Guns N’ Roses, Beastie Boys, and Red Hot Chili Peppers are among the 2012 inductees to the Rock and Roll Hall of Fame. Others receiving the honor include late singer/songwriter Laura Nyro, folk-rock icon Donovan, and UK rock band The Faces whose lineup featured Rod Stewart and Ronnie Wood.

Fellow 2012 nominees The Cure, Joan Jett and The Blackhearts, and Eric B. & Rakim did not receive enough votes for entry and will have to wait another year.

Blues icon Freddie King will be induced as an early icon, while producers Glyn Johns (The Beatles, Bob Dylan, The Who), Tom Dowd (Ray Charles, Eric Clapton), and Cosimo Matassa (Ray Charles, Fats Domino) will receive the Award for Musical Excellence. “The Man with the Golden Ear,” producer Don Kirshner (The Monkees, Kansas) will receive the Ahmet Ertegun Award, which honors non-performers.

The induction ceremony will take place at the Rock and Roll Hall of Fame in Cleveland on April 14th, with a television broadcast set to air on HBO in May.

The nominees for the 2012 class of the Rock and Roll Hall of Fame were announced today, comprised of a fine list of candidates. Alt-rock pioneers The Cure, hip-hop duo Eric B. and Rakim, punk-rock outfit Joan Jett and the Blackhearts, and rock warriors Guns ‘N’ Roses are all first-time nominees, while Beastie Boys and Red Hot Chili Peppers, both of who were first nominated last year, are again in contention. Sadly, LL Cool J did not receive the committee’s love for a second consecutive year.

The full list of eligible candidates is posted below. A committee of 500 voters will narrow down that list in time for the introduction ceremony on April 14th.

2012 Nominees:
Beastie Boys
The Cure
Donovan
Eric B. & Rakim
Guns ‘N Roses
Heart
Joan Jett and The Blackhearts
Freddie King
Laura Nyro
Red Hot Chili Peppers
Rufus with Chaka Khan
The Small Faces/The Faces
The Spinners
Donna Summer
War

There’s a lot to love about the Rock and Roll Hall of Fame’s annual induction ceremonies, from the opportunity to watch music’s most amazing geniuses receive the recognition they so undoubtedly deserve to the subsequent performances which have resulted in rather infamous moments. Axl Rose was no where to be found when the Hall of Fame celebrated its latest round of inductees last Monday, but Tom Waits did make an appearance. He was, after all, one of the eight icons inducted, and after being introduced by the equally great Neil Young, Waits celebrated his new-found status by performing a short set that included renditions of “Make It Rain”, “Rain Dogs”, and “House Where Nobody Lives”. Then, to cap it all of, Young and Waits teamed up for “Get Behind the Mule”. The 13-minute clip posted above features most of the aforementioned, including Young’s introduction, a video montage, performances of “Make It Rain” and “Rain Dogs”, and Waits’ acceptance speech.

Waits, who hasn’t toured since 2008, is currently working on his first new recordings in five years.

First, congratulations to Alice Cooper Band, Neil Diamond, Jac Holzman, Dr. John, Darlene Love, Art Rupe, and Leon Russell, all recently announced 2011 Rock and Roll Hall of Fame inductees. But this list ain’t about them. CoS prides itself on not playing favorites when it comes to our coverage, but occasionally (once in a “Grapefruit Moon”, you might say) we succumb to temptation (throat-scraping falsetto and all) and let our inner fanboys and fangirls run the e-presses.

Call this list a love letter to Tom Waits. Call it a Christmas card. Call it whatever.

