Who Will Be the Inductees for the 2018 Rock & Roll Hall of Fame?

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It is always a favorite time of the year for me. The announcement of the nominees for induction into the Rock & Roll Hall of Fame always draw a great deal of commentary, either about how well the “keepers of the Hall” did in making the nominations or in how much they screwed it up. Thus, when the nominees list was released last week, it was a cause for celebration or debate, depending on how you liked the list.

First, however, let’s look at who WASN’T on the nominee list…

PAT BENATAR

Just what does it take to get the preeminent female rocker of the 1980s to even get a NOMINATION to the Rock & Roll Hall of Fame, let alone inducted? A four-time Grammy winner, two multi-platinum albums, five platinum albums, three gold albums and rock anthems like “Heartbreaker,” “Hit Me with Your Best Shot,” and “Love is a Battlefield,” Benatar should have been in LONG ago. As of yet, however, she has not received even a nomination.

DURAN DURAN

They were a seminal part of the success of MTV back in the day and they brought about (for better or worse) the “video” era of music. They were nominated previously (at least they have that) in 2015 and 2016, but were overlooked this year. Along with their importance in MTV’s formation and development, the band was highly successful with critics and fans (and the fact that they are the only band who ever had a theme to a James Bond film go to #1 on the Billboard charts – “A View to a Kill”). If you’re going to induct other pop icons from the 80s like Madonna and such, Duran Duran deserves consideration.

OZZY OSBORNE

Sure, he’s already in as a member of Black Sabbath, but Osborne’s solo career lasted longer than his tenure with the Sabbath. In addition, it is arguable that his solo work – along with his continued discovery of ace guitar slingers like the late Randy Rhoads, Jake E. Lee, Steve Vai and Zakk Wylde – has been more influential than his previous time with the Sabbath.

I could keep on going (trust me, there’s plenty of snubs out there), but that would be a distraction from what we’ve come together for…the breakdown of the nominees. Here are your nominees for 2018 (in alphabetical order), a bit of backstory and an examination of their chances for induction come Spring 2018.

BON JOVI

Whether you like it or not, Bon Jovi was a force to be reckoned with in the 1980s. That Jon Bon Jovi has “kept the faith” for the most part with the other members of the band – save guitarist Richie Sambora – and continued to perform into the 21st century, it is difficult to conceive that they won’t be voted in by the Hall. Look for them on stage doing “You Give Love a Bad Name” next spring.

KATE BUSH

To be honest, I was completely stunned to see Bush nominated. Her ethereal voice and eclectic musical stylings were an acquired taste (one I tremendously enjoyed) and, thus, she never was a darling of the U. S. market (the U. K., her home country, LOVED her). If we’re looking at the critical aspect, Bush is a shoo-in; if it comes down to some perception of “popularity,” then probably not.

THE CARS

This might stun some readers, but I’ve had a complete 180 on whether the boys from Boston belong in the Hall. Last year I said that they weren’t good enough but, after I went back and reviewed their catalog, the diversity of their music swayed me. In the 70s, The Cars were a straightforward guitar rock band. As the 80s came along, however, they adapted to New Wave and then the MTV Generation, all while maintaining an unsurpassed quality to their overall efforts. It changed my mind and, hopefully, others will have reflected like I did and The Cars will enter the Hall this spring.

DEPECHE MODE

While I appreciate the music of Depeche Mode, it isn’t something that really set them out from the crowd of synthesizer bands of the 1980s. INXS, The Cure, The Human League…there’s a litany of bands that were similar in style to Depeche Mode that have just as much claim to a spot in the Hall. That’s why they won’t get in…it isn’t the Hall of Pretty Good, it’s the Hall of Fame.

DIRE STRAITS

This one falls under the category of “they weren’t in already?” Mark Knopfler’s exquisite finger picking guitar style is unique in the world of rock and makes for a distinct sound for the band. Add in a nearly 40-year career in creating smart, enjoyable songs and albums and it is long overdue for Dire Straits to be inducted.

EURYTHMICS

Here is another dilemma facing the voters. While Annie Lennox and Dave Stewart DESERVE to be in the Hall of Fame, there is a logjam in front of them for inductees. The problem with this (as you’ll see here in a second) is if you aren’t inducted early on in your eligibility, then you kind of get forgotten about. Unfortunately, that’s what I see happening to Eurythmics, who are more than qualified to be in.

