inheritors of his musical ideas—big-city African American artists whose high-powered, electrically amplified blues remain solidly in touch with Johnson's musical legacy" at the time of Columbia's first release of a full album of his songs in 1961. In Jim O'Neal's statement when Johnson was inducted into the Blues Foundation Blues Hall of Fame, he identified "Hell Hound on My Trail", "Sweet Home Chicago", "Dust My Broom", "Love in Vain", and "Crossroads" as Johnson's classic recordings. Over the years, these songs have been individually inducted into the Blues Hall's "Classic of Blues RecordingSingle or Album Track" category. Rock music In the mid-1950s, rock and roll pioneer Chuck Berry adapted the boogie pattern on guitar for his songs "Roll Over Beethoven" and "Johnny B. Goode". Author Dave Rubin commented: The pattern "became one of the signature figures in early electric guitar-based rock and roll, such as that of Chuck Berry and the numerous rock musicians of the 1960s who were influenced by Berry", according to Perone. Although music historian Larry Birnbaum also sees the connection, he wrote that Johnson's "contributions to the origins of rock 'n' roll are negligible". The Rock and Roll Hall of Fame inducted Johnson as an early influence in its first induction ceremony, in 1986, almost a half century after his death. It also included four of his songs it deemed to have shaped the genre: "Sweet Home Chicago", "Cross Road Blues", "Hellhound on My Trail", and "Love in Vain". Marc Meyers, of the Wall Street Journal, commented, "His 'Stop Breakin' Down Blues' from 1937 is so far ahead of its time that the song could easily have been a rock demo cut in 1954." Several rock artists describe Johnson as an influence: Eric Clapton"Robert Johnson to me is the most important blues musician who ever lived". He recorded several of Johnson's songs as well as an entire tribute album, Me and Mr. Johnson (2004). Clapton feels that rather than trying to recreate Johnson's originals, "I was trying to extract as much emotional content from it as I could, while respecting the form at the same time." Bob Dylan"In about 1964 and '65, I probably used about five or six of Robert Johnson's blues song forms, too, unconsciously, but more on the lyrical imagery side of things. If I hadn't heard the Robert Johnson record when I did, there probably would have been hundreds of lines of mine