The Rock and Roll Hall of Fame itself stirs mixed sentiments. As a museum, it’s well worth the visit. But the idea of inducting artists (not unlike awarding Grammys) has always been met with an ambivalent response. Music lovers, snobbish as we can be, generally dislike this sort of final verdict when it comes to our music. We’re eager to praise a great live performance and even more willing to lambaste an album that disappoints, but we’re far more hesitant to anoint a band or artist to some higher echelon, which, at least in some sense, downgrades other “lesser” artists whose music matters just as much to us and often more. Part of the problem stems from a lack of agreeable, measurable criteria. The Baseball Hall of Fame can always point to home runs and hits. What numbers can the Rock and Roll HOF crunch? Inductions based on units shifted or Billboard #1 hits? No, we don’t like that either. (And if, like Cooperstown, the Rock and Roll HOF was all about hits, Tom Waits couldn’t land a job in the museum gift shop, much less get enshrined.) What’s our deal? Maybe we fear some ulterior motive or creeping commercialism—some tampering with or cheapening of our music. Perhaps, we simply don’t agree with or trust the taste of the selection committee.

Waits maybe said it best upon hearing that he had been voted in: “I am still recovering from the news. I never really cared about the Rock and Roll Hall of Fame…but now I am surprised to discover how much I DO care.”

And to be honest, it’s only when artists like Waits get in that we find ourselves caring—when we get the feeling that an outsider has crashed the party.

But enough of that. On to the list. How did we come up with it? We pinned the name of a Tom Waits song to each country on a globe, spun it, stuck out our index fingers, and played that game we used to as kids, asking, “Where am I going on vacation?” Not really, of course, but it’s probably no worse a methodology given the circumstances. Condensing a career of nearly 40 years and 20-plus records down to 15 songs is a daunting task in itself, and all we love about Waits makes it all the more difficult. Even while recording and touring under the umbrella of mainstream record labels, Waits has always been an outsider artist, equal parts beat poet, jazzman, score/play composer, vaudevillian, pot and pan banger, exhaust manifold, crazy uncle, and walking Ripley’s Believe It or Not! of oddball facts and stories. There has been no real chart-topper and almost zero radio play, though Waits does lay claim to being rather large in Japan—“big,” actually. The result is an eclectic discography that everyone comes to in a slightly different way and a top ten list that feels remarkably fluid; come back next week and things might look completely different. But then again, who has ever been able to pin down Tom Waits?

Enough. Let the gushing commence.

15. “You Can Never Hold Back Spring”/“Bottom of the World” from Orphans: Brawlers, Bawlers & Bastards

Waits has a reputation for being a junk collector, but nobody was counting on him having scraps as good as these laying around when he assembled 2006’s Orphans: Brawlers, Bawlers & Bastards. “You Can Never Hold Back Spring” warmly crackles and glows, with Waits crooning like a mainstay in your Grandma’s old record collection. On “Bottom of the World”, Waits, with his voice in all its ragged and worn glory, shares tales and wisdom from a lifelong hobo set to one of the most vibrant and beautiful arrangements he’s ever put forth. Besides, where else can you get a recipe for fried black swan or learn to use egg whites for slicking down your hair?

14. “Soldier’s Things” from Swordfishtrombones

Waits has never really been overtly political in his songs, which made 2004’s Real Gone, “Day After Tomorrow” in particular, somewhat unexpected. A more subtle commentary on the effects of war is the poignant “Soldier’s Things” from 1983’s Swordfishtrombones. The song is little more than a list of possessions set to simple piano. Listeners find themselves at a garage sale, where customers can buy cufflinks, neckties, and medals for bravery. There’s a palpable sense of desperation as a broken radio and a car with a dented hood and bad brakes make for tough sells and a profound sadness as personal belongings are practically given away (“everything’s a dollar in this box”). Waits touches a nerve by playing it cool, letting listeners fill in the story and bring their own emotions to the song.