J. GEILS BAND, LINK WRAY, LL COOL J, MC5, THE METERS, THE MOODY BLUES, RUFUS featuring CHAKA KHAN, and THE ZOMBIES

There was a reason I grouped all these artists together:  it’s because the explanation for their denial of entry into the Hall of Fame is based in the same reasoning. All had their moment in the sun in the History of Rock, but none of them ever made my jaw drop and say, “I’ve GOT to go see them perform!” About the closest one who would come to that criteria would be the J. Geils Band and MAYBE the Moody Blues. All of them together, however, are a part of that “Hall of Pretty Good” argument.

JUDAS PRIEST

If you’re going to recognize hard rock/metal in the Hall of Fame, it is incomplete without Judas Priest. Still pounding out their sound going on 40-plus years now, the Priest is, in many people’s opinion, THE preeminent hard rock/metal band. They definitely invented the “leather and studs” look that was prevalent for theirs and other bands and Rob Halford is one of the most memorable voices in the genre. As the ground breaker for a genre, Judas Priest should have been in the Hall long ago.

NINA SIMONE

Nothing against Simone or the massive amount of talent the woman had – and the travails she had to navigate through in the pre-Civil Rights era – but she’s just not “rock and roll.” There are at least a few nominees of this ilk every year for the Hall of Fame because, in some cases, while they are not traditional “rock and roll,” their style, attitude or actions has had an influence on the overall genre. Simone’s vocal abilities are legendary, but her overall influence on “rock and roll” is limited. Simone isn’t even a member of the Rhythm and Blues (R&B) Hall of Fame, making it tough to justify selection for the overall Rock & Roll Hall of Fame.

RADIOHEAD

Long a critical darling, Radiohead is one of those “fringe” rock bands that probably will come up in discussions over the next few years but never get in. Much like Television or Kraftwerk, they were seminal parts of the rock genre that inspired many acts that followed, but they’re just a little too obscure to capture the attention of many. As such, I don’t think that Radiohead will get into the Hall…but I’ve been wrong before.

RAGE AGAINST THE MACHINE

Here is the only other slam-dunk choice for the Rock & Roll Hall of Fame for 2018. Over the span of only four albums, RATM spawned the “rock/rap” genre. Beyond that point, RATM brought back one of the purposes that originally drove rock & roll:  the political nature that tries to change society. The lyrics of the band – enunciated to their full power by Zach de la Rocha – and the searing guitar work of Tom Morello gave their protests full throat. Morello is trying to keep the passion going that RATM brought with Prophets of Rage (and Chuck D of Public Enemy), but he’d be better advised to get back with de la Rocha.

SISTER ROSETTA THARPE

If you’ve never heard of Sister Rosetta Tharpe, you can be forgiven. But the work done by the woman – playing rock & roll when there was NO SUCH THING – cannot be ignored. In the 1930s and 40s, Tharpe melded blues, gospel, bluegrass, and country into a brew that eventually would become rock & roll music, influencing some of the biggest MALE names that ever were uttered in the music industry. Little Richard, Johnny Cash, Chuck Berry, and Elvis Presley all cited her as influential and her guitar work wouldn’t be out of place in today’s rock world. If you’d like to learn more about her, YouTube has a simply outstanding look at her life that is well worth the time to check out.

Guess it would be obvious that I personally think Sister Rosetta Tharpe should be inducted this spring!

Fans will be able to vote on the inductees, choosing up to five candidates per day until the vote closes. The top vote getter from that process is usually a lock for entry – the previous five winners of the Fan Vote (Rush, KISS, Stevie Ray Vaughan, Chicago, and Journey) all were inducted – and there are usually six or more nominees inducted. We’ll find out next spring who will be the newest members of the Hall…and we’ll be back to debate the merits of those inductions!

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Volbeat Deserving Of “Next Big Thing” Status; Amaranthe Presents Unique Sound

One of the things I enjoy in my well-rounded life is some great music. There are things that I come across that I simply cannot stand (such as Taylor Swift’s caterwauling…seriously, can someone give the girl a gift certificate to buy a voice?), but when I come across something I find great, I like to tell people about it. As my general preference is for harder edged rock, it will often go in that direction (but not always…).

Of late, there are several bands that I am very high on. Previously I told you about Halestorm and, if you want to get on that train, they should have a new album out towards the end of the year (meanwhile, jump on their ReAniMate 3.0 covers album). Here’s two more that you should be considering: one is a major opener for one of the biggest tours of the summer and the other presenting a different sound, if you will, in the hard rock genre. As always, I don’t claim to be on the band first, but I do think they’ve got some legs to them for the future!

