In the words of Baseball Hall of Fame catcher Yogi Berra, it's déjà vu all over again because it seems as if I was doing this exercise only a year ago. That exercise is evaluating the fifteen nominees for the 2015 class of the Rock and Roll Hall of Fame announced on October 9, 2014. (And just to clarify, the inductees will be announced later in 2014 for the induction ceremony in Cleveland, Ohio, on April 18, 2015.)

As I did for the 2013 ballot and again for the 2014 ballot, I profile these fifteen nominees and indicate whether I think the Hall voters will vote for them, and whether I would vote for them were I issued that precious ballot as a voting member of the Rock and Roll Hall of Fame.

As Martha and the Vandellas once put it, summer's here and the time is right for dancing in your seat.

All right, so the lyric doesn't go exactly that way, but with concerts so regimented these days, you don't get much opportunity to dance in the aisles, let alone dance in the street. But having recently seen three rock acts in concert, one already a Rock and Roll Hall of Fame inductee while one of the two not in the Hall has a huge groundswell clamoring for its induction, You may be interested in how they perform onstage.

What's funny is that in the last few years I had been attending hardly any rock shows. Rather, my taste for live music had run toward jazz, folk, and international acts in smaller, more intimate settings. And as far as classic-rock acts go, I had been leery of the nostalgia circuit. I used to write for the concert guide of a local venue, and I fluffed up my share of articles touting the likes of Iron Butterfly and Robin Trower, acts trading on their glory days (and in the case of a band like Iron Butterfly, that may have been day, singular) while occasionally promoting their latest album, released on a small, independent label, and noticed by few outside the fanbase.

But as I get older and become nostalgic myself, my curiosity gets the better of me. After all, none of us are getting any younger, and didn't I want to see some of these acts before they head off to the great festival in the sky? Even if, at this stage, they are past their prime?

THE SHOW NEVER ENDS: HALL OF FAME-WORTHY LIVE ALBUMS OF THE CLASSIC ROCKAND SOUL PERIOD

The Rock and Roll Hall of Fame may not be at the level of inducting individual albums yet, but if it did, this list of live albums from the classic rock and soul period, along with a few honorable mentions, would surely be included.

Why a live album? It is true that nothing can replace the experience of actually being at a concert, but a live recording can be the next-best thing to being there. It preserves the memory of what happened when that music had been created. A quality live recording can be close enough—a reminder of the concert you had experienced, or, more likely as you explore the music of artists from decades past, a sample of music that you'd have never been able to hear in person, anyway. With a live album, the show never ends.

Now we get to the really fun part of this, er, appreciation of science-fiction films from the 1950s: the bad ones. Yes, these are the films about which you cannot say that the acting "could have been stronger," or the effects "lacked realism," or the story seemed "weak." These films are so lacking in quality that you can safely say this: These films are sci-fi stinkers.

Or as Frank Zappa put it, these films all exhibit "Cheepnis," the name of his song saluting sci-fi stinkers that first appeared on the Mothers' 1974 live album The Roxy and Elsewhere. As Zappa explained in the introduction to "Cheepnis," "the cheaper they are, the better they are," and while he noted that a film's budget, or lack thereof, is not necessarily a factor in its exhibiting "Cheepnis," it does help.

The ten films in this, our final list of 1950s sci-fi films, not only have "Cheepnis" but also some kind of lasting notoriety. Because—let's face it—there are a lot of bad science-fiction films and not just from the 1950s, and I'll leave it to Elvira, Mistress of the Dark, to memorialize those. For example, The Giant Gila Monster (1959) is certainly bad—the special effects include an obvious model train and an ordinary lizard in a diorama to make it seem "giant"—but no one in the cast had any fame nor went on to any fame, the narrative and dialogue are not memorably atrocious, so it is merely bad but not notably so.