13. “The Piano Has Been Drinking (Not Me) (an Evening with Pete King)” from Small Change

One of Waits’ more comical numbers (or disclaimers), “The Piano Has Been Drinking (Not Me)” closes out side one of the brilliant Small Change in fine, inebriated fashion. Waits has admitted to having played a lot of “toilets” as a young, opening act, and you almost have to wonder if a jukebox that has to take a leak and a waitress you can’t find with a Geiger counter are lyrical inventions or reminiscences. Humorous as the situation may seem, Waits is also conveying a weariness and disenchantment with his lifestyle and heavy drinking during these years. Waits often performed this song with a notably drunken delivery—all part of the act, maybe—as can be seen in this abridged version from a television appearance.

12. “(Looking for) The Heart of Saturday Night” from The Heart of Saturday Night

For listeners who discovered Waits through more experimental albums like Franks Wild Years or later, gruffer releases like Blood Money, it might come as a bit of a surprise that he started out as a fairly typical (a stretch, I know) piano- and guitar-based singer-songwriter, with a voice that was shockingly smooth before years of moonlighting as a chimney finally caught up with him. This simple, acoustic ballad highlights Waits’ knack for poetry that depicts the late-night scene (“Is it the crack of the pool balls?/Neon buzzin’/telephone’s ringing, it’s your second cousin”). Later recordings would bring Waits back to the world of “(Looking for) The Heart of Saturday Night” but rarely with the same innocence or romantic outlook.

11. “Lucky Day” from The Black Rider

The Black Rider, a collaboration with Robert Wilson and William S. Burroughs and Waits’ first stab at writing for the theater stage, is admittedly a tough pill to swallow. “November” has endured, and it’s still a kick to hear Waits as a carnival barker announcing a freak show lineup during the overture, but “Lucky Day” is the real gem on this mostly inaccessible record. As is the case in a number of Waits’ songs, the protagonist of “Lucky Day” leaves his love and life behind for the allure of “bummin’ around,” adhering to the hobo-esque wisdom of his father: “When you get blue/And you’ve lost all your dreams/There’s nothing like a campfire/And a can of beans.” “Lucky Day” has been a live staple and fan favorite on a number of tours, including 2008’s Glitter and Doom Tour.

10.  “Singapore” from Rain Dogs

We might still be on a boat here, but we are oceans away from “Shiver Me Timbers”. A maniacal Captain Tom takes the helm as “Singapore” opens the classic Rain Dogs with chaotic, jarring dissonance. A teetering Waits rattles off lines about “tawny Moors” and “making feet for children shoes” atop a hull’s worth of oddball percussion. Clearly we’re not in Kansas anymore. Hell, this ain’t even Swordfishtrombones. “Singapore” made it quite clear that while listeners might spy land, they definitely would not spot Waits’ retired lounge act anytime soon.

09. “House Where Nobody Lives” from Mule Variations

Waits had a lot of expectations to fulfill on 1999’s brilliant Mule Variations. It was his first proper studio album since the stripped-down, blues-rock of 1992’s Bone Machine, and fans were anxious and salivating to know what a seven-year gap would yield. Probably most surprising was the number of gorgeous piano ballads found on the record, the most moving being “House Where Nobody Lives”. As always, Waits tempers any sentimentalism or sappiness with concrete, nitty-gritty detail, and the result is a universally resonating message about love and family.

08. “Burma-Shave” from Foreign Affairs

Admittedly, Foreign Affairs probably isn’t a record you need to run out and pick up, not even for that duet with Bette Midler. But tucked away on side two is “Burma-Shave”, a song about a juvenile delinquent and a girl with hair like spilled root beer, who follow the Burma-Shave advertising billboards right out of a crummy town and towards a tragic fate. This jazz number perfectly captures the cinematic feel Waits was going for on the album and later morphed into a full-blown, spoken-word performance piece, as seen below.

07. “Falling Down” from Big Time

Big Time is both an LP and a concert film consisting of theatrical live performances of material primarily drawn from Swordfishtrombones, Rain Dogs, and Franks Wild Years. “Falling Down” is the LP’s lone studio recording. When someone asks how Waits’ gravelly, shot voice can possibly be beautiful, you need point them in no other direction than this track. Waits’ rasp and growl have never been more powerful than here, as he roars over a pump organ and light percussion about all that’s destined not to work out.