Volbeat

Volbeat is a band out of Denmark that has been a 16-year “overnight success.” Despite having great success in Europe with their mixture of rockabilly, hard rock, and punk – surprisingly, the band rarely embraces a hard-core metal or thrash sound – Volbeat was unable to penetrate the U. S. market to any great extent. That changed with their latest release, Seal the Deal and Let’s Boogie, which debuted in the Billboard Magazine‘s Top Five Albums the week of its release last year. As we speak, Volbeat is joined by Avenged Sevenfold (on some stops) as the warmup acts for the massive Metallica “WorldWired” tour that is hitting stadiums in the U. S. and worldwide.

That they all are considered hard rock acts (Metallica delves into thrash metal and A7X crushes their more metalcore sound) demonstrates the diversity of the hard rock arena. Volbeat, as stated before, aren’t your typical metalheads, incorporating sounds from across the spectrum into their particular brew. On earlier efforts, Volbeat’s sound was more inspired by country music such as Johnny Cash (their effort previous to this, Outlaw Gentlemen and Shady Ladies, had a theme to it that gave you impressions of a Clint Eastwood spaghetti Western). With Seal the Deal, however, Volbeat has a sound more reminiscent of The Offspring than anything else.

The first song on the album, “The Devil’s Bleeding Crown,” was a very strong effort that just didn’t seem to click with U. S. audiences when it was released as a single. It wasn’t until the eponymous title track was released that some success occurred for singer Michael Poulsen, guitarist Rob Caggiano and bassist Kaspar Boye Larsen. “Seal the Deal” was a powerful piece of music that rumbled from the speakers, with the guitars provided by Caggiano being particularly notable. Since then, hard rock radio has been all over “Black Rose,” which may outdo “Seal the Deal” in popularity.

Surprisingly, Volbeat can sound almost melodic with the music they create. Do not be fooled, however, they do have an edginess to their lyrics that can be surprising and, in some songs, imagery of Hell and the Devil are implied. There are tunes about darkness, redemption and “selling the soul” that some might not like. That would be their misfortune, because most of the songs have a finish where, if the protagonist doesn’t emerge on top, they are at least fighting towards the future.

Along with the songs mentioned above, there are a couple other efforts that are noteworthy on Seal the Deal and Let’s Boogie. “The Gates of Babylon” is a very good track from the album, but it is a cover song on the album that is even more surprising because of its quality. Taken from the Georgia Satellites (an 80s outfit that is highly underrated), “Battleship Chains” demonstrates that Volbeat takes their inspiration from a wide assortment of musical genres. The future is going to be fantastic for this band and, with the next couple of years, I can easily see them becoming a huge part of the music scene in the U. S.

Another great foreign act that has been chipping away at the walls in the U. S. (the metaphorical ones, not the ones some idiot wants to put up) is Sweden’s Amaranthe. Another one of those multi-year “overnight sensations,” the band actually started in 2008 and has been pretty much non-stop touring and recording since then. They had a bit of success in 2013 with the song “Drop Dead Cynical” from their Massive Addictive album, but they have found their stride with their latest release, Maximalism.

Pinning Amaranthe down to a “sound” is roughly like trying to give a cougar a bubble bath in a thimble. First off, the band encompasses some elements of EDM but loves to roll out a metal guitar assault to go over the hypnotic background. They can sometimes veer into the realm of “pop” music, which may offend some of those who are more hardcore, but they always seem to be able to bring it back to a more “hard rock” sound when necessary. That may be because of the triumvirate of vocalists that Amaranthe employs.

Amaranthe

That’s right…three vocalists. First there is Elize Ryd, who gives an ethereal quality to some songs when she’s not rocking out with an unbelievable voice. Ryd gives credibility to the Amaranthe sound whether they are in their more experimental modes or they are driving the guitars down your throat. A nice meshing with Ryd WAS Joacim “Jake E.” Lundberg, who had a voice that harmonized nicely with Ryd as they performed the “clean” vocals (Lundberg, after the release of Maximalism, left the band and was replaced by Nils Molin).

There’s a reason I say “clean” vocals. The third vocal effort on the album is Henrik Englund, who provides the “death growl (a guttural vocal styling where it sounds like the beasts from Hell are emerging from your speakers)” or the “unclean” vocals on the record. While it may sound like it is a complete mess, Amaranthe has been able to put together songs that perfectly accentuate the stylings of each of their singers and, likewise, the other members of the band (Olof Morck on guitars and keyboards, Johan Andreassen on bass and Morten Lowe on drums).

