Artists That SHOULD Be in the Rock & Roll Hall of Fame: The 1980s

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We’re only a few days from the announcement of the latest artists and groups that will be named to the Rock & Roll Hall of Fame for 2020. For those that don’t make it in this year, they might be soothed by the idea that they should have many more shots at the brass ring. But who from the past may be running out of chances at getting into the Rock Hall?

Many might say that the truly immortal have already been enshrined and it is tough to nitpick this fact. Over the span of several essays, however, beginning with the 1950s and continuing in examining the 1960s and the 1970s, I’ve pointed out some artists and groups that have been overlooked for the honor of being inducted into the Rock Hall. In this, the final segment of our journey (we’d go on into the 90s, but only artists from 1990-1995 are currently eligible, so we don’t have a full decade to choose from), we’re going to take on a time when the music industry arguably made its biggest changes – the 1980s.

With the death of disco, the rise of New Wave, the “New Wave of British Heavy Metal,” the “popification” of country music and a little thing called Music Television (or MTV), the 80s would arguably be the most artistic time in the history of music (sorry, 70s fans). This decade also challenges what exactly is “rock & roll.” In the past, it could be said that it was defined as a hard guitar and three chords; with the advent of the 1980s, there were so many mashups of genres and different sounds being employed that the lines between genres began to blur. It is part of the reason that there are potentially so many candidates from the decade – and perhaps so many disappointments for fans.

I literally put together a list of artists and groups that, while great, I couldn’t decide whether they should be inducted or not. What do you do with Culture Club? How about X or Siouxsie and The Banshees? Living Colour? The Smithereens? I once again make the statement – this by NO means is a comprehensive list of those who have at the minimum an argument for being inducted. And this doesn’t consider those that have been nominated this year for induction, such as Nine Inch Nails and Depeche Mode. This is a look at arguably the most notable oversights by the Rock Hall to date – and they’ve got some time to change it, but not much.

Duran Duran

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Any list of 1980s artists or groups that should be inducted into the Rock Hall that doesn’t have Duran Duran somewhere near the top should be immediately ignored. The band exemplified the “New Wave” sound that echoed across the ocean from Europe, incorporating the dancier, synthesized “rock” that was becoming very popular at the start of the 80s. Along with other groups like Depeche Mode (nominated the last two years for induction), they were the backbone of the playlist on the burgeoning MTV through the 80s.

They would suffer a bit of a lull as the Grunge Era took over in the early 90s, but Duran Duran – named after a character from the Jane Fonda sci-fi film Barbarella – would reinvent themselves and come back better than ever. A career resurgence in the 90s and early Aughts saw them return as balladeers, with such songs as “Ordinary World” and “Come Undone” showing that the group was willing to change their sound with the times.

While they have been a darling of the fans over the years, the critics have been the shortcoming that possibly keeps Duran Duran out of the Rock Hall. 100 million albums sold in a career should say something, not to mention 21 Billboard Hot 100 hits over a 40-year timespan. But, perhaps showing the power that critical acclaim holds, the group has NEVER been nominated for the Rock Hall – perhaps it is time that fact was changed.

Iron Maiden

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For all the acclaim that Judas Priest has gotten as one of the members of the “New Wave of British Heavy Metal,” and for all the clamor to induct Def Leppard (who weren’t even the BEST example of the NWOBHM roster) last year, there is another band that has been greatly ignored from the discussion. Iron Maiden has arguably been just as influential (if not more so) than Def Leppard and right on the heels of the Priest (who were lumped in with the NWOBHM despite coming out a decade before the term existed) as to the power of their influence. Despite this fact, Iron Maiden has never even sniffed the nomination list for the Rock Hall, and that’s a travesty.

Prior to 1980, hard rock/metal was stuck in a sludge-like monotony and bands like Metallica (inducted LONG ago) and Iron Maiden took a decidedly different direction from their predecessors. Instead of miring in the muck, Iron Maiden picked up the speed and added a virtuosity that wasn’t always evident in hard rock/metal music. With their mascot “Eddie” dominating their album covers and, usually, their stage performances, the Maiden have dominated hard rock/metal for nearly 40 years.

In addition to that touring, Maiden has also shown their power with their fandom. Sixteen studio albums and twelve live albums have sold more than 100 million albums and critics have adored the band, especially most of their early work. The potential downside is that Iron Maiden has never been very “radio friendly” and, thusly, hasn’t achieved a great deal of chart success. This isn’t indicative of how great the band is and why it should be in and arguably should have been inducted long ago.

(On a final note here, this is the time when there is a true test of whether the Rock Hall is going to ever give hard rock/heavy metal its due. Judas Priest and Motörhead have been nominated in 2020 and are fighting to get in. Only ONE of the “Big Four” of the 80s metal scene – Metallica, Megadeth, Anthrax and Slayer – is inducted into the Rock Hall and the odds of the other three getting in are slim and none, with slim heading for the door. Could inductions of some of these artists indicate that the Rock Hall still cares about “rock?”)

The Smiths

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This was one that I had to debate for quite some time. I’ve never been a huge fan of the mopey, “goth” sound, simply because it is so morose, depressing and utterly void of an emotion outside “woe is me.” While I can understand where such writing comes from, that doesn’t necessarily mean that I want to wallow around in it. Thus, I really had to give The Smiths a hard look, especially since there are many others who swear by their work.

They’ve always been a critical darling and, for many fans, The Smiths’ spoke to something inside of them. That is one of the things that rock music is supposed to do – reach in and touch something inside of you. In the case of fans of The Smiths, it helped them through difficult times, told them that someone was experiencing the same issues that they were, and helped them avoid worse outcomes than if they hadn’t heard the band’s music. And honestly, in what universe does The Cure exist in the Rock Hall without their brethren in The Smiths?

Now, Morrissey may not have helped the band’s case with some of the statements he’s made in the past. And it is quite true that someone’s political and personal beliefs and/or actions have kept some nominees out (hi there, Ted Nugent!) or held up their nomination or election. In a perfect world, we’d separate those things away from the artistic side of the equation. In the case of The Smiths, it would be necessary to do to see them get the honor that they do deserve – even though I still don’t care for their music!

