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

RockHall3

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

NewYorkDolls

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

KCSunshineBand

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

WarBand

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.

CaroleKing

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.

GordonLightfoot

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

LoweEdmunds

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!

2016 Rock & Roll Hall of Fame Nominations: Who Gets In?

It seems that there is a “Hall of Fame” for virtually every aspect of human existence. If you are into clowns, there is the International Clown Hall of Fame in Milwaukee, WI, that is in actuality a serious look at a funny industry. On the lighter side, there is a Recreational Vehicle and Manufactured Housing Hall of Fame in Elkhart, IN, the “Pig Hill Hall of Fame” in East Elijay, GA and the International Hamburger Hall of Fame in Daytona Beach, FL (look these up, you’ll enjoy the laugh). Whereas some of these exist with their tongue firmly planted in cheek, there are those that have the gravitas deserving of a memorial to excellence.

Where the Rock & Roll Hall of Fame in Cleveland, OH, lands is something that is debatable among Halls of Fame and music aficionados. In my opinion, it does honor, cherish and memorialize the greatest musicians and performers that have come through the genre. On the other hand you have my friend Mark, who believes that the Hall “is a totally lost cause and deserves to be burned to the ground…then the ground itself sewn with salt and dumped into Lake Erie.” As you can tell, just a little difference of opinion there.

Created in 1983 by a contingent of music biggest names (then-Atlantic Records founder and chairman Ahmet Ertegun, Rolling Stone founder Jann Wenner and several other prominent music executives), the Rock & Roll Hall of Fame didn’t get around to inducting members until 1986, when the inaugural class consisting of such luminaries as Chuck Berry, James Brown, Ray Charles, Fats Domino, The Everly Brothers, DJ Alan Freed, Buddy Holly, Jerry Lee Lewis and many others (here’s the list) were voted in as the inaugural class. Even after they started inducting members into the “Hall,” they lacked a physical location to properly acknowledge the inductees.

Although several cities with extensive ties to U. S. music history and the foundations of rock music, including Memphis, Detroit, Cincinnati and New York City were considered for the location, it was Cleveland that came up as the big winner in being named the home city of the Rock & Roll Hall of Fame in 1986 (Wenner was disappointed that New York didn’t get the Hall). Why did Cleveland, of all places, get the Hall? As it is with most things, it was money; Cleveland ponied up $65 million in public funding and more than 600,000 residents demonstrated their desire in signing a petition to bring the Hall to “America’s North Coast.”

Even with the money and the people in place, it would take another decade before the physical Rock & Roll Hall of Fame was built. In 1995, the I. M. Pei-designed building opened amid the fanfare of a huge concert that featured such rock luminaries as Bob Dylan, Aretha Franklin, Bruce Springsteen and Iggy Pop. Since then, it is estimated that more than 9 million visitors have made the trek to the Rock & Roll Hall of Fame to pay their respects to the legends of the industry.

Now in its 33rd year of existence, the Rock & Roll Hall of Fame has caused its share of controversy as well as celebration. For every rock legend like a Buddy Holly or Chuck Berry ensconced in rock music’s Mount Olympus, there are those such as Dinah Washington (1993), Earth, Wind and Fire (2000), Grandmaster Flash and the Furious Five (2007) and many others who aren’t exactly what you would think of when mentioning “rock music.” In particular, there is the Rock Hall’s recent moves toward recognizing “pop” music in its rolls (Madonna in 2008 and ABBA in 2010, to be precise) that seems to have angered rock “purists” beyond belief.

In my opinion, “rock music” is a wide encompassing umbrella. While some may not believe that the legendary bluesman Robert Johnson (an original inductee in 1986) had an influence on the genre, his exclusion from the Hall would be laughable for an organization looking to honor those who created “rock music.” Even such artists as Grandmaster Flash, one of the groundbreaking musicians in the rap genre, deserves induction into the Hall for his contributions to, yes, “rock music.” While I might have some personal preference issues with some of those in the Hall (especially Madonna), I’m more of the line that they are worthy of their inclusion in the institution due to their overall contributions to music in general and sometimes even rock music.

The list of nominees for induction in 2016 to the Rock & Roll Hall of Fame once again reach across the decades and the genres. So who will have the best chance to get in this year? I’ve broken it down into three categories:  Shouldn’t Even Be Considered, Borderline Excellence and Sure Shot Legends.

Shouldn’t Even Be Considered

Chaka Khan – A long career in the industry best identified by her work with the seminal R&B group Rufus, but not exactly what I would call an indispensable musical artist. Without the ability to actually cite someone that she has had an extreme influence on – perhaps Nora Jones, maybe Alicia Keys? – Khan loses points on the “legend” scale. Add in the lack of longevity to her career and I’d have to say Khan shouldn’t be considered.

Chic – If this were a question as to voting in two of the members of the band – guitarist/producer Nile Rodgers and drummer Tony Thompson – then I’d be more than willing to welcome them into the Rock & Roll Hall of Fame. The problems are that Chic didn’t last all that long – they were one of the powerhouses of the Disco Era – but both Rodgers and Thompson’s greatest work came outside of their Chic days. Rodgers has been an outstanding producer across the entirety of the musical spectrum and Thompson laid down some of his best work with the rock super group Power Station. To put the entire band in when it was really Rodgers and Thompson who are deserving of the honor is a bit much.

Los Lobos – There is more than enough room in the Rock & Roll Hall of Fame to look at how different cultures had an impact on the formation of the genre. For their part, Los Lobos is one of those artists or groups that would have to be considered. Unfortunately, they fall short on several aspects, including influence on later artists and general impact in the history of rock. Their only #1 song in the U. S. was a remake of “La Bamba,” for crying out loud. Los Lobos, unfortunately, shouldn’t have even made this list.

