cheats.

Rock Hall reactions: The next round (N-Z)

Actually, the headline's incorrect -- there is no "Z," since Frank Zappa's already in the Hall of Fame and The Zombies, however deserving they may be, aren't going to be and weren't suggested by any of you. So we conclude at "W". (Although I'm not quite done -- I promised a reconsideration of Van Halen and there are a lot of more general points about the Hall that I want to address. So the marathon thread continues ...)

> Neville Brothers: A great collective legacy, when you add in individual contributions (Aaron Neville, The Meters, Art Neville, etc.), but too far below the commercial radar.

> Gram Parsons: If you assign him the main portion of credit for "inventing" country-rock, I could see the argument -- he's got the romantic drug death thing going for him, and was undeniably gifted and influential. But country-rock's introduction was a collective endeavor, with plenty of credit going to, just to name a few, The Byrds (before Gram joined them), and Chris Hillman in particular; The Dillards; Buffalo Springfield; and the next group on this list.

> Poco: Sorely overlooked when credit's being passed out for the beginnings of country-rock; this Richie Furay-led band was right in the thick of it. But they never had that huge commercial breakthrough, their image isn't colorful and enduring enough, and they remain destined to be overlooked.

> Paul Revere & The Raiders: If it was my Hall, they would have been inducted ages ago. Great records, a band that above almost all others brought garage-rock to the masses. But I think there's an unwritten rule against bands in uniforms qualifying for the Hall.

> Styx: Even less chance than Journey. And even less deserving than Journey, for that matter.

> Supertramp: Is there a pattern here? Does the Hall of Fame discriminate against high-register vocalists? That would explain the absence of Rush, Sparks, Supertramp ... But Frankie Lymon and the Bee Gees are in, so that shoots that theory. Seriously, I would have never given Supertramp a passing thought, and I doubt that the committee would either.

> Turtles: Again, if it were my Hall ... You can't beat The Turtles for vocal skills, musical eclecticism and adventurousness (listen to the Battle of the Bands album some time) and sheer likability, but they're a pop band. And, to beat a dead horse, remember, The Hollies aren't in either.

> Wings: Redundant if McCartney's in.

Rock Hall reactions: The next round (J-M)

To start your day (if this is the first thing you look at when you establish your Internet connection, which would be flattering but unlikely), here's the next batch of your Rock and Roll Hall of Fame suggestions, with my assessment of their chances.

> Wanda Jackson: Great idea to include the greatest female rockabilly singer, but too distant in time and commercially unsuccessful, I fear.

> Tommy James & The Shondells: There are plenty of people in the Hall who never released four records as variously enduring and influential as Hanky Panky, I Think We're Alone Now, Mony Mony and Crimson and Clover. But lingering prejudices against "superficial pop/bubblegum" bands will keep them out.

> Jethro Tull: Tarred with the '70s prog-rock brush, plus I doubt if there's any strong desire on the nominating committee's part to induct someone as apparently curmudgeonly as Ian Anderson.

> Journey: Popularity alone doesn't cut it. There has to be some artistry in the mix too. One of the comments proposing the band said something like "Who doesn't love Journey?" Answer: Everyone on the committee.

> Joy Division: The influence-beyond-their-brief-existence argument that got the Sex Pistols nominated could be used again here, but two albums and one suicide is a pretty thin legacy. (Although a legacy boasting not much more will not be a problem for Nirvana around 2014 or 15.)

> Judas Priest: Although I have a slight fondness for them (mostly for covering Diamonds and Rust and Green Manalishi), I don't think they have a prayer. (See Iron Maiden entry in the previous post.)

> Huey Lewis & The News: Probably a better shot than America, but they have amassed virtually zero critical respect.

> Nick Lowe: Too ephemeral a figure, if a gifted one.