Kate Bush

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Before there was Lady Gaga, before there was Sarah McLachlan, before there was Tori Amos or Enya and even before an ingenue by the name of Madonna was making some noise, there was the ethereal voice of Kate Bush. Beginning in the mid-70s, Bush would provide voice work for Peter Gabriel before striking out on her own. Bush would break through with the angelic “Running Up That Hill” and “Wuthering Heights,” one of the rare instances of classic literature influencing someone’s rock musical stylings (a theme throughout Bush’s catalog). But Bush would also prove to be a groundbreaker in other areas, including synthesizer usage and, well, her being a female voice in a very male dominated business (it could be argued that she is the British equivalent of Pat Benatar, an artist who refused to let the record industry “sex up” her image to sell records).

Highly praised critically, Bush languished on the charts in the States, however. Other than the two songs mentioned previously, Bush had a hard time cracking the Billboard rankings. Still, Bush had huge success in Britain and Europe and continues to be a successful artist to this day. She was nominated for the Rock Hall in 2018 but, as with several other artists that earned only one nomination before being ignored, it seems that the membership of the Rock Hall are more interested in moving on to other more “accessible” artists and groups rather than honor eclectic and creative work from the past in Bush and other artists and groups.

The Go-Go’s/The Bangles

Let’s get beyond the fact that The Runaways should have been inducted and get right to the 80s, shall we?

Women were coming to the fore in the 80s, taking control of their own careers and playing the instruments instead of allowing the men to have all the fun (Ann and Nancy Wilson of Heart have to be added in that category, too, but I digress). And there were two acts that definitely rate getting into the Rock Hall. But if you could have only one of them, which one would it be?

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In my opinion, that would have to be the no-brainer induction of The Go-Go’s. Although their career was relatively short (only five years) and their catalog relatively limited (only four records, three of which were actually impactful), The Go-Go’s were groundbreakers in putting all-female bands into the musical discussion. They were very good musicians, especially guitarist Charlotte Caffey and drummer Gina Schock (what a drummer name!) and, powered by the force of nature that was vocalist Belinda Carlisle, the group was destined for greatness. If they would have stayed together longer (they already had the creative, influential and critical boxes check marked), they arguably would have already been inducted into the Rock Hall.

If you don’t like The Go-Go’s, there’s always The Bangles. From out of the gate with their initial releases of “Hero Takes A Fall” and “Going Down to Liverpool” in 1981, the melodic harmonies and tight musicianship masked a creative and critically successful group of women who were self-assured and didn’t rely on their sexuality to get across. Having said that, they did have singer/guitarist Susanna Hoffs on the mic, which didn’t hurt in getting them attention either. If you were going to have a downside for the group, it would be that they didn’t write their biggest hit “Manic Monday” (a song penned by the then-named “Christopher,” who turned out to be huge Bangles fan Prince).

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Looking back at the first three decades (roughly) of the history of rock and those still wrongly on the outside looking in, it is obvious that the Rock & Roll Hall of Fame has gotten it right more often than not. But, as more artists from the 90s and, in only five years, the Aughts start coming eligible, it is going to be tougher and tougher for those in the pre-50s to 80s eras to earn their seat in the Rock Hall. Furthermore, it is going to be tougher and tougher to discern just what is “rock & roll” as the genre lines blur even further. Then again, there is that argument that it is the Hall of FAME and not the Hall of PRETTY GOOD…and perhaps those from those earlier eras fall into the category of “pretty good” rather than the truly immortal.

Artists That SHOULD Be in the Rock & Roll Hall of Fame: The 1970s

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The current crop of artists and bands vying for entry into the Rock & Roll Hall of Fame is a very impressive lists. Cutting across all genres, including rap, pop, rock, metal and alternative music (it is arguable that folk isn’t included, but that’s a rarity instead of the norm), the potential inductees in 2020 will have many more shots at the brass ring. But who from the past may be running out of chances at getting into the Rock Hall?

There are 221 artists and/or groups in the Rock & Roll Hall of Fame, and many might say that the truly immortal have already been enshrined. It is tough to nitpick this fact but, in this first part of a series of essays on this subject, I was able to come up with five artists from the 1950s who have yet to be inducted for their influences on the world of rock music. In the second part of a multi-part essay series, the 1960s were covered with a selection of artists that covered genres that have contributed to the world of rock music. Now, it’s time for one of the most difficult decades to critique – the 1970s.

Before you think that all the greats from the 70s have been nominated, you’ve got to remember some that I’ve advocated for and for many years. In another article, I talked about artists such as Warren Zevon and Jimmy Buffett, who have never even been nominated. There’s also a corps of solid 70s rock bands – Boston, Styx and Kansas leading the way – that haven’t even been nominated. These artists and groups are a given, so let’s delve a little deeper and take a look at some artists who might not be on the top of the list but should be in the Rock Hall for their contributions to the genre (not saying those mentioned haven’t, but they’ve got their longtime advocates!). As a reminder, we’re not including those that have been nominated this year. And this by no means is a comprehensive list of those who should be inducted – they are arguably the most notable oversights, however.

New York Dolls

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While they may sound like they are a women’s professional football team, the New York Dolls were actually the genesis for several formats of rock in the States of America. Led by David Johansen (who would go on to arguably greater success as a character he created, “Buster Poindexter”) and backed by guitarists Johnny Thunders and Sylvain Sylvain, the group came out around the same time as 2020 Rock Hall nominee T. Rex. Much like T. Rex did in England, the Dolls embraced the glam style of rock and opened up some minds while expanding the musical landscape.

The Dolls are credited with having an influence on punk rock, glam rock, and even metal to a degree, while their style of androgynous dress – dressing like the opposite sex to the point where you couldn’t determine if they were women or men – became a staple of bands from the 70s through today. Their music impacted such diverse bands as the Sex Pistols, Guns ‘N’ Roses and the Smiths, with their lead singer Morrissey a proclaimed acolyte of the band.