Steve Miller – The thing about ANY “Hall of Fame” is that it isn’t a “Hall of the Pretty Good.” That same “level” of excellence needs to be used here with Steve Miller. Although Fly Like an Eagle was a legendary album and certain songs he created are very memorable, I don’t hear any artist over the past 20 years or so admitting how much of an influence Miller was on their careers. I can’t put someone in the Hall that was simply good at doing their job, as Miller was, thus he falls into this category.

The Spinners – Once again, a case of pretty good but not legendary. The Spinners actually should be praising those legendary R&B groups before them (The Temptations, The Four Tops, etc.) as there aren’t many that note them as a seminal influence in their formation. Also not very long-lived as a group.

The Smiths – This is one of those that is on the border between getting out of this ranking and into the “Borderline Excellence” grouping. The group has had a huge influence on many other rock acts following it, but to say it had a huge degree of success might be stretching the term. Morrissey probably had more of an effect as a solo artist than the band did as a whole and longevity has to be called into question.

Borderline Excellence

Cheap Trick – As a longtime fan of the band – they were a constant on radio stations and at parties when I was growing up – I’d like to give Cheap Trick more love than I believe the Hall voters are going to give them. The band was a regional act – highly successful in the Midwest – but didn’t exactly have the staying power as the 80s closed. They are also hugely overrated by VH1, who put them in at #25 of the Greatest Artists of Hard Rock. In fact, Cheap Trick has the potential to go from this category down to the previous one.

The Cars – Another one of those “great, but not immortal” bands that came out of the 1980s. Unless you count singer Ric Ocasek’s ability to pick up a stunning bride (model Paulina Porizkova), The Cars weren’t outstanding in any area. They showed up, they did the job and they took home the supermodels. There are many other people who are more deserving of a seat in the Rock & Roll Hall of Fame over this band.

Janet Jackson – This was a problematic one for me. Ask three different people where she should be, according to the rankings that we have here, and each of those three different people would probably put her in each category. She didn’t exactly blaze a trail – her brothers did that for her – and her music wasn’t exactly groundbreaking or influential. For a period there in the 80s, however, it was either her or Madonna reigning as the dominant female artist on the charts. For me, she falls into this category and perhaps one day might sway me to having her in the Hall.

Nine Inch Nails – Here we have another band that is thisclose to ticking over into the “Sure Shot Legends” group. Trent Reznor’s pet project for well over two decades, the band pushed the “industrial” rock movement forward and was the catalyst for a band such as Rammstein and much of the EDM movement today. Reznor is a talented musician who has won an Oscar for his score of the film The Social Network and is the recipient of other major awards; a couple more achievements like that and Nine Inch Nails will get in if not Reznor by himself.

Sure Shot Legends

Chicago – One of those bands that you say to yourself, “You mean they aren’t already in?” Chicago pioneered the jazz fusion rock that seemed to come out of the late 60s/early 70s, something that is still heard today in some of the music (Michael Buble or Adele comes to mind). For much of the 1970s and even the early 1980s, Chicago was a dominant force on the music scene. We’ll have to cut them some slack for the Peter Cetera Years, but it is high time that Chicago was a part of the biggest club in rock music.

Deep Purple – One of the most egregious errors ever committed by the Rock & Roll Hall of Fame has been the omission of this band from its rolls. The originators of “hard rock” or “heavy metal,” the band lasted from the late 60s into the 21st century, churning out bombastic rock all the way to the end. They also inspired many hard rock and metal bands that came out of the latter half of the 20th century. The only problem with putting Deep Purple in the Hall is which “Mark” do you put in? My vote goes to Deep Purple Mark II, which featured Ian Gillan, Jon Lord, Roger Glover, Ian Paice and Ritchie Blackmore as the members of the band and originators of such classics as “Smoke on the Water” and “Highway Star.”

The J.B.’s – If you’re going to have the singer for the group – legendary R&B performer James Brown – in the Rock & Roll Hall of Fame, you’ve got to have the band that backed him up. While Brown was renowned for the incendiary performances that he would leave on stage, somebody had to keep up with him on the musical side of the equation. The J.B.’s did exactly that, with saxophonist Maceo Parker and the Collins BrothersWilliam “Bootsy” and Phelps “Catfish” – eventually moving on to another landmark group, Parliament/Funkadelic in later years.

N.W.A. – This is probably my most controversial selection for election into the Hall. The originators of “gangsta rap,” N.W.A. still has their imprints on the music scene today. When they came out in the late 80s, their fist-to-the-face depiction of life in the inner city served as a reminder of what music can do when used as a tool for social change. It may be arguable whether “gangsta rap” effected that change at all, but it wasn’t for a lack of trying from N.W.A. and others. Add in the influence that the group had on other artists and N.W.A. should have been in the Hall long ago; they’ll probably get in this year on the steam generated from the film Straight Outta Compton.

Yes – Much like Chicago, “They aren’t in already?” The two bands are quite similar in that Yes was one of the first bands to push the “progressive rock” (or “prog rock”) sound that incorporated a great deal of keyboards and operatic flourishes. Yes was a “jam band” before jam bands were cool, often putting out individual songs that seemed as long as some artists’ albums. “I’ve Seen All Good People,” “Roundabout,” “Owner of a Lonely Heart” – the band was a critical and commercial success across the ages and, as such, deserves to be in the Hall.

The Rock & Roll Hall of Fame will allow for fans to vote on their website and that “fan vote” will be tabulated alongside ballots from other musical dignitaries to determine the final five or six who will walk through the doors in Cleveland to further rock immortality come April next year. Who will earn the honors? We’ll find out at the beginning of 2016.

Who should have been nominated? That, my friends, is a subject for another time…