06. “Time” from Rain Dogs

Amid the general chaos and clanging of Rain Dogs sits “Time”, a bare-bones, acoustic ballad that has no earthly business being there, and yet it’s somehow the highlight of the record. Waits is at his poetic best here, softly singing (almost mumbling) of a rain-drenched city and its dispossessed inhabitants: “Well, the smart money’s on Harlow/And the moon is in the street/And the shadow boys are breaking all the laws/And you’re east of East St. Louis/And the wind is making speeches/And the rain sounds like a round of applause.” See a performance of “Time” below from the Big Time concert film.

05. “Heartattack and Vine” from Heartattack and Vine

Heartattack and Vine marks the transition from the jazz piano lounge act of Small Change and Blue Valentine to Waits’ harder, more experimental, percussion-based ‘80s work. There are still piano ballads like “Ruby’s Arms”, “Saving All My Love for You”, and “On the Nickel” (complete with lush orchestration), but they’re harshly juxtaposed with several crunching jazz-rock numbers. When listeners first spun this opening title track in 1980, they had to be taken aback by the big, fuzzy guitar and Waits raggedly spitting out lines like “Don’t you know there ain’t no devil/There’s just God when he’s drunk.”

04. “Christmas Card from a Hooker in Minneapolis” from Blue Valentine

While Waits was already beginning to change gears with the recording of Blue Valentine, the creativity of a track like “Christmas Card from a Hooker in Minneapolis” is a reminder of just how good Waits sitting down at a piano could be. He tickles the familiar spots on the ivories while growling through a letter from a prostitute to some guy named Charlie. She tells him about her pregnancy, new man, and kicked dope habit, only to, by letter’s end, admit that she’s lying and needs money. The closing line might be the finest sign-off of Waits’ career: “Charlie, hey, I’ll be eligible for parole come Valentine’s Day.”

03. “On the Nickel” from Heartattack and Vine

Originally recorded for the Ralph Waite film of the same name, “On the Nickel” has often been introduced by Waits as a “wino’s or hobo’s lullaby.” It might be the irony of this song that makes it so compelling, even three decades later. It’s cinematic in composition and scope, with Waits’ gruff delivery and piano riding an undercurrent of lush, sweeping orchestration. But the song itself is about perhaps the most frowned upon and neglected faction of American society: the homeless. And here is Waits, with orchestra-style backing no less, displaying such tenderness toward people in this situation. Who but Waits would have written this song, and who can listen to it without feeling a sense of compassion or shame?

02. “16 Shells from a Thirty-Ought Six” from Swordfishtrombones

Swordfishtrombones was the proverbial line drawn in the sand, and no song better indicated which side Waits stood on than “16 Shells from a Thirty-Ought Six”. With his lounge act days firmly behind him, Waits put the piano and strings aside and began to, well, bang on things. On “16 Shells”, electric guitar and acoustic bass negotiate a coarse rhythm with snare, brake drum, bell plate, and a drawn-out trombone, atop of which Waits barks out a series of actions (“And I blew me a hole ‘bout the size of a kickdrum”) that seem to have little or no connection with one another. And it all comes together to be this abrasive and primitive romp from hell. This song was truly a moment when listeners had to decide whether they were onboard with Waits or needed to retreat back to his Asylum catalog.