What works against the New York Dolls is something that works against many bright, shining lights that burn out on the battleground of rock music – they weren’t around very long. Founded in 1971, by 1976 the band had broken up (by the time the band broke up, Thunders had quit the group and Blackie Lawless, who would go on to front his own band W.A.S.P., was doing the axe work for the group). As previously mentioned, Johansen would go on to do “Hot! Hot! Hot!” and front a full orchestra called “The Banshees of Blue,” which was a FAR cry from what he did during his days with the Dolls. The group would reunite in the 2000s, but the magic was gone. A fitting end for the New York Dolls would be to reach the ultimate goal – the Rock & Roll Hall of Fame.

KC and the Sunshine Band

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Although many don’t like to mention it, the disco era was a part of rock and roll. Many top rock acts of the day, including KISS (“I Was Made for Loving You”), The Rolling Stones (“Miss You”), Rod Stewart (“Da Ya Think I’m Sexy”), The Kinks (“Superman”) and many others all did a “disco” song, partially so that they would remain relevant during the disco era. As such, the Rock Hall should recognize the era and induct the best from that genre, starting with KC and the Sunshine Band.

Founded in 1973, the band would quickly find success in the discotheques of the U. S., first with “Get Down Tonight” in 1975 and followed by a litany of hit songs like “That’s The Way (I Like It),” “I’m Your Boogie Man” (covered by White Zombie is a genre mashup for the ages), and “(Shake, Shake, Shake) Shake Your Booty.” Of their six Top Ten singles, five of those went to #1 and the other went to #2…a pretty good track record.

There are many out there who would say that Chic, featuring the late drummer Tony Thompson and vocalist/producer/songwriter Nile Rodgers, would be a better choice, but why limit it to just one? Chic has been nominated on a few occasions and, honestly, should have already been inducted (Rodgers was inducted in 2017 via the “Award for Musical Excellence”). There’s no reason why both groups can’t be inducted, and it would bring the crème of the disco world into the Rock Hall.

War

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This was one that I had to really research before I came down for inducting the group. War was a groundbreaking funk act that not only pushed musical boundaries but also pushed the norms of the era. A multicultural ensemble, they were fronted for a time by Eric Burdon, who would ride with the group until he decided to go solo in the mid-70s. Whether with Burdon or without him, the group would put together a string of solid music.

Originally formed in 1969, War seemed to tap into the militancy of the time, when organizations and political elements felt they had to take stronger stances to make their points known. Beyond being multi-race, the music of War blended several different styles of music – Latin, jazz, blues and R&B – into a fusion that became a very recognizable sound. “Spill the Wine,” “Why Can’t We Be Friends,” and the classic “Low Rider” were the recognizable tunes from the band, only a sampling of the 14 songs that hit the Billboard Hot 100.

There might be others with a better chart history, but War delivered outside of simply the musical realm. They were groundbreakers in musical styling, they were groundbreakers in getting the best musicians for the band, regardless of race (much like 2020 Rock Hall nominee The Doobie Brothers), and they were able to maintain an excellence even after losing what many thought was the only thing driving them to success (Burdon). For these things, they do deserve induction.

Carole King and Gordon Lightfoot

As stated previously, I’ve been a longtime proponent of both Warren Zevon and Jimmy Buffett being inducted into the Rock & Roll Hall of Fame. They have both been at the forefront of their genres – Zevon in the creation of the “California sound” of country rock (along with another potential nominee, Gram Parsons) and Buffett in the creation of “trop rock.” But there’s a couple of other singer/songwriters that should also be inducted.

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Carole King’s contributions to the rock world are nearly too numerous to mention. Teaming up with Gerry Goffin in 1958, she would write 118 songs that hit the Billboard Hot 100, including such tunes as “Up on the Roof” (The Drifters), “One Fine Day” (The Chiffons), “(You Make Me Feel Like) A Natural Woman” (Aretha Franklin) and many others. When she finally got around to doing her own material, King only came up with Tapestry, considered one of the greatest albums not only of the 1970s but of all time. She’s technically in the Rock Hall as a “contributor” with Goffin, but she deserves her own place in the building as a performer and songwriter.

Lightfoot is one of those artists that many say, “he’s not in there already?” The Canadian is one of the people who helped move folk music into the mainstream with such tunes as “If You Could Read My Mind’ and “Sundown.” It is his epic tour de force on “The Wreck of the Edmund Fitzgerald” that most people remember him for, however. He’s been covered by such diverse artists as Johnny Cash, Herb Alpert, The Tragically Hip and Paul Weller.

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None other than Billy Joel has said that he intentionally wrote songs to “sound” like Lightfoot, all the way down to the vocals. This can be heard in Joel’s classic album The Stranger, with the song “She’s Always a Woman” being perhaps the best example of the Lightfoot influence. Lightfoot continues to perform, and strongly it must be added (usually when you see an 81-year old onstage, it isn’t their best work – Lightfoot is the exception); it would be fitting for the man to receive recognition for his life’s work.

Nick Lowe and Dave Edmunds

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This is arguably one of the more controversial choices because many people would say “who?” when these names are mentioned. But both men have been a key linchpin in the evolution of the British music scene, even today.

Lowe got his start in the early 70s with Brinsley Schwartz, a country and blues-based group, but his quirky approach and songwriting style didn’t lend itself to the staider sound that the band wanted. But it also allowed Lowe to pen songs that the band didn’t use that became staples of the rock world later on, songs such as “(What’s So Funny ‘Bout) Peace, Love and Understanding” (a massive hit for Hall of Famer Elvis Costello) and the song that would become his biggest solo hit “Cruel To Be Kind.”

Lowe’s greatest contribution in stride with his songwriting was his producing. Not only did he produce Costello for many years, Lowe would be at the production board for the eclectic lot of Carlene Carter (his now ex-wife), The Damned, Paul Carrack, The Pretenders, John Hiatt, the Fabulous Thunderbirds and even the late Johnny Cash. His nickname ‘Basher’ came about because of his “bash it out” style in the studio, simply playing the songs and waiting until getting in the editing room to sweeten any sounds.

Edmunds followed a very similar path to Lowe. Playing the bar scene around the U. K., Edmunds demonstrated his virtuosity on the guitar, mostly concentrating on the blues and rockabilly. One of his big hits was in 1970 with a version of “I Hear You Knocking” that became a huge success. In the 80s, he would have some dabbling success as he tried to ride the MTV wave with “Slipping Away,” but he would be most remembered for his partnership with Lowe.