Of particular excellence is “Boomerang,” an effort that would have been perfect on pop radio had it not been for the crushing guitars and Englund’s growling of his lyrics. A song about how someone tries to put another person down – but the person keeps coming back “like a boomerang” – it is an outstanding tune that epitomizes Amaranthe very well. Two other songs, “That Song” and “21” are also excellent, but most surprising is a ballad that demonstrates the abilities of the band quite well.

Supersonic” is a tune that Englund takes a break from and let’s Ryd and Lundberg exercise their vocal abilities on. Yes, it is a ballad – and everyone usually HATES a metal ballad – but it works for Amaranthe because of the dual vocals (not a duet – each vocalist has a lyrical segment written for them). Using some orchestral instrumentation along with the band’s musicians, it may give some a comparison to Amy Lee and Evanescence, but “Supersonic” soars in its own right and serves as an excellent “palate cleanser” for an outstanding record.

You may not have heard of them yet, but they’ve got the potential – especially with Ryd’s photogenic qualities and the power of the band – to be a breakout act, possibly even on the pop charts (bands always appreciate crossover success, not to mention their record companies). They’ll have to get control of some of their personnel issues – not only from Lundberg’s departure last year, but Englund replaced original “unclean” vocalist Andreas Solveström in 2013 – to fully realize their potential, but if they can record more albums like Maximalism, it will push Amaranthe into the stratosphere of the hard rock/metal world.

Rock & Roll Hall of Fame Is Moving Closer to Parody than Relevance

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Let’s start this with a disclaimer.

From my youth, I’ve loved music. I can remember saving up my money when my age was yet in single digits to buy records to play at home. As I got into high school, me and my best friend DJ (his real name was Dennis, but DJ was the ONLY name he went by) would go on field trips to nearby Champaign and religiously make a pilgrimage to the University of Illinois’ campus record store, Mabel’s (yes, back then it was a record store and had a small performance area). We’d emerge after hours of scanning over the racks with armfuls of albums, with my stack normally leaning towards things like the Bus Boys, Elvis Costello and the Motels, among literally hundreds of others.

After high school, I delved into the world of music even more. While in college I started working as a radio DJ, something that would be a career over the next 20-plus years of my life. From that small college station until I was a Music Director at an AOR (Album Oriented Rock) station in a Top 75 market (and even afterwards when I went into news/talk), music – and rock music in particular – was a staple in my life. As I have gotten older, music still resonates with me and, with age, I’ve expanded my listening interests into many diverse styles of music including two that I previously despised, rap and country.

Thus, it pains me when I say the following:  After looking at the list of the nominees for induction into the Class of 2017 for the Rock & Roll Hall of Fame, which was released a couple of weeks ago, I’ve now come to the realization that enshrinement in this group is moving closer to a parody along the lines of This is Spinal Tap than being the venerable Valhalla of rock music that it should be.

spinaltap

Yes, there’s been these rumblings before. None were louder, perhaps, than the commentary from one of last year inductees, Steve Miller, regarding what the Rock & Roll Hall of Fame has become. In various areas, Miller railed over pretty much every aspect of the Hall (“I think it’s time for the people running this to turn it over to new people…you don’t need to insult every artist that comes along,” was one of his calmer comments), signifying his displeasure with the outfit. “You tell me what the hell is the Rock & Roll Hall of Fame, and what does it do besides talk about itself and sell postcards?” he asked.

Miller was the embodiment of what many had said of late regarding the Hall. Thought of originally as the pinnacle of rock music royalty, of late the Hall has been inducting what many would consider “non-rock” artists and bands, stating that their contributions “to rock music history and music overall” warranted their induction into rock music’s biggest honor. I’ve always contended that, in 9.9 of 10 of those cases where the artist wasn’t “rock” (a very wide ranging scope, to be honest), then their contribution to the actual evolution of rock was pertinent (this is why I don’t have a problem with Johnny Cash being in the Rock & Roll Hall of Fame).

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In looking at the crop of nominees for the 2017 Rock & Roll Hall of Fame, there are some very qualified candidates on the list. One of the “first time” nominees for the hall is Pearl Jam and they should be a virtual lock for entry because of their contributions to the “Seattle sound” that was pioneered by Nirvana and their group. Another first-time nominee – and this one surprised me quite a bit – was Electric Light Orchestra, who should also find their way into the Hall for their innovative usage of electronics, keyboards and production (all in the masterful hands of Jeff Lynne) and their contributions to the music.

