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.

100 Essential Albums of All Time – The BusBoys, Minimum Wage Rock & Roll (1980)

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The history of rock and roll – hell, the history of recorded music, be it country, pop, or otherwise – is replete with those groups, bands and singers who didn’t quite make it into the cultural mainstream. For every group like the Beatles, the Rolling Stones or Aerosmith (or virtually any other member of the Rock & Roll Hall of Fame), there are literally thousands of other bands who didn’t quite reach their level of popularity. Sure, some may have had that proverbial “cup of coffee” with the music industry – here’s a salute to you, One Hit Wonders! – but there are many more who never even achieved that level of success.

Arguably one of those who falls into one of the categories above – and which category is almost as difficult as categorizing their musical stylings – is the California group The BusBoys. Founded in Los Angeles in the late 1970s as disco was beginning its demise, The BusBoys featured singer/keyboardist Brian O’Neal and his brother, Kevin (bass), as the driving force behind the group. Joined by singer Gus Louderman, who handled most of the lead vocals for the band, Mike Jones (additional keyboards), Victor Johnson (guitars) and Steve Felix (drums), The BusBoys made inroads into the music world – and, in particular, the rock music world – although something wasn’t quite what some would expect…maybe you can identify it.

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That’s right. The entirety of the band was black save for Felix, who was Hispanic, and the band played driving rock music with both a rhythm and blues feel as well as tidbits of new wave tossed in. Lyrically the band took on some rather touchy subjects – even more then than they might be now – such as working for less than what one deserves, nuclear annihilation, minorities moving into the suburbs, the Ku Klux Klan, where blacks “should be,” and a host of other charged issues. Just as you would think there were too serious, then The BusBoys would break out the party time tunes and just rock your ass off!

The BusBoys released their debut album, Minimum Wage Rock & Roll, to resounding critical acclaim. Feted for their efforts at combining diverse musical genres as surf rock, new wave, doo wop and rock and pop stylings, Minimum Wage Rock & Roll didn’t have a weak point on the entirety of the album. The first song off the record, “Dr. Doctor,” was a stomping rock and roll song sung with gusto by the bluesy Louderman while the O’Neal brothers and the rest of the ‘Boys jammed behind him. “Minimum Wage” brought a Clash-esque vibe into the mix while discussing what someone had to do to make a living.

The BusBoys weren’t done yet. The group hit its stride on the record with “There Goes the Neighborhood” (not the version done by Ice-T and Body Count, let me assure you), a tune about how “the white folks movin’ in/there gonna bring their next of kin” – or a juxtaposition of what many suburban communities say when minorities come into their previously sacrosanct areas. “Johnny Soul’d Out” could be The BusBoys’ autobiography and an ode to Chuck Berry’s Go Johnny Go – about a singer/musician who is “into rock and roll and giving up the rhythm and blues.” The first side is rounded out by the Ramones-blitz of “KKK,” a recital of how a black man is good enough to do such things as go to war, but not allowed to fully be a part of the “American” culture.

The second side featured some strong material also. “D-Day” focused on the aftermath of a nuclear holocaust, while “We Stand United” and “Respect” reflected on the desires of many just to be accepted for what they are. There’s even a bit of a R&B/new wave influenced “grinder” called “Anggie” (the first sexual experience) and a song about being an athlete and ready for their starring moment (“Tell the Coach”) to add to the excellence of the album.

What made Minimum Wage Rock & Roll such an essential album was the racial comportment of the band – blacks just didn’t DO rock music in this era (Bad Brains were about the only other black rock band of this era as it was a few more years before Living Colour would reach prominence) – and the myriad of musical stylings that were featured on the album. Trying to include such a mixture of musical stylings would have been a failure in the hands of a lesser group; The BusBoys made it sound like it was all in a typical Friday night of partying with the band.

The BusBoys, alas, were like the proverbial Roman candle, rocketing into the stratosphere in a blur of flashing colors only to flame out or crash rather quickly. The band was featured in the Eddie Murphy/Nick Nolte classic 48 Hrs. as the bar band playing in Murphy’s “black” bar, and they contributed the title track, “The Boys are Back in Town,” to the soundtrack of the movie. Just as it seemed that they were ready to take off, however, The BusBoys crashed to earth.

The second album, American Worker (1982), for some reason did not feature “Boys” on it (although it featured another song that The BusBoys performed in 48 Hrs. called “New Shoes”). It did feature, however, a version of “Heart and Soul” that would be more successful for Huey Lewis and the News a year later. Although it reached the charts in the U. S., it wasn’t nearly as successful as Minimum Wage Rock & Roll and would signal the end of the run for The BusBoys, although they have continued recording (two more albums, Money Don’t Make No Man and (Boys Are) Back in Town, which finally corrected the error of The BusBoys not being able to put “The Boys are Back in Town” on one of their albums earlier) and are still active today.

Part of the reason that we all love music is its abilities to be able to surprise you. When you’re not even able to drive and discover that there are rock bands that aren’t lily white (I knew about Hendrix but hadn’t discovered Phil Lynott at that point) that are just as good if not better than what you’re being told is “rock & roll,” it has a way of sticking with you. The BusBoys to this day are a band that remains one of my favorites and their opus was Minimum Wage Rock & Roll. If you’ve never heard it or the band, you’d be well advised to check them out.

Previous entries in the 100 Essential Albums of All Time:

Rockpile – Seconds of Pleasure

Metallica – …And Justice For All

Rick Wakeman – Journey to the Centre of the Earth