The Lowe/Edmunds duo partnered on arguably one of the iconic albums of the early 80s with their group Rockpile. Seconds of Pleasure was the only “official” Rockpile album (with Edmunds and Lowe sharing vocals alongside guitarist Billy Bremner and drummer Terry Williams), but the lineup basically served as the band for albums from Edmunds (Repeat When Necessary), Lowe (Labour of Lust) and Carter (Musical Shapes and Blue Nun). The Rockpile Years were the fusion of their love for the past in rock history while trying to move it forward in their own way.

While their chart legacy isn’t anything remarkable, the Edmunds/Lowe combination was one that brought the British music scene from the rockabilly sounds of the 1950s to the Beatles to the New Wave of the early 80s and onto this century. Their partnership, while fraught with infighting and disagreements, arguably brought out the best creatively between the duo. Like Lennon and McCartney or Jagger and Richards, the duo of Edmunds and Lowe (and there would probably be complaints from Lowe that it should be Lowe and Edmunds) need to be recognized for their contributions.

Next up is a decade that is going to provide even more arguments between rock aficionados. The 1980s are going to start the blurring of the lines between what traditionalists call “rock & roll” and what some call “pop” or other genres that aren’t as readily recognizable as “rock.” As I’ve stated before, it’s a big umbrella when you’re talking about “rock & roll” and there’s going to be some artists in our next part of this series that aren’t going to be your traditional “rock & roll” artists or groups. But we’ll cross that bridge when we come to it…in the next part of this series!

Artists That SHOULD Be in the Rock & Roll Hall of Fame: The 1960s

RRHallofFame

The current crop of artists and bands vying for entry into the Rock & Roll Hall of Fame is a very impressive lists. Cutting across all genres, including rap, pop, rock, metal and alternative music (it is arguable that folk isn’t included, but that’s a rarity instead of the norm), the potential inductees in 2020 will have many more shots at the brass ring. But who from the past may be running out of chances at getting into the Rock Hall?

There are 221 artists and/or groups in the Rock & Roll Hall of Fame, and many might say that the truly immortal have already been enshrined. It is tough to nitpick this fact, but in this first part of a series of essays on this subject, I was able to come up with five artists from the 1950s who have yet to be inducted for their influences on the world of rock music. In this, the second part of a multi-part essay series, the 1960s will take center stage.

It can be argued that, of all the generations that have been covered by the Rock Hall, the 1960s have been scoured thoroughly for those that should be inducted. That isn’t the case, however, including one group whose contemporaries have earned their seat in music’s version of Valhalla but haven’t gotten the call yet themselves. (As a reminder, we’re not including those that have been nominated this year. And this by no means is a comprehensive list of those who should be inducted – they are arguably the most notable oversights, however.)

Blood, Sweat & Tears

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There are those out there that would argue that Steppenwolf might be a better selection here, but I am holding forth Blood, Sweat & Tears as the choice. One of the most highly trained bands as far as musicianship, BST incorporated a vast repertoire of styles into their music. Jazz, blues, and country were all fused together to bring out the recognizable sounds of BST, racking up three Top Ten singles (albeit no Number One songs) and ten overall Hot 100 tracks in their career along with massive critical acclaim for their work.

A few things that hold back Steppenwolf might hold back BST, however. They were only around for a short period of time (1969-1974), much like Steppenwolf’s 68-72 tenure. Second, when you look at who can claim to have been a member of the band, there’s a LONG list of players who played under the BST banner (I joked with another person that Steppenwolf’s roster of former members was as long as an NFL roster – BST’s is just about as bad!). I choose BST over Steppenwolf because of the melding of different styles into a new part of the rock scene – while Steppenwolf made the term “heavy metal” come about, it was about motorcycles, not the music they were doing!

Lou Rawls

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Rawls was one of those vocalists a person could hear and, once they were told who the singer was, that person would say “THAT’S Lou Rawls? I LOVE HIM!” That butter-soft baritone (to bass) voice was heard beginning in 1965, when he hit the charts with “Three O’Clock in the Mornin’.” His first #1 song on the Billboard R&B charts was 1966, when he would take “Love is a Hurtin’ Thing.” Overall, Rawls earned his way onto the Billboard Hot 100 18 times, the Billboard R&B 100 28 times and earn three Grammys for his body of work, with “You’ll Never Find (Another Love Like Mine” perhaps recognized as his masterpiece.

Rawls arguably paved the way for such deep-voiced vocalists as Barry White, 2002 Rock Hall inductee Isaac Hayes and a few others. And they would go on to bigger and better success than Rawls did. But that shouldn’t keep out the one who, along with Ray Charles and some other smooth-sounding soul legends, broke the ground for their success.

Charley Pride

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If you want to talk about a “Jackie Robinson” type figure, you don’t have to look any further than country music’s Charley Pride. Yes, there was a black man who was a member of the Grand Ole Opry back before World War II, but DeFord Bailey (thanks for recognizing him, Ken Burns!) would only crack the door slightly. Pride came along and kicked it off the hinges, becoming the first black singer to have substantial success on the country music circuit.

In the history of Pride’s record label, RCA Records, there was only one artist who outsold him…that artist was Elvis Presley. After a failed shot at playing professional baseball (in which he was once traded for a used bus), Pride got into his second love, music, and crafted his niche in the country music genre. He would make it onto the Billboard Hot 100 ten times, 52 Top Ten songs on the Country Hot 100 (including 30 #1 songs), won four Grammy Awards, was the Country Music Association Entertainer of the Year in 1971 (the first and only black artist to win that award) and has sold over 70 million albums in his lifetime.

There are those that say Pride might have already topped out the accolades with his induction into the Country Music Hall of Fame and membership in the Grand Ole Opry. But there’s one person who might want Pride to get full recognition – Darius Rucker, who made a long career with Hootie & The Blowfish before himself crossing over to country music and continued success. THAT’S what an inspiration does, and Pride is definitely that.

Tammy Wynette/Dolly Parton/Loretta Lynn

There is a dearth of women in the Rock Hall, especially those who have set the standard for female vocalists/songwriters with their career works. In addition to the gross overlook of Patsy Cline in the Rock Hall (discussed in the last segment of this series), there are other women who set themselves apart from the crowd that deserve their own recognition.