Whereas in year’s past I didn’t get bugged by some of the “non-rock” nominees – hell, I agree that rap acts like the Beastie Boys, Run DMC and N.W.A. and other “non-rock” acts like Donna Summer, Darlene Love and Bob Marley SHOULD be in the Hall – this year’s list of nominees left me wondering why they were being nominated when they shouldn’t have even been considered. Besides Pearl Jam and ELO, here’s the list of other nominations (asterisk means it is a first-time nomination):

Kraftwerk
Yes
The Cars
The Zombies
Joe Tex
J. Geils Band
The MC5
Bad Brains*
Depeche Mode*
Jane’s Addiction*
Joan Baez*
Journey*
Steppenwolf*
Janet Jackson
Chaka Khan
Chic
Tupac Shakur*

Now, you could give me viable reasons for any of the artists down to Steppenwolf being nominated for the Rock & Roll Hall of Fame. Personally, why Journey and Steppenwolf have never been considered previously is gross misconduct by Hall voters. Over the remainder of the list, I personally would question the inclusion of Joe Tex (yes, a hard-working individual who overcame a great deal of adversity to become a rival of Hall of Famer James Brown), the J. Geils Band (solid group, not “Hall of Fame” outstanding) and Bad Brains and maybe Jane’s Addiction (reasoning ditto to J. Geils’ nomination). Where it goes off the rails for me – repeat, for the first time ever – is in some of the “non-rock” nominations.

Chic has been nominated several times and, on first view, they would be a viable contender. The real drivers of that group, however, were Nile Rodgers, the late Bernard Edwards and the late drummer Tony Thompson. Inducting a “group” requires that all the members were great and that’s where Chic falls short. I can see nominating and even inducting Rodgers and Thompson (I remember his powerful work with Robert Palmer and The Power Station – outstanding music), but to put every person in Chic (usually featuring a rotating cast of female vocalists that joined Rodgers and Edwards) isn’t Hall worthy.

Jackson and Khan, while fine vocalists who were charting gold during their careers, didn’t exactly do anything that would have separated them away and make them Hall worthy, either. Being the sister of the members of the Jackson 5 isn’t an immediate pass (and, really, what did she do that was notable?). Khan, if you include her time with Rufus, has a bit more credibility as to Hall-worthiness, but there’s not enough of it on the resume to push her over the top.

My biggest criticism would be with Shakur, however. Yes, Tupac was one of the first voices for “gangsta rap,” but we’ve already inducted the originator of that field in N.W.A. Additionally, if you induct Shakur, why aren’t you inducting Biggie Smalls (just as powerful a performer and rapper) or Sean “Puff Daddy/P-Diddy (or whatever the hell he calls himself these days)” Combs for their work? Shakur is one of those performers that, in many people’s eyes, an early (and violent) death made them a musical martyr. As such, he must be revered in their opinion…reverence because of near-deification is not what I would call Hall worthy.

When it comes to “non-rock” entities, you’ve got to have blown the doors off things to be considered for entry inside the gates. A Madonna, a Johnny Cash, a Grandmaster Flash and the Furious Five…THESE are the types of performers who, by their music and by their styles, personified the “rock attitude” despite the fact they weren’t performing traditional “rock” music. Every one of the persons or bands nominated this year don’t fit that category for enshrinement.

Of course, I couldn’t end this without my own “WHY AREN’T THESE GUYS NOMINATED” choices, and this is just a sample of those that should have already been in the Hall. Pat Benatar, Warren Zevon, Jimmy Buffett, Dolly Parton (one hell of a songwriter who has had an impact on music overall, what the Hall is supposed to venerate), Kate Bush, Roxy Music, Iron Maiden, Dead Kennedys, Black Flag, X, Duran Duran and Kool and the Gang (all never nominated) and the New York Dolls, the Wailers and Afrika Bambaataa all should be in the Rock & Roll Hall of Fame RIGHT NOW as they have arguably done more for “rock” music than those under consideration for 2017.

But I digress, at least for now. We’ve got the list of nominees and, for this year, we’ll have to deal with them. But if the Rock & Roll Hall of Fame doesn’t want to continue down that road of becoming a joke of itself, a parody of what it is supposed to represent, it would behoove them to start considering the actual ROCK artists (and those “non-rock” performers who truly had an impact) that they are bypassing.