> John Mellencamp: He is eligible, to answer a question posed, and I'm surprised he hasn't been on a ballot. To me the relevant comparison is Tom Petty, who's in (and deserves to be, and if I had to choose between him and Mellencamp, I'd go with Petty. Mellencamp doesn't fall far short, though, and I'd think he's got all the qualifications to go in.)

> Motorhead: Far too cultish and lacking in mass appeal to go in, even though in a certain sense the band embodies the rock spirit.

Still more later today

Rock Hall reactions: The next round (C-I)

More Rock Hall of Fame prospective nominees, proposed by you, evaluated by me (in my guise as the projected mass mind of the nominating committee).

> Joe Cocker: Interpretive singers, especially in the rock vein, tend to get short shrift. Cocker's probably more famous as a John Belushi routine these days.

> Jim Croce: I tend to doubt that there's much room left for any '70s singer/songwriters who haven't already been inducted. Croce's reputation has faded in the decades since his death; I can't see much of a chance for him.

> Deep Purple: Certainly an argument can be made for them along the lines of "if Black Sabbath, then Deep Purple." But even though Purple started first, Sabbath was the more influential and extreme of the two, and that counts with the Hall. (And look how long it took Sabbath to get in.)

> Def Leppard: Of the populist '80s rockers, I think Bon Jovi, once eligible, has a better shot than the Leps (although I like DL better). I don't think they're viewed as anything more than a highly popular but routine rock band.

> Doobie Brothers: If they haven't made it before now, is a sudden groundswell of support going to materialize? I don't think so. I'd never vote for 'em, but that's just me.

> ELO: I could envision a groundswell developing for Jeff Lynne & Co., though -- dismissed for decades as disposable pop, they're developing quite a cult following among power pop fans and some critics and may get reconsideration. (Being a curmudgeon, I'd rather see ancestor band The Move inducted, which will never happen.)

> Peter Gabriel: Another puzzler. I don't exactly know what's keeping him out, as he would seem to have most of the attributes you're looking for in a Hall of Famer: innovative and influential music, longevity, success, strong enigma factor, humanitarian work, flamboyant costuming. My imagined knack for channeling the group mind of the nominating committee is failing me here.

> Hall & Oates: It's that pop thing again.

> Iron Maiden: It's that metal thing again. If Deep Purple isn't in, I sure wouldn't expect Iron Maiden, whose appeal is entirely confined to their cultists, to make it.

Picking up with the letter "J" shortly.

Rock Hall reactions: The next round (A-C)

I'm still sifting through the gratifying volume of Rock and Roll Hall of Fame suggestions, virtually all of which are artists who at least deserve serious consideration. As before, I'll try to strike a balance between my own opinions and what I believe to be the prevailing attitude of the Rock Hall nominating committee, of which I am not a member (I do vote in the final ballot, however).

One commenter, quite understandably, wanted some clarification on the criteria used by the nominating committee. Well, you can go to the Rock Hall's site, but this is all you'll get:

"Artists become eligible for induction 25 years after the release of their first record. Criteria include the influence and significance of the artist’s contributions to the development and perpetuation of rock and roll."

Which is elastic enough to potentially include just about anyone. So that's no help. Anyway, I'm going to use the same alphabetical arrangement as before, and I figure, as of now at any rate, it'll take up about four separate posts. So here goes:

> America: Not sure that the group that penned the immortal desert description "The heat was hot" is going to reach the forefront of the nominating agenda. Pop acts have big problems making into the Hall, and if as consummate a pop group as ABBA can't make it, how can a comparatively lightweight act such as America stand a chance?

> Paul Anka: Maybe his new career as Lorelei Gilmore's dog may give him credibility points, but his critical standing could be summed up by the word "schlockmeister," and fair or not (and when you consider the merits of My Way and You're Having My Baby, "fair" seems to be an understatement), that's going to keep him out.