Photo of Tammy WYNETTE and Loretta LYNN and Dolly PARTON

Topping that list is Dolly Parton, who has spent basically the last 50 years proving everyone wrong about her talents. Originally just looked at as “eye candy” alongside Porter Waggoner, Parton quickly demonstrated that she played second fiddle to nobody, writing a string of hit country and pop songs that made her famous. Nine Grammy Awards, 25 #1 songs on the Country Hot 100, nominations for every part of the EGOT (Emmy, Grammy, Oscar and Tony Awards) and the author of over 3000 songs, Parton will forever be known as the woman who penned “I Will Always Love You,” taken to #1 twice by herself and 2020 Rock Hall nominee Whitney Houston.

Wynette and Lynn might not be as accomplished as Parton, but both or either would be worthy elections to the Rock Hall. Lynn might be the one to get the nod, however, because of her virulently feminist stance in an era when the “little lady” was supposed to be seen and not heard. Lynn wrote songs protesting the Vietnam War (“Dear Uncle Sam”), the way that divorced women were treated (“Rated X”) and birth control (“The Pill”) at a time when such discussion was quite controversial. Wynette would also have her moments in the sun during this era, but Lynn actually was the one rocking the boat…if that ain’t “rock and roll,” just what is?

The 5th Dimension

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This was one that, to be honest, I wasn’t aware of. I thought The 5th Dimension was already IN the Rock Hall. I looked it up and there were The Temptations and The Four Tops, but surprisingly the 5th Dimension wasn’t enshrined. This is arguably a gross oversight.

The 5th Dimension spanned the gap between the R&B world and the psychedelic world by delivering the anthem for a generation. “Aquarius/Let the Sun Shine” became the anthem of the Woodstock generation and 1969 was called “The Age of Aquarius” with this tune as its theme song. The group wasn’t just a one-hit wonder, however, hitting the Top Ten six times, the Top 100 30 times and the R&B charts 17 times.

Perhaps the best legacy of The 5th Dimension is that, when they did break up, the artists went on to further success. Founders Billy Davis, Jr., and Marilyn McCoo not only made great music as a duet, they were married and continued to have a happy life. Nick Ashford and Valerie Simpson, who were songwriters for The 5th Dimension, would also have their own success as a duet in the 1970s and 80s, but it all started with The 5th Dimension, something that should be honored.

The next part of this series will arguably be the toughest one of the lot. The 1970s gave us a great deal of legendary music and fantastic artists that created it for us. Like the 1960s, you might think that the 70s have been thoroughly covered, but that is far from the truth. There are some out there in the hinterlands that are waiting for their call from the Rock & Roll Hall of Fame to take their place in music’s Pantheon of immortals. But will that call ever come? As we will probably end every part of this series, the longer that we as fans – and the voters for the Hall – are removed from their heydays, the less likely it is that these artists and groups will earn their induction.

Artists That SHOULD Be in the Rock & Roll Hall of Fame: The 1950s and Before

RRHallofFame

The current crop of artists and bands vying for entry into the Rock & Roll Hall of Fame is a very impressive list. Cutting across all genres, including rap, pop, rock, metal and alternative music (it is arguable that folk isn’t included, but that’s a rarity instead of the norm), the potential inductees in 2020 will have many more shots at the brass ring. But who from the past may be running out of chances at getting into the Rock Hall?

There are 221 artists and/or groups in the Rock & Roll Hall of Fame, and many might say that the truly immortal from the 1950s and before have already been enshrined. It is tough to nitpick this fact, but in this first part of a series of essays on this subject, I was able to come up with five artists who have yet to be inducted for their influences on the world of rock music. In one case, the artist has earned a nod for their “early influence,” but they really should be inducted as well for the priceless value of their performances.

“Big Mama” Thornton

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One of the groundbreaking blues singers, Willie Mae “Big Mama” Thornton, called that because…well, there’s no way to be kind about this…she tipped the scales at around 450 pounds, was a vocalist who owned the R&B charts in the early 1950s. For those that only remember Elvis Presley’s 1955 version of “Hound Dog,” it was Thornton who originally brought the song to the masses in 1952 with her powerful version of the song written by Leiber and Stoller. She was one of the groundbreakers for women in the industry as well, like another person that will appear on this list.

The possible downsides for Thornton getting in is that she didn’t have the longevity that many would like in their performers. By the early 1960s, Thornton’s star had faded and many had forgotten about the blues pioneer. Also, beyond “Hound Dog,” Thornton did not have a lengthy list of hits, although another song she wrote and performed, “Ball ‘n’ Chain,” was never released by her record company; it would eventually become a monster hit in the hands of Janis Joplin, who viewed Thornton as an influence.

Dick Dale

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While the Beach Boys get the credit for the creation of “surf music,” that credit should really go to the master of the surf guitar, Dick Dale. Dale was at the forefront of innovation with the electric guitar in the 1950s, creating the “surf music” sound by combining Middle Eastern influences, reverb and pure speed in bringing out his unique sound. Dale’s career wasn’t a lengthy one but, to the Beach Boys, Jan & Dean and a host of other musicians and bands, Dale was a god.

Dale also is one of those artists that the Rock Hall misses out on honoring before they are no longer with us. Dale played right up to the last days of his life, passing away earlier this year from heart failure. It is very much like the nominations of Thin Lizzy and Motörhead this year, nominations that should have come long ago before the members of the group had passed away and not received the recognition they deserve.

Neil Sedaka

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This was one that I initially didn’t agree with before I started my research. I always thought that Sedaka was just another nauseating “candy coated” pop music thief of black artists’ music. It was only after I really started looking at his career that I gradually began to shift my opinion.

Sedaka started out in 1957 and, since that point, has written over 500 songs that either he or other popular artists have recorded and charted. His own performance library includes the classics “Oh! Carol,” “Calendar Girl,” “Next Door to an Angel” and “Breaking Up is Hard to Do.” After a lull when the British Invasion hit the U. S., Sedaka would come back in the 1970s with songs like “Bad Blood” and “Laughter in the Rain.”