A Treatise Remembering the Thin White Duke

Many years ago, I was but a wee one who was still trying to forge my identity, my signature, my own style, if you will. At that age perhaps it was a bit young to even think about things like that, but everything you go through at that age would help hammer you into what you will become. I always had an interest in the space program – this was a time after NASA had landed astronaut Neil Armstrong on the moon, but also just after the failure of Apollo 13 put the kibosh on moon missions for a period. I also was beginning to build an interest in music, although in the beginning only one format was made available.

My mom and father were both avowed country music fans – to the point of using that line from The Blues Brothers where Joliet Jake and Elwood ask the woman what type of music was played in the honky tonk bar they’ve arrived at and she says, “Both types:  country and western” – so there wasn’t much beyond the staples of the time in the house:  Conway Twitty, Tammy Wynette, Loretta Lynn…you know, the basics. If there was some “renegade” country music played, it was George Jones or perhaps Johnny Cash, Waylon Jennings or something along that level. I always knew that there was something else out there, especially when I poked around through my mom’s album collection and saw bands that looked nothing like the country artists she listened to, folks like The Supremes, The Temptations, The Four Tops, Jefferson Airplane…I knew someday I had to hear those groups.

Fortunately, that day came much sooner than either my mom or father ever thought would be possible. My father had another son by another woman, my half-brother Monty, who sometimes came around when he was “in the area.” On one of those trips, my half-brother and I ended up riding around in his Monte Carlo, for no apparent reason, when he finally said to me, “Hey, you like space…here’s something you should check out.” He pulled out a cassette and popped it into the player. After a few moments, the intro to David Bowie’s “Space Oddity” and its fade-in synthesizers gently entered my mind for the first time.

From the first listen to that song, I was hooked not only on the artist but on the music. The guitars, the lyrical storytelling, everything was there that was in country music, it just seemed better in this format. Monty would move on a few days later – leaving the cassette with me – and I would wear it out. I only saw him a few more times over my young life and, to this day, do not actually know whether he is alive or not.

When I heard about the death of David Bowie this morning from cancer at the age of 69, I remembered that time long ago in my life and how much that Bowie had been interlaced with my existence. The days of “Space Oddity”, of course, begat the Ziggy Stardust Era of Bowie’s work, where he took on the persona of an outer space alien that came to Earth. The music that emerged from that era – “Starman,” “Jean Genie” and “John, I’m Only Dancing” being particularly memorable – seemed to be something that others in what was called “rock music” weren’t doing.

Then came the stage of Bowie’s career that I particularly enjoyed. Blending the sounds of rock, soul, German and synthesizer music, the Thin White Duke epitomized the cool of the 70s. Supposedly an offshoot of his character from the film The Man Who Fell to Earth, the Duke was a distantly cool but always in tune person. Unfortunately, Bowie probably was able to draw the ability to conceive such a character – as I learned later in life – because of massive amounts of drug use (while drug use can help artistic performance and development, it can also be the destroyer of those same worlds).

Fortunately for Bowie, he was able to emerge on the other side for what was arguably his greatest phase of his career. Following a few Brian Eno/German influenced albums (especially Low and Lodger), the 80s would be where Bowie would truly bloom. Perhaps because of the video element added by MTV – or perhaps because of his own development as an artist – Bowie would crank out his finest work in this decade. Scary Monsters (and Super Freaks), Let’s Dance, Tonight and his work with Queen on “Under Pressure,” his Live Aid performance and his duet with Mick Jagger on “Dancin’ In The Street” all gave Bowie the credit as an artist that he truly deserved. He was inducted into the Rock and Roll Hall of Fame in 1996 and, over the two decades since then, has simply delighted us fans with everything he ever did (and this is completely glossing over all the work he did in films and on stage as an actor).

And I’ve been fortunate enough to have been there for most all of it.

Bowie was formative in my early years and during my career in radio. That era of the 1980s was his heyday and was the apex of my career in Album Oriented Rock (AOR) radio and, in reflecting back on those times, it always seemed as if Bowie was just ever so slightly ahead of the curve, as he had been since his days of “Space Oddity” and Ziggy Stardust. Even after I left the radio business, his later work still had that artistic edge, looking forward to the next big thing, that was always the benchmark of Bowie’s life and career, whether it was in music, acting, art or a myriad of other areas he would dip his fingers into.