> Boston: I could concoct an elaborate skein of reasoning justifying their inclusion -- sparse recording legacy, but the first album was a massive phenomenon, just like the Sex Pistols, and as for being influential, well, play More Than a Feeling next to Smells Like Teen Spirit some time -- but it feels specious. They're probably just as analogous to something like Iron Butterfly that was briefly huge and then evanescent. Other classic rockers have a better shot.

> Jimmy Buffett: Parrothead representation on the nominating committee is believed to be anywhere from low to nonexistent. Even those critics that pay attention to Buffett generally feel he's been coasting for the last 25 years or so.

> Cars: Hard to say why they're not in when acts such as Blondie are. Maybe it's the New York/CBGB factor lacking in The Cars, or some other nebulous perceived lack of cool. Or maybe a feeling that they peaked too soon and became a disposable pop-rock band after their first two albums. Borderline case for me.

> Cheap Trick: Even more puzzling. Longevity, image, cool factor, popular success, critical acclaim -- it's all there, but somehow hasn't added up to a nomination. Maybe they fall just short of some sort of "greatness" metric -- they haven't sold tons and tons of records, their critical acclaim has been uneven, they hung around too long, they weren't that cool, they did semi-cheesy power ballads such as The Flame ... I throw these ideas out there as possible reasons for their exclusion, and maybe some combination of all of them is part of the answer.

More of your suggestions, alphabetically treated, coming soon.

Catching up on Rock Hall posts

Sorry for the delay in posting tons of comments on the Rock and Roll Hall of Fame nominations -- the blogging software was down for hours, same old story (and a tiresome one at that). I think we're caught up now.

I've got enough new name suggestions for about three more posts, similar to the alphabetical run-throughs I posted Tuesday and this morning. I'm happy to keep going as long as you want to.

More posts soon.

Rock Hall reactions, Part 3 (M-Y)

And the third and possibly concluding post going over your suggestions for Rock and Roll Hall of Fame induction. If there are a bunch more, this could continue.

> Moody Blues: Constantly brought up; I believe the nominating committee would consider them lightweight cosmic populists or something. If they haven't made it by now ... (I would consider putting them in just for their great, totally overlooked except for Go Now Denny Laine-era stuff.)

> Motley Crue: About as much chance as The Plasmatics.

> Graham Parker: Musical merit alone doesn't cut it. His relatively hitless status (and a career that, probably unfairly, has existed in the shadow of Elvis Costello) doom him to non-admission.

> Procol Harum: Excellent band, A Salty Dog is a classic, but I fear the time is past that many remember them for anything except A Whiter Shade of Pale.

> Linda Ronstadt: There probably is a bias against non-writing interpretive singers on the committee, but Ronstadt, as those who suggested her persuasively argued, does have a strong case (superb singer, any number of varied, excellent records).

> Rush: Back when I worked at a Microsoft music site, you didn't dare diss Rush or you could count on getting no technical support for anything you were working on from the developers and testers, all of whom seemed to be mad about Rush. Hope that's not true with the tech types who maintain this site. But I don't think the Hall will ever take Rush seriously enough to consider them.

> Neil Sedaka: Has the longevity, and two very different successful runs, but for me (and, I suspect, the committee) the music from both the teen-pop '60s and sensitive singer/songwriter '70s doesn't hold up all that well.

> Sparks: Not a prayer. Doomed to be beloved by a dedicated cult and dismissed by the rest of us.

> Donna Summer: The other standout disco icon besides Chic. Many innovations on her records (the icy futuristic electronic vibe of I Feel Love, the rock/disco fusion of Hot Stuff), but those came from her producers, so if somebody from the disco era gets in, better it be the musical geniuses of Chic.

> Yes: No. (The most pretentious of all prog bands, give or take an ELP or maybe a Magma, will not sway the committee.)

Rock Hall reactions, Part 2 (G-M)

OK, here's the second alphabetical installment of collected suggestions for the Rock and Roll Hall of Fame that you generated. As before, I'm commenting as my impression of how a typical rock critic member of the Hall's nominating committee might react to these ideas, although a few of my personal opinions may poke their heads up.