Sedaka would also pen songs for such artists as The Captain and Tennille, ABBA, Connie Francis and Jimmy Clanton. Although I still am not a huge fan of him as an artist, I’ve got to give him credit for his longevity, success and critical acclaim that he’s garnered for more than 60 years.

Patsy Cline

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Anyone who watched Ken Burns’ documentary Country Music cannot disavow what Patsy Cline did for the music industry, country or otherwise. She was performing while still in her teens and her first big song, “Walkin’ After Midnight,” came when she was a mere 21 years old. That song, which topped not only the country charts but also the pop charts, catapulted her into the realm of the immortals.

Her contemporaries Brenda Lee and Wanda Jackson are already in the Rock Hall (Lee as a performer in 2002, Jackson as an “early influence” in 2009), so it is highly illogical to keep Cline out because she’s “not rock enough.” If it weren’t for Cline, it’s arguable that there’s no Dolly, no Loretta, no Reba, no Shania and no Miranda. And, taking the other path of the evolution tree, possibly no Janis, no Suzi, no Joan, no Anne and Nancy…you get my point. Patsy Cline deserves a slot in the Rock Hall.

Bob Wills and His Texas Playboys

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This is another artist that got a great deal of attention from the Burns documentary and it was well deserved. Their musical legacy is undoubtable, but what set Wills and his backing group apart was their non-stop touring, one of the things that is ENTIRELY rock and roll! The group would sometimes play three or four towns IN A SINGLE DAY and six of seven days per week (Wills did, as a good church man would, saved Sunday for worship).

Wills and His Texas Playboys technically are already in the Rock Hall as an “early influence” (1999), but they really deserve to be inducted as a performer outright. Without them, do we even hear of Hank Williams and his progeny, Johnny Cash, the “Texas Outlaws” (Willie Nelson, Waylon Jennings and Company) or a host of others who came out during the 1960s and 70s? Maybe we do, but Bob Wills and His Texas Playboys paved the way.

Speaking of the 1960s, there are some from that era who haven’t been inducted into the Rock & Roll Hall of Fame as of yet! In the next part of this series of essays, we’ll examine those that have been the biggest oversights and, as of yet, have not been inducted into the Rock Hall. Will these oversights be corrected? The longer that we as fans – and the voters for the Hall – are removed from their heydays, the less likely it is that they will earn induction.

The Aftermath of 9/11 – Has it Been Worth It?

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Today marks 18 years since the terrorist attacks on the World Trade Center changed the world forever, and not for just the States of America. 19 terrorist hijackers primarily from Saudi Arabia – 15 of them held Saudi citizenship, two were from United Arab Emirates, one from Lebanon and one from Egypt – seized control of four aircraft flying cross-country routes from Boston, Newark, NJ and Washington, D. C., to California (Los Angeles and San Francisco). Loaded with jet fuel, the terrorists utilized the planes as weapons, employing training that they had received at flight schools in the U. S. to pilot one plane each into the Twin Towers of the World Trade Center, one into the Pentagon in Washington and, after an uprising of the passengers on the flight, a forced crash landing in a field in Pennsylvania instead of its intended destination of the White House or Capitol Hill, home of the U. S. Congress.

The results of the 19 terrorists’ actions were immediate and numbing. 2977 people – and not all of them ever had any physical evidence of their existence ever recovered from the wreckage – were killed in the four instances, the worst terrorist attack on U. S. soil in the country’s history (the 1941 attack by the Japanese on Pearl Harbor technically did not occur on U. S. soil as Hawaii was a territory of the U. S. at the time, not a state). And, much like when Pearl Harbor was attacked, the response from the country was swift and powerful. But the question has to be asked – 18 years later in the aftermath of the 9/11 attack, has it been worth it?

In the days following 9/11, first responders sifted through the rubble of the Twin Towers, the Pentagon and that field in Pennsylvania, trying to find any survivors and, when it became apparent that there were no survivors, recover the bodies of those who were killed in the attacks. Meanwhile, the presidency of George W. Bush aggressively moved to act against an unknown opponent. In an address to Congress mere days after the attacks, Bush announced that a “war on terrorism” needed to be conducted and, with the blessing of both the House of Representatives and the Senate, received virtually everything that was asked, including wide-sweeping mass surveillance of citizens of the U. S. (the Patriot Act of 2001) and broad ability to conduct military actions anywhere in the world.

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That thoroughly expected military action is still ongoing. As a part of the actions given to the Bush administration, on September 14, 2001 a broad Authorization for Use of Military Force Against Terrorists (AUMF) was granted by Congress. This allowed the Bush administration to immediately attack – without the consent of Congress, who is the body that has the right to declare war against another country – anyone viewed as “responsible for the attacks of September 11” and any “associated forces.” The AUMF has since been used by subsequent administrations.

There has rarely, in the history of the U. S., been two documents that affected the future as much as the Patriot Act and the AUMF. With the Patriot Act, it became possible for the government itself to spy on its own people, something that would have been abhorrent to the founders of the country or, even more recent, those that fought against oppressive governments in Germany, Japan and Italy in World War II. With the AUMF, it basically allowed the government to wage war virtually anywhere in the world in the name of the “war on terrorism;” it has been used to justify military actions by not only the Bush administration but those of President Barack Obama and the current occupant of the White House in countries as diverse as Afghanistan, Yemen, Georgia, Syria, Kenya, Ethiopia, Iraq and Somalia, among others.

But other, uglier actions arose from 9/11. Now called “hate crimes,” attacks against Muslims, Middle Eastern “looking” people, people of Asian descent (Sikhs in particular, who wear turbans that are erroneously confused with being associated with the Islamic faith) and others precipitously rose, blaming them for the actions of the 19 terrorists. This included taunting people in public and burning mosques all the way to killing people, when white supremacists took lives of those that “looked like terrorists” or were “towel heads” in a murderous rampage. It is arguable that these actions go on to this day.

Citizens themselves are not absolved of any responsibilities or blame for the devolvement of society since 9/11, either. If Watergate damaged the image of the country in peoples’ minds, the 2000 election controversy between Bush and former Vice President Al Gore and the actions of 9/11 totally destroyed any belief in a “just” government. These shattered thoughts and beliefs have tumbled over the past two decades into a massive snowball that ravages the psyche of the country in an avalanche of unsubstantiated thoughts and “alternative facts,” weaponized by extremists and employed by those to justify their philosophies.