Perhaps it is a sign of age, or the passing of time, when we begin to lose our heroes, be they athletic, musical, acting or even familial, that it begins to hurt the worst. Even from my time in radio, I’ve been unfortunate to see men younger than me pass away:  Jani Lane of Warrant and Scott Weiland of Stone Temple Pilots are two who come to mind off the bat, but their deaths were from their own problems and issues. Even some of the greats that I thought I’d have in my old age, like Stevie Ray Vaughan, were unable to join me in potentially making it to my rocking chair. Lemmy just passed and some of the others, like Bruce Springsteen and others, are on the other side of 60; hell, Bono only has a few years on me!

David Bowie led one of the most remarkable lives that mankind can even imagine. He was at the forefront of his generation, but he was also mindful of his place in the world. He was an artist, but he also appreciated the beauty in the work of others. The world is a much darker place without the visage of the Thin White Duke looking down upon it.

So Who SHOULD Be In The Rock & Roll Hall of Fame?

Last week, the nominations came out for the 2016 Rock & Roll Hall of Fame and, at the very end of my thoughts, I posited the question, “Who should have been nominated?” Mind you, the list of nominees was outstanding overall: longtime overlooked acts such as Chicago, Deep Purple and Yes getting nominated again (and three bands that I believe are long overdue the honor), newcomers like Janet Jackson, The Cars and Cheap Trick (all no votes) and outside shots such as The J.B.’s (another vote in from me), Chic (no) and N.W.A. (yes). However, there were several other artists that should have been on this year’s ballot if not already inducted into the Rock & Roll Hall of Fame.

The Rock & Roll Hall of Fame is personal to me because of my long love affair with music. Despite the factor that I could never play an instrument with any high level of competence, I admire those that can create art out of music, words, melodies and thoughts. While it could be said that writing is something like that, the songwriter and/or musician is an artist that encompasses different aspects, pulling them into one cohesive idea. Thus, I’ve always been a huge fan of music overall and rock music in particular.

My first introduction to rock music dates back to someone who, unfortunately, I don’t know if they’re still alive. The year was 1971 and, riding around in a car with my half-brother Monty (his real name could have been Montague, don’t really remember) on a hot summer day, saw him pop a cassette into the tape deck. Suddenly the mystifying tones of David Bowie’s “Space Oddity” came pounding out of the speakers and, as I listened to the words and music, I was transported (you have to remember, these were the heady days of NASA’s Apollo space program) to being “Major Tom” and traveling through space myself.

From there, it was a quick indoctrination into the world of music. My mother had the classics – Johnny Cash, Merle Haggard, Waylon and Willie and others – from the country music side, but she also had such gems as The Temptations, The Supremes and other R&B acts from the 60s in the record cabinet. My investigations in the rock music genre touched on Santana, The Who, Crosby, Stills, Nash and Young and James Taylor, then began to branch out into the harder edged rock of ZZ Top, KISS and Led Zeppelin, among others (on a personal note, was always more of a Rolling Stones guy than the Beatles).

As the mid-70s passed, punk rock became the next touchstone. The Sex Pistols, New York Dolls, The Ramones – these were the gates to pass through on the way to adulthood. As I reached high school, not only was it the disco era but it was almost time for the double shotgun-blast of the New Wave from England and MTV, opening the world even further (and we cannot go on without also recognizing the New Wave of British Heavy Metal). As I had to be a part of the music scene, I did the only logical thing a person with little to no musical talent could do – I became a DJ.

Through the 1980s and well into the 1990s, I plugged along as a DJ at pretty much every radio format that you could think of doing. Album-Oriented Rock (AOR), Top 40, easy listening, R&B, adult contemporary, news/talk – about the only thing I didn’t do was country (much like “country” music today, there’s a thin line between what was country music then and pop music). Along the way, there were some great times had in the conduct of my job and…well, let’s just save those stories for another time.

Hopefully you see that who gets in the Rock & Roll Hall of Fame is important, at least to me. It isn’t “live or die” important, mind you, but it is something that I want to show my son one day and say, “Yeah, I saw them, they were great.” Maybe we will sit down and listen to a CD or, pray tell, if we still have vinyl by then, an album, and talk about music and its history. He’s got a great musical ear, however, so he may be entertaining me with his music rather than our just listening to it.

OK, getting sappy here…

My criteria for putting someone in the Rock & Roll Hall of Fame would be somewhat along the lines of what poker uses for its Hall of Fame. These are the criteria that I would use in putting someone in the Rock Hall:

1. Length of career with sustained critical or commercial excellence
2. Influence on a genre of music or on several artists
3. Respect from fellow musicians

Pretty simple, wouldn’t you say? Alas, there are some glaring errors in the Rock & Roll Hall of Fame. How about some of these artists, bands and contributors?