01. “Tom Traubert’s Blues (Four Sheets to the Wind in Copenhagen)” from Small Change

What’s better than having your work bastardized by Rod Stewart once? (See “Downtown Train”.) Having it bastardized by Rod Stewart twice, of course! “Tom Traubert’s Blues (Four Sheets to the Wind in Copenhagen)” should rightfully be the song with which Waits will forever be associated. From the opening lines (“Wasted and wounded/It ain’t what the moon did/I’ve got what I paid for now”), it’s Waits at his most achingly beautiful, with a simple melody and a story that turns the streets and seamy side of life into something the average listener can grasp. Part of the inspiration for “Tom Traubert’s Blues” was an evening Waits spent on skid row. “Every guy down there…everyone I spoke to, a woman put him there,” he observed. Near the end of the song, Waits sings, “And it’s a battered old suitcase/To a hotel someplace/And a wound that will never heal.” There’s not a man or woman alive who doesn’t know what the feeling in these lines is all about (even Rod Stewart knows).

Kind of like how we still care about the Grammys, we also put a lot of faith into the absurdity that is the Rock and Roll Hall of Fame inductees. So much so in fact that we gave you a giant write-up on this year’s nominees a few months back. Now, the child-like eagerness and speculation ends as the the class of 2011 has been revealed. Still no Brian Eno, FYI.

The New York Times reports that Tom Waits, Alice Cooper, Neil Diamond, Dr. John, and Darlene Love will be announced as the Rock and Roll Hall of Fame’s newest inductees during a ceremony Wednesday morning. Other honorees include Leon Russell, who is receiving an award for musical excellence, along with Elektra Records founder Jac Holzman and Specialty label head Art Rupe, both of whom will receiver non-performer honors.

Like previous years, even those not allowed in are worthy of mention. Because of their exclusion, the likes of Bon Jovi, LL Cool J, and the Beastie Boys will have to wait ’till next year before possibly gaining entry into rock’s most prestigious club.

The 26th annual ceremony goes down March 14th at the Waldorf-Astoria in New York City.

Since 1986, The Rock & Roll Hall of Fame has been inducting those who have made an impression on the evermore detailed map of pop and rock music. And yeah, the ceremony might be a little chintzy, and some may consider the whole think a giant joke, and the whole argument of contemporary relevance is all but hurled out the the window, and the fact that ABBA is in there and Brian Eno isn’t is enough to set yourself on fire — but it beats the living hell out of any other televised American music awards show, and usually the ceremony ekes some gnarly performances out of the inductees. This year, 15 nominees were selected, and on average, five to seven of those nominees will be selected. So, without further ado, here are your 2011 Rock & Roll Hall of Fame Performer Nominees. Who do you think should make the cut?

Alice Cooper

The original rock nemesis Alice Cooper, along with lead guitarist Glen Buxton, rhythm guitarist Michael Bruce, bass player Dennis Dunaway and drummer Neal Smith, paved the way for future harbingers of shock heavy metal. In addition to his box-office record-breaking live show in the 70s, The Coop continued to rock well into the 90s and, sure, 2010. If ABBA’s already in the R&RHoF, it’d be a shame for Cooper not to make it this year. Take a chance on him.

Beastie Boys

Now here’s a little story I’ve got to tell about three bad brothers you know so well. Mike D, Ad-Rock, and MCA have kicked out the jams for years, pioneering hip-hop, sampling, production, and white-boy fashion since the 80s. If inducted, Beastie Boys would be the third hip-hop group in the hall of fame, alongside Grandmaster Flash and Run DMC. You got a long wait ahead of you, Weezy.

Bon Jovi

If The Bon misses out this year, I at least think it’s about time for his ripped, acid-washed jeans to garner a glass case in the Smithsonian. Not quite hair metal New Jersey blue-collar rockers are a household name for pretty much everyone in America who’s been to a bar at least once in their life. Jon can steal your heart with those steely blue eyes of his, and define a rock song. Does it get more real than “Bed Of Roses”? That’s a man who knows what rock & roll love is.

Chic

Chic are probably best known for “Le Freak”, but they assisted the hip-hop movement in a major way with their increasingly funkier disco sounds. More soul and less….ABBA…. meant Sugar Hill Gang could totally start copping their stuff. Band members also went on to produce albums for Madonna, Mick Jagger, and David Bowie.