Beliefs that the U. S. were a part of a “New World Order” (a phrase, ironically, uttered by Bush’s father, George H. W. Bush) brought about the idiotic conspiracy theories that 9/11 was an act by the Central Intelligence Agency and other nefarious operators, both domestic and international, to take freedoms from the citizens of the U. S. The use of fraudulent intelligence by the Bush administration that led to the Second Gulf War and the overthrow of Iraqi dictator Saddam Hussein further ripped the fabric of the country. And the virulent rhetoric from both sides of the political aisle – that if you didn’t fully support “American” action, then you weren’t a “true American patriot” – contributes even today to the massive schism that exists in our political process.

The costs of the “war on terror” brought by the 9/11 attacks also have to be questioned. The human toll is striking and depressing simultaneously – the U. S. military has seen roughly 7000 deaths and tens if not hundreds of thousands of injuries from operations contributable to the “war or terror.” The civilian cost is estimated to be conservatively 1.3 million deaths, although some estimates set the total closer to four million. And the costs to cultural, religious and historic areas – ISIS has destroyed many sites of antiquity in their version of the “war on terror” – are too numerous to mention.

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The human costs are arguably the most important thing, but the financial costs of continuing the “war on terrorism” are approaching astronomical figures. Since 2001, it is estimated that the three U. S. presidential administrations that have conducted the “war on terrorism” have spent $7.6 TRILLION pursuing terrorist targets around the world and added $2.4 TRILLION to the U. S. budget deficit. This isn’t counting what other nations, including our NATO allies, have spent in their support of the actions following 9/11.

What has all of this brought to the U. S. and the world? “Terrorism” is something that can never truly be snuffed out. It is an action that dates back to biblical times (a Jewish group called the Sicarii would use concealed daggers to execute their targets in large crowds before slipping away and the Hashhashin, an Islamic sect, were a terrorist group in the 11th century that employed terrorist killings – the group’s name is where the word “assassin” comes from) but, in recent history, has moved from a “nation-state” action to a tool used by an individual political, religious or social group that has no traditional physical base of activity. It is one of the reasons that al-Qaeda (the terrorist organization responsible for 9/11), despite the protestations of the current administration, continues to thrive around the world.

And what has been the collateral damage from the aftermath of 9/11? In the U. S., we have raised a generation of children that know nothing but “war” and a misguided view of “patriotism” that is foisted by some who use that “war” as a political tool. In the world, there are people who have seen their families affected by the bombs of some far-flung U. S. drone attack, the bullets from a U. S.-made weapon or the ravages of imprisonment for “being (insert your religion or nationality here)” that has permanently implanted anti-U. S. sentiments in their minds. And the money that has been spent on the pursuit of “war” hasn’t been spent on areas to improve life for EVERYONE, significantly impacting all facets of life around the world.

On this 18th anniversary of 9/11 and in the future, as the costs both human and financial continue to rack up, we all must ask ourselves – “Was (Is) it worth it?” The nationalism that is becoming prevalent in the world nowadays can be directly traced back to 9/11 and it is something that has to be combated because it will only acerbate terrorism throughout the world. When it comes to the aftermath of 9/11, everyone has to have the ability to examine this question and plenty of other ones truthfully and come up with their own answers because this current situation cannot be continued in perpetuity. The current situation also cannot be allowed to flourish, lest it destroy civil society and plunge the world into an anarchistic state or theocratic or fascist rule. There is no such thing as “total security” and these thoughts present not only the people and leaders of the U. S. with a complex challenge but the world as well.

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If You’re Going to “Show Support” for the Military, Show it FOR ALL

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When it comes to my service in the military, I am proud of it, but I don’t make a big deal out of it. My Honorable Discharge hangs proudly on my wall (thanks to my Mom, may she rest in peace, for keeping it all these years) and I have several photos that show me at different stages during my four years of service. I do fly the United States Marine Corps flag on military and some national holidays but, as previously stated, I usually don’t make a big deal of my veteran status. A situation recently has made me rethink this situation, however, because it seems that veterans still get short shrift in most arenas.

Recently I was flying back from a fantastic family trip to the Outer Banks of North Carolina (something that I would encourage people to do at least once – it is a historic, beautiful, exciting and fun area to visit) and doing what is the worst part about flying – waiting for the call to board the plane. If you’re one of the few people on Planet Earth that haven’t flown, let me set the stage for you: imagine a herd of cattle in a pen waiting for the train to open up and then, in an orderly procession, slowly meander onto the transport. That’s what loading a plane is like, only in a human form.

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Anyway, back to the point. The gate attendant (the airline was unimportant, but they recently bought the naming rights to the Las Vegas Raiders new stadium) was doing a fine job, actually moving the cattle forward with some rapidity, when I heard her make this call. “At this time, we’d like to allow all active duty, reserve and retired military to board the aircraft first and thank you for your service.”

I’ve heard this on many an occasion but, for the first time, this set me off.

Airlines aren’t the only ones who have fallen victim to this mindset. Many restaurants and other businesses, when looking to “Salute the Troops,” will often use those three designations – active duty, reserve service and retired – often negating those who aren’t actively in service and didn’t retire from the Armed Forces but did actually served for a substantial amount of time in some cases. According to estimates from the National Conference of State Legislators, there are 18.8 million veterans in the United States. Of that total, there are roughly 2.1 million retired military persons and 2.3 currently active or reserve members of the Armed Forces. That means there are over 14 MILLION people in the States of America whose service to the country is being disrespected.

I am sure there are plenty of instances of this, but I don’t have to go any further than my family for examples. My service in the USMC was honorable but, after four years of active duty (and two more in the Reserves), I decided that the military lifestyle wasn’t for me and walked away. Service in the military isn’t for everyone and, although I credit the military lifestyle for being an important building block in the creation of me, I recognized that it wasn’t something that I wanted to make a career of philosophically, politically or otherwise. In short, I was proud of my service, but I wasn’t looking to do it permanently.

