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.

The Top Ten Underrated Hard Rock Songs, Part One

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As a method of getting away from the madness that is the 2016 General Election, I’ve been pondering other issues. Of course, I’ve been keeping up with Timeless (which, if you haven’t checked it out yet, you’re missing some good television) and I’ve been trying to finish reading a book that a friend of mine wrote long ago (and, with him in failing health, I’d like to tell him that I read it and enjoyed it, despite some early problems with his usage of an occurrence in our line of work). Then there’s always something going on in sports that can be talked about, whether it is Carolina Panthers’ quarterback Cam Newton whining to the commissioner of the NFL, Roger Goodell, that he’s being hit too often (there are times he has a point, but not every time), the “Chase for the Sprint Cup” (ZZZZZZZZZZZ!) or baseball’s World Series (and congrats to the Chicago Cubs for winning this year and ensuring that Hell is freezing over; even as a New York Yankees fan, it’s great to see a team win it that hasn’t done it in 108 years).

But one thing we can always discuss (and something that I do like thinking about) is music. In the 20+ years I spent in the radio industry, I was always looking to pick the “next big song” to get on the air. I remember one time when I was the Music Director for a station where we debated whether to put the band Faith No More and the song “Epic” on the air. “It’s rap, it isn’t rock,” our Program Director stated. “No, it is a hybrid,” I replied. “You’ll start seeing more of this in the future – the melding of genres to reach as big an audience as possible (something I was proven correct on – for good or for ill).” After the debate, the PD finally added it as the song became one of the biggest tunes of 1989 and has since gone on to be called one of the greatest metal songs of all-time (#30 on VH1’s list) and one of the biggest one-hit wonders of all time (#67, once again by VH1), a bit of an insult to a band that had a great influence on many others.

Along this line, I found myself recently reflecting on what were some of the most underrated hard rock songs in history. To be honest, some of these bands were quite popular, even without these listed songs having a great of success, but it could have been so much better for them if these songs had touched on their audience better than they did. Look through the list and enjoy the songs, then be sure to let me know whether I’ve got it right, I’m completely fucking nuts and/or the songs that you think deserve to be on the list!

Motörhead, Ice-T and Whitford Crane (Ugly Kid Joe), “Born to Raise Hell”

Separately these performers had some success. Motörhead, led by the late Lemmy Kilmister, was always at the forefront of the heavy metal scene from the late 70s to this decade. Ice-T, through his rapping, was quite well known, but T had a desire to do hard rock (to the point of forming Body Count, which barely missed this list with “There Goes the Neighborhood”). Crane was, at this point in time, the one well known by the listening public as, with his band Ugly Kid Joe, Crane had several hits by this point in 1994 (“Everything About You,” “Neighbor” and a remake of balladeer Harry Chapin’s “Cats in the Cradle”).

This was a chance for everyone involved to get together and have a bit of fun doing a song for the soundtrack to the movie Airheads (a highly underrated movie, lots of fun and entertaining). Taking an old Motörhead song that Lemmy had written for another band, they blasted the tune that became the theme song for the film. Unfortunately for everyone, it didn’t go as far as they thought it might; the film has become a cult classic but didn’t do well at the time of its release and the soundtrack album even less so. As such, it finds its place on this list.

Extreme, “Decadence Dance”

This was a band that should have gotten more attention in their time than they did. With vocals from Gary Cherone (who would go on to join Van Halen after the departure of Sammy Hagar) and guitar work from Nuno Bettencourt (a classically-trained virtuoso if ever there was one), Extreme did have a big hit with the power ballad “More Than Words” (history lesson here, young ones – hard rock and metal bands and artists could play as hard as they wanted if they included one ballad on their albums…that was what drew in the ladies). Their perceived magnum opus, Three Sides to Every Story, didn’t hold a candle to their 1990 effort Pornograffitti, from which this song came.

Along with “Get the Funk Out” (also found on this album and a gem in its own right), Extreme could meld hard rock, funky horns and the classical guitar work of Bettencourt into a sound that was quite intriguing to fans of the genre. Unfortunately, it didn’t ensure a long career for the band. Once Cherone left for Van Halen in 1996, the band broke up. They’ve since reformed (as most bands do) and are releasing a new album that is set to drop in 2017. Perhaps they wouldn’t have lost Cherone if this and other tracks had been more than moderately successful.

Faster Pussycat, “You’re So Vain”

The first of our two remakes on this list, Faster Pussycat was a part of the L. A. club scene of the 80s that produced such acts as Mötley Crüe, L. A. Guns and Guns N’ Roses, among others. Named after the Russ Meyer film Faster, Pussycat! Kill! Kill!, the band earned some kudos for their power ballad (sensing the trend here?) “The Ballad of Jayne,” but this remake of the Carly Simon classic should have propelled them to higher points. Perhaps it was because of where it was released; the 1990 double album Rubaiyat:  Elektra’s 40th Anniversary saw artists as diverse as The Cure, Tracy Chapman, Metallica, the Georgia Satellites and others joining Faster Pussycat in doing songs made famous by past Elektra artists. The sheer number of outstanding performances led to difficulty in only picking one great remake.

What I liked about this song was that they took what was a kind ballad (despite its lyrical bite, courtesy of Simon) and put the edge to it that Simon had in writing the song. The guitar work of Brent Muscat and Greg Steele alongside the sneering vocals of Taime Downe worked perfectly with the material they had to use. We could have gone perhaps with “Bathroom Wall” (one of their earlier works), but this one was one of their last chances at success before…well, we’ll get to that in Part Two.

Damn Yankees, “Piledriver”

It is tough for some to accept that Damn Yankees were underrated in anything. With Jack Blades (formerly of Night Ranger), Tommy Shaw (of Styx) and the Motor City Madman, Ted Nugent, handing the musicianship, they had some Top 40 success with this supergroup. But while Blades had his “Night Ranger”-esque songs (“Coming of Age” and “High Enough”) and Shaw had his Styxian tunes (“Come Again”), it was Uncle Ted who was left without a display of his talents.

You’ve got to dive deep on their eponymous debut album to find “Piledriver,” a Nugent-esque tour de force that reaches out and grabs you from the beginning. The jingling doodling from Nuge suddenly explodes in a blitzkrieg of guitar that never again lets up on the listener. “Piledriver” is also the only song that Nugent sings for Damn Yankees, who normally utilized Ted just as a guitar god, harkening back to his pre-“Cat Scratch Fever” days when artists such as Meat Loaf were the vocalist on his solo albums.

Dangerous Toys, “Scared”

This Austin, TX band could have been so much bigger than they were in the 80s. Most often compared to Guns N’ Roses, Dangerous Toys had a lot of the same stylings as the Axl Rose led outfit, but also incorporated plenty of blues licks and Southern rock attitude into their music. You just have to listen to “Teas’n, Pleas’n” to get this sound in your head.

Scared” was the tune that was supposed to have carried them over the top into superstardom, but it only served as a place marker while the audience waited for their next effort. Their second album, Hellacious Acres, didn’t do quite as well as expected and the tour that would have supported their effort, called “Operation Rock & Roll” (it was just after the start of the First Gulf War) with such acts as Motörhead, Judas Priest and Alice Cooper, was shut down only 10 weeks into the schedule. Dangerous Toys never again reached the levels of success that they did after their eponymous first release which, from front to back, is a classic.

There’s plenty for you to listen to here, so we’ll take a break. But Part Two will bring you more of those underrated gems of hard rock and the reason why the genre seemingly disappeared overnight.