Neil Diamond

If his half-decade of amazing songs doesn’t get him in, maybe they should just show the selection committee this clip. Diamond can do anything.

Donovan

World music connoisseur Donovan explored the globe to find his sounds. But before Donovan got trippy and jazzy, he wrote some beautiful folk songs that paved the way for Brit-folk in the 60s. We can also credit him for Nick Drake, Belle & Sebastian, and being at the center of The Beatles pilgrimage to the Maharishi’s ashram in 1968, thus teaching Paul and George how to finger pick the guitar, thus allowing “Dear Prudence” and “Blackbird” to exist. Shoe-in?

Dr. John

This New Orleans staple has been culling the feelings of the city for years and perpetuating Cajun stereotypes for years. Yeah, he’s mighty talented, but I prefer his alter-ego.

J. Giels Band

The only two things I’ve learned from these guys it that, truthfully, love stinks, and that he’s actually not Robert Palmer.

LL Cool J

Now we’re talking: Ladies Love Cool James himself up against the boys from Brooklyn. Obviously, only one hip-hop artists can make it in (blame whitey), but how awesome would it be if they did a performance together? “Going Back To Cali/No Sleep Til Brooklyn” would be the shit.

Darlene Love

Singer for 60s pop group The Blossoms, 72-year old Darelene Love has been singing professionally since being a sophomore in high school. Since then, she’s worked with Phil Spektor, U2, and Danny Glover. She played his wife in all four Lethal Weapon movies. Career versatility: 5 points.

Laura Nyro

Posthumous nominee and folk prodigy Laura Nyro recorded with David Geffen and Columbia Records for 25 years starting at the ripe age of 19.  Her songs were performed by Fifth Dimension, Three Dog Night, and Barbra Streisand and, rather unfortunately, not all at the same time. Elton John said of her: “The soul, the passion, the out-and-out audacity of her rhythmic and melody changes was like nothing I’d ever heard before.”

Donna Summer

My mom played Donna Summer a lot when I was a kid, and I think I heard “Love To Love You Baby” a little too young. Things have been really messed up for me since then. But she’s stayed fresh and in the mainstream since as she starred as Steve Urkel’s Aunt Oona in 1994 and again in 1997 (I’m sensing a trend…)

Joe Tex

You know how Ronnie James Dio claimed he invented the devil horn hand gesture? Well, Joe Tex coined the term “rap”. At age 31, the southern-soul singer had two dozen consecutive R&B/pop crossover hits in rotation, including the song “I Ain’t Gonna Bump No More With No Big Fat Woman”. That title alone gets him a ticket in. And whoa! Label-mate James Brown shot at him in a night club!

Tom Waits

I’ll redirect you to our article on Mr. Tom Waits, which will expound on his defense on getting into the hall of fame. Suffice it to say, if I could use all my votes for one man, it would be him. The breadth of his career, his growth as a songwriter, his talent as a producer earns him a spot in the Hall of Fame.

Chuck Willis

’50s pop singer Chuck Willis, known as “The King of the Stroll”,  is a testament to roots of rock & roll. Unfortunately , he was recording 50 years before today, so I’m clearly not a big fan of his oeuvre, nor one who understands his importance. But because I’m a logical person, I logically see his reason for being on the list. Another case of “If it wasn’t for Chuck Willis…” Elvis Presley, Otis Redding, and Kanye West samples would never exist. May logic prevail!

According to Showbiz411.com (via Spinner), Jann Wenner (who heads the hall when he isn’t busy running Rolling Stone) wants to change the charter that says a band would only have to wait 20 years after releasing their first album and not 25 years in order to meet the expectations for induction. That would mean that bigger bands could get in sooner than ever before.

The change, it seems, comes as Wenner and the other heads look ahead to 2011. While this winter the likes of Genesis, ABBA, Iggy Pop and the Stooges, and the Hollies are being given the honor, next year’s field of candidates includes the perfectly adequate Chris Isaak, Susan Vega, ‘Til Tuesday, and Simply Red. If it were moved to 20 years, acts like Nirvana, Public Enemy, Green Day, Guns ‘N Roses, and even Keith Richards could be eligible. However, the fear is that smaller acts, everyone from Chubby Checker to Red Hot Chili Peppers, could continue to be snubbed. Or, out of the generosity of his heart, Wenner may induct those neglected legends. Maybe.

We’ll keep you updated if the change does go through. If it does, Weezer would be eligible in 2014. Fingers crossed, everyone.

Among those left out this year include LL Cool J, the Red Hot Chili Peppers (Whoa has it been a bad week!), Kiss, and singer/songwriter Laura Nyro.

To be eligible for the Hall of Fame, an act must have released its first single or album 25 years before the nomination.

The 25th annual induction ceremony will be held on March 15th at the Waldorf-Astoria in Manhattan, New York.

And as always with these types of things, HBO plans to broadcast a special airing of the festivities at some point in the future.

After being inducted by fellow Traveling Wilburys’ members Jeff Lynne and Petty, several musicians took to the stage for one of the best covers of “While My Guitar Gently Weeps” that’s out there. Petty played lead acoustic guitar alongside Dhani Harrison, now a member of thenewno2, while Lynne played rhythm electric guitar. Many other musicians packed the stage to fill in the sound of record. Both Lynne and Petty shared vocal duties with Petty singing the chorus and Lynne handling the verses. Both of their vocals help make this a great performance as they capture the sad tone of the song as well as holding true to Harrison’s original version found on The White Album.

Although Dhani doesn’t have much to do during the song besides play along and sing backing vocals on the chorus, you can’t help but watch him. While it’s clear that all the people on stage are emotionally invested in the performance, the late ex-Beatles’ son is on a whole different emotional level. Even though his face, an almost spot-on copy of a young George, doesn’t reveal this, it still feel like he’s making the most of what he can in honor of his father.

While the performance is good all around, it’s the ending that really takes it to another level. Just when it seems that the song is winding down, Prince, another 2004 inductee, appears out of nowhere and launches into a stunning solo that lasts for almost three minutes. Decked out in a red fedora and shirt, Prince shatters all the tricks in the book, as he runs the pick up and down the neck of the guitar, intentionally falls backwards off the stage only to be caught by a stagehand (earning a big smile from Dhani), and even appears to play with his teeth for a second. This might sound overdone for a song like “While My Guitar Gently Weeps” but the solo really works for the performance due to the emotion put into it. The repeated singing of the last line of the chorus by Petty allows Prince to start up a new part of the solo every time it’s sung.

This cover version of “While My Guitar Gently Weeps” is one of the best out there. The emotions of George Harrison’s friends and family seem to burst out through Prince’s solo at the end. At first, you may think the song is a mourning of Harrison’s death but by the end, you realize that it’s really a celebration of his life.

Another peculiar twist involves presenter Jimmy Page, who will be inducting fellow Yardbird Jeff Beck into the Hall. The twist is that Beck was already previously entered in tandem with The Yardbirds in 1992, while his second foray will be totally solo. Add to this Jimmy Page’s own two-time insertion into the Rock & Roll Hall of Fame came in the form of his tenor with both The Yardbirds and legendary rock band Led Zeppelin. Our friends here will be in particularly good company as Wood of The Rolling Stones brings in R&B singer Bobby Womack for induction.

The list goes on for nominees this year as the Hall gets wind of DJ Fontana, Elvis Presley bassist Bill Black, and a vocal tribute by Smokey Robinson to Anthony & the Imperials. Music television station Fuse will be airing the ceremony on April 4th at 9PM.  If you have cable or sattelite, tune in for some ferociously good performances and to watch some of the greatest artists of all time become one with the Rock Hall – Johnny Rotten saliva and all.