Warren Zevon – The singer-songwriter born in Chicago has been overlooked for far too long when it comes to the Rock Hall. Responsible for writing such songs as “Poor, Poor Pitiful Me” (covered by far too many artists to list but most notably by Rock & Roll Hall of Fame inductee Linda Ronstadt), Zevon was a part of the California scene in the mid-70s, working with such people as Jackson Browne, Neil Young, members of the Eagles and counting Bruce Springsteen amongst his admirers.

When it came to his own efforts, Zevon was beyond compare. Along with his iconic “Werewolves of London,” Zevon penned and performed such classics as “Lawyers, Guns and Money,” “Roland the Headless Thompson Gunner,” “Accidently Like a Martyr,” and “Keep Me in Your Heart,” which was nominated for a Grammy after Zevon’s death in 2003. With a career that spanned more than 30 years, commercial and critical success and the respect of your fellow musicians, there’s no one more deserving than Zevon for induction into the Hall.

Jimmy Buffett – Another product of the singer-songwriter era of the early 70s, Buffett is notable for forging his own path in the music industry. When I say his own path, I mean he created a whole GENRE of music that didn’t exist before – let’s call it “tropical rock,” music with a Caribbean/calypso/reggae/country feel that didn’t fit neatly into any of the “categories” of music in the 1970s (and still doesn’t today, to be honest). Buffett himself has said about that period, “I wasn’t country enough to be played on those stations and I wasn’t rock enough to be played on AOR.”

The way to beat that? Write a song like “Margaritaville” that transcended any charts, genres or radio stations. Today that song has led Buffett into the world of literature, casino and hotel ownership and a “40-year summer job” that the man still enjoys to this day as he approaches 70. He’s influenced a host of country musicians (the Zac Brown Band is a prime example) and, as owner of a recording studio and a record company (Mailboat Records) is ensuring that the “tropical rock” he created will have outlets for the future.

The Runaways – While Joan Jett went in with The Blackhearts last year, she really should have gone in with The Runaways because, without them, there is no Joan Jett.

The Runaways were “created” by producer Kim Fowley who, having drummer Sandy West and guitarist Jett in the fold, was looking to create a “jailbait” band of teenaged girls who could rock out just as well as any group of guys. First found by the group was Micki Steele, who didn’t last long but went on to join The Bangles, before gold was struck with guitar virtuoso Lita Ford, vocalist Cherie Currie and bassist Jackie Fox to fill out the roster. With the group lineup set, The Runaways broke ground as one of the first female hard rock/metal acts to ever have any success in the recording industry.

From the seminal track “Cherry Bomb” to other tunes such as “Queens of Noise” and “I Love Playin’ with Fire” (covered by Jett during her Blackheart days), the band earned a great deal of attention and respect in the industry. The members of the group went on to arguably better success as solo artists or in other creative endeavors, but they were the ones who helped to get such groups as The Bangles, The Go-Gos, Vixen and rock “chicks” like Pat Benatar, Chrissie Hynde and Deborah Harry (among many others) in the door. It is arguable that, without The Runaways, some if not all of these women wouldn’t have gotten into the industry.

Judas Priest – This is one of those omissions by the Rock & Roll Hall of Fame that is inexcusable. A band that has sold 45 million albums, generated rock anthems such as “Breaking the Law,” “You’ve Got Another Thing Comin’,” “Heading Out To The Highway,” “Living After Midnight”…I could go on, but you get the point. So what has kept them out?

Over the years, the band has been targeted in various arenas outside of music. They were accused of using subliminal messages in their album British Steel that allegedly caused two men to try to kill themselves. They’ve been targeted by conservative Christian groups for their musical content and singer Rob Halford has taken some sabbaticals from the band over the decades. But when you have a list of bands that were influenced by you such as Metallica, Megadeth and Pantera (among others), you’ve done your job well.

There are a slew of other artists that could be held up for consideration – The Carpenters, Kate Bush, Slayer, Bon Jovi, Thin Lizzy, Motorhead – and maybe they are just waiting for their time. There are also those “pop” artists that I am overlooking, but this is the Rock & Roll Hall of Fame, after all. If you’re waiting for a time that “works,” however, take it from someone who watches how these Halls of Fame work – if you don’t get in within your first couple of years of eligibility, your chances of getting in get worse as time goes by. All the artists listed here deserve to have their place in the pantheon of the Rock & Roll Hall of Fame…now will anyone listen and induct them?