> Rory Gallagher: Superb guitarist, sure, not nearly enough prominence for the Hall.

> Genesis: Prog-rock. Forget it. Actually, of all the prog bands, Genesis is the one I would have given the best chance to make it, because a lot of critics either had a sneaking or an admitted liking for the Peter Gabriel-era band. Maybe the Phil Collins era works against them, but I tend to think if they don't make it, no prog-rockers will.

> Go-Go's: A pop band? Made up of girls? I'd probably vote for them, but I doubt if the committee's ready for that. Let's see how The Ronettes do (although The Go-Go's had a lot more creative control).

> Guess Who: I salute you for this suggestion. A fabulous string of hits and fascinatingly quirky albums in their 1969-1975 heyday, an authentically cool garage-rock past before that, Canadian legends -- what's not to like. Unfortunately, that's just what I think. The committee would dismiss them as a lame pop band.

> Heart: In past times I would have dismissed this idea out of hand, thinking of Heart as schlock-rock fronted by women. The committee may still feel this way. I'm warming to the notion myself -- Ann and Nancy Wilson were both extremely gifted at what they did, early stuff like Crazy on You, Barracuda and Magic Man is pretty impressive, and the '80s hits are generally holding up pretty well compared to the prevalent arena-rock competition.

> Joan Jett: A winner in the role-model/inspirational area, but maybe too brief a period at the top for the Hall to take seriously. Hard to think of too many people who better define the rock 'n' roll spirit, though.

> King Crimson: Prog-rock, and uncommercial prog-rock at that. Highly doubtful.

> Kiss: Critics, especially those with the seniority of the committee, are generally dismissive of Kiss, undervaluing the immense appeal of the band and its best songs. I don't think they have much of a shot, and they don't help their case by retiring, unretiring, reuniting, and staging innumerable farewell tours. Personally, I'm inclined to favor them but not as much as I might have 10 years ago.

> Los Lobos: Although they're technically eligible, having released an early album in the '70s, the committee might be waiting to consider them for 2009, 25 years after How Will the Wolf Survive, their first major-label hit album, came out. Still kind of a longshot, but by then their consistent body of work may impress the nominators.

> Meat Loaf: Viewed, not entirely unfairly, as a buffoon.

> Monkees: Too much prejudice against "manufactured pop groups" to overcome, even though the music, as I'd be among the first to admit, is generally first-rate pop. (And yes, it's true the Dave Clark Five used session musicians extensively, but they never got tarred and feathered for it the way The Monkees did.)

One more alphabetical installment coming, plus a Van Halen discussion, probably tomorrow morning.

Rock Hall reactions, Part 1

Nothing like the Rock and Roll Hall of Fame nominees to get people riled up. The huge response here reminds me of the prehistoric era when we used to do weekly music chats -- the Hall and its seemingly whimsical decisions was always a big topic.

Anyway, you've suggested vast numbers of artists you feel are deserving of Hall inclusion, so I'm going to attempt to objectively assess their chances, trying to channel the attitude of a Hall of Fame nominating committee member (I do know a few, so this may not be as much of a stretch as it initially sounds). Of course, a few of my opinions may seep in as well.

Because there were so many, I'll divide the posts into a number of parts, then conclude with another look at Van Halen, since that's the nomination that's generated the most response. Here's the first chunk:

> Pat Benatar: Some hits, a prominent '80s star, but no notable innovative or pioneering achievements. And if the Hall wants to go for a female rock & role model, other suggestions such as Heart or Linda Ronstadt (or the nominated Patti Smith, more to the point) would be more to its liking.

> Paul Butterfield/Mike Bloomfield: A left-field idea, but a rather enticing one -- certainly the Butterfield Blues Band was enormously innovative and influential around the time of, in particular, the landmark East West album in 1966. But its heyday and sales were probably too limited (not that you couldn't say the same about The Stooges).