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For an example on the longer end my brother, from the time he entered the USMC, wanted to make a career of it. The little idiot actually signed up to JOIN THE INFANTRY, for fuck’s sake. And he served admirably in the first Gulf War, where he was injured by a shattered windshield on his troop carrier (the glass from the windshield nearly took one of his eyes out) as his unit rumbled into Kuwait City, but he refused the Purple Heart.

As the years went on, however, the wear and tear of the military and, in particular, the infantry requirements began to debilitate him. Four years short of making his lifetime goal – to serve for 20 years in the military – the USMC had to medically discharge him because his body was so broken down he couldn’t go on (a prime example of “the mind wanting to but the body unable”). So, for statistical purposes, my brother – who gave his body in service to the country – is NOT a “retired” veteran…just a “veteran” but not worthy of recognition. Nowadays he makes do, but without the retired military veteran’s pension that he had worked so long for.

This type of story can go further, even to today’s veterans. How many of the young men and women have returned from Iraq or Afghanistan, after four or eight years of service (or shorter, in some cases) with debilitating or life-altering injuries, and face this same type of thought? That you are “not worth honoring” because you aren’t currently serving or retired? And what about those 14 million plus veterans who did their jobs – and did them honorably, from Berlin to Okinawa, from Vietnam to Korea, from Grenada to Beirut, from Baghdad to Kabul, in “peacetime” (an oxymoronic statement about the States of America) and in times of war – but yet are neglected when it comes to recognition or treatment?

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Recognition of veterans has always been a bit shitty in the States of America, to be honest. We talk a good game about “supporting the troops” but, when it comes down to actually taking care of that Afghanistan veteran, now a quadriplegic, who is trying to get by on a Social Security check or getting the right mental health care for that Vietnam veteran who saw a village on the Mekong wiped out by napalm and still wakes up at night screaming, this country hasn’t come up for them. We have an amazing capability to create veterans, we also have a tremendous ability to tell them to fuck off when they need help the most.

In the grand scheme of things, whether ALL veterans are honored with special treatment isn’t that big a deal. But instead of segmenting some for “special recognition,” it perhaps would make more sense to either recognize ALL of those who served – regardless of whether they are active, retired or “just a veteran” – or just don’t bother with the platitudes. If you want to show “support for the troops,” how about taking care of them once their service is complete rather than a couple of bucks off a meal at Golden Corral?

“Conservatives,” It’s Time to Get Off Your Ass and Reclaim The GOP

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Even though we’re in the infancy of the 2020 Presidential Campaign, we’ve already been hearing plenty about the candidate that the Democratic Party should choose. Some on the left have advocated for extreme left wing, progressive philosophies that harken to a socialist democrat state in Scandinavia. Then there’s those in the moderate/center left branch – and even some moderate “Republicans” – that are advocating for a more mainstream, middle of the road candidate. Instead of doing these things – because with 24 candidates to choose from, there’s going to be a process until it is decided who are the serious contenders – how about “conservatives” actually get off their ass and reclaim the “GOP” from the POT?

Currently the most divisive president in the history of this country is sitting in the WH, and don’t even open your yaps about “but Obama…” Obama was NOT a racist son of a bitch. He was NOT a xenophobic asshole. He was NOT a misogynistic, narcissistic bastard. He didn’t constantly feed red meat to other racist motherfuckers with his verbiage, his actions or his policies. This IS ON THE “CONSERVATIVES,” on them – if they believe that they have a future – to reclaim the party they sacrificed in 2016 when they nominated this asshole to the Republican Party.

So, you say he’s not a racist? THE FEDERAL GOVERNMENT sued and won a case regarding his discrimination against blacks in housing. He tells FOUR AMERICAN CITIZENS – three of whom are BORN IN THIS COUNTRY – to “return to the country they came from,” a racist dog whistle that blows loud from every racist motherfucker knuckle-dragging their way to the redneck bar. He says white supremacists are “fine people.” He sidles up and has warm, wet kisses with fascists, despots and dictators. You NEED MORE to demonstrate his racism? Try this…and this…and this. You don’t get the NAACP Man of the Year award if you’ve got this many issues. In fact, he’s NEVER won an “award” from the NAACP. (And before anyone pipes up about the Ellis Island Award, he got that the old fashioned way, the same way he got his star of the Hollywood Walk of Fame – he bought the fucker.)

Anyway, back to the gist. For all the “conservatives” trying to advise the Democrats on who they should nominate, they should perhaps look in the mirror and into their own souls. You continually say that this isn’t “indicative of the party” or “indicative of what we believe.” Yet you continually support the policies promoted by this fascist bastard and DON’T STOP HIM AT ALL.

But the stock market’s doing SO GOOD!

But my 401k looks GREAT!

The unemployment rate is down!

All bullshit statements.

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If you are willing to sell your souls for a few extra dollars in a retirement account that will sit there until you too goddamn old to be able to use it for anything fun, then what would it take for you to actually throw the switch on a gas chamber and kill some “illegal” immigrants? Two percentage points growth in the GDP? A few more hundred points on the stock market? If this is your rationale for accepting the idiocy that you see, then that says a great deal about your character and your soul.

If you are REALLY against what Orange Foolius is doing, then actually DO SOMETHING ABOUT IT. 2020 is around the corner. VOTE AGAINST HIM and get him out of the office. If you are as concerned as you say you are about “the United States of America,” then this embarrassment in the history books must be corrected. And you CAN vote against him, you don’t have to support every iota of inanity that he does. Because when you do, you become COMPLICIT in what he is doing. Do not ever let me hear a “Republican” or a “conservative” EVER talk about morality, upholding the law or “religious freedom” ever again, because you have sacrificed any position or moral stance with your support for your “Dear Leader.”

It is up to you, “conservatives.” If you say this person isn’t representative of you, that the racist fucks that exist in this country aren’t reflective of your “base,” it is time to goddamn prove it. Vote against him – and yes, I know you love stealing Supreme Court seats and gerrymandering voting districts, but this isn’t a coffee klatch we’re talking about…this is the future of this country. Sometimes you must admit you were wrong, “conservatives,” and this was a big one. You want to reclaim the GOP and have a future…exorcise this past. Otherwise you will wander the deserts as the POT (the “Party of T***p) dies a cruel death.