> Chicago: Longevity and accretions of hits does not equal Hall of Fame status. Some attention needs to be paid to actual quality. (I'm putting that harshly, but I think it's a reasonable reflection of how the committee would regard Chicago.)

> Alice Cooper: Brief shining moment (roughly I'm Eighteen through No More Mr. Nice Guy), then a long anticlimax.

> Neil Diamond: See Chicago. Although, thanks to the magic touch of Rick Rubin and a long-building kitschy attractiveness to younger fans, Diamond's status has been elevated considerably in recent years, so he may merit reconsideration.

> Emerson, Lake & Palmer: Lots of prog fans making suggestions. This is one of the worst (wretched excess personified), but none of that stuff is going to cut much ice with the critical fraternity among the nominating committee, who lived through that era and do not wish to relive it in any way.

More later.

New platinum, gold ... and fool's gold?

The Recording Industry Association of America had a busy month in September, certifying a batch of albums. Michael Buble's It's Time heads the list, going multi-platinum for 2 million albums shipped (not sold; that's what SoundScan tallies). Platinum certifications (1 million) include firsts for The Fray and Hinder, plus Outkast's Idlewild, Trace Adkins' Greatest Hits and Now 21 and 22.

Among the gold (500,000) awards, which I'll detail more fully below, one stood out to me: Jessica Simpson's A Public Affair. I had to check on its actual sales for another story last week, and they amounted to 212,000. So there are nearly 300,000 copies of the CD sitting in various warehouses and store shelves hoping for an eventual sale. A miscalculation on somebody's part, perhaps?

That's why I always take RIAA awards with a grain of salt and look to actual sales for a better idea of what's really going on with a record.

With that caveat (and I'm sure the following records have sold a lot closer to 500,000 than Jessica), here are some other notable gold awards. Bob Dylan racked up his 33rd gold award, for Modern Times. Also picking up plaques: Trace Adkins/Dangerous Man, the Cheetah Girls 2 soundtrack, Cherish/Unappreciated (not now), Josh Groban/Live at the Greek, H.I.M./Dark Light, INXS/Greatest Hits, Montgomery Gentry/Greatest Hits, Blake Shelton/The Dreamer, Wreckers/Stand Still, Look Pretty and the Vans Warped Tour Compilation 2006.

T.I. collects 8 BET nominations

T.I. was the man of the hour at the BET Hip-Hop Awards nominations, which the channel will show nationally Nov. 15. The rapper nabbed eight nominations, two more than runner-up Busta Rhymes.

Handicapping the 'Billboard' top tour nominations

You might have read Billboard's Touring Awards nominations in the paper today or seen them elsewhere, but we (and by we, I mean not just me but USA TODAY's Sultan of Stats, Anthony DeBarros) thought we might try a little experiment with them.

First, here are the key artist-oriented nominations (plus top festival):

> TOP TOUR:

Bon Jovi, Have a Nice Day

Madonna, Confessions

The Rolling Stones, A Bigger Bang

> TOP DRAW:

Bon Jovi

Madonna

The Rolling Stones

> TOP PACKAGE:

Kenny Chesney with Dierks Bentley, Sugarland/Carrie Underwood/Jake Owen

Def Leppard/Journey with Stoll Vaughn

Rascal Flatts with Gary Allan and Jason Aldean

> BREAKTHROUGH ACT:

Nickelback

Brad Paisley

Shakira

> TOP FESTIVAL:

Austin City Limits Music Festival, Austin

Bonnaroo Music Festival, Manchester, Tenn.

Lollapalooza, Chicago

OK, knowing from the press release that these awards are based on "actual box office performance from Dec. 1, 2005 to Sept. 30, 2006," we thought, well, since that data period is history now, maybe we can already project the winners, ahead of the Nov. 9 announcement, just for fun. (There are no leaks or illegitimately obtained data used in these projections.) Continue to see our educated (we hope) guesses: