My Choices for the Nominees for the 2021 Rock & Roll Hall of Fame

The Rock & Roll Hall of Fame is like no other Hall in existence. It is one of the few Halls that basically has only one criteria – that your first commercial release be done no later than 25 years prior (for 2021, that means artists whose first release was in 1996 or earlier are eligible). Most other Halls base their entry on the number of wins you’ve had (World Golf Hall of Fame), mystical statistical performance (any sports Hall) or that you were from a certain area (self-explanatory). Not the Rock & Roll Hall of Fame – if you’re good enough, if you had an impact on the shaping of popular culture and music over the last 70 years (or so) and you can get the votes, you get in.

This fact in itself makes the discussion over not only those elected to but also those who are nominated of great interest to many music fans. With the COVID-19 outbreak, it pretty much fucked up the entirety of the 2020 schedule for the Rock Hall, delaying and then canceling the 2020 Induction Ceremony for a very good list of artists (Whitney Houston, the Notorious B.I.G., The Doobie Brothers, Nine Inch Nails, Depeche Mode and T. Rex – Jon Landau and Irving Azoff were Ahmet Ertegun Award winners and named to the Rock Hall) before they were “virtually” inducted in November. Because of the late induction, the announcement of the 2021 Nominees is being pushed off as well, to probably February 2021.

You can lament this, but I think it is a great idea. It stretches the entirety of the process by the Rock Hall to cover a whole year instead of parts of two. With the naming of the nominees in February, that means the new Inductees won’t be announced until more than likely around May or June. Then they can induct them (hopefully in a live ceremony) in November. This works much better than announcing the Inductees in December and holding the Induction Ceremony in April or May (how it has worked in the past).

The delay also allows pundits, historians, fans, and critics to come up with their selections for who will be in the Nomination Class for the 2021 Rock & Roll Hall of Fame. I’ve studied over the last few years of nominations, who has gotten in, what kind of “buzz” is going around in the music world, and other intangibles to come up with a list of 15 artists and groups that should be nominated come February. Those in BOLD print are going to be the five choices I would make for entry and I’ve also tried to include some reasoning for the nomination.

Without further ado, here’s who I believe will earn nomination in 2021:

Jay-Z – Not only will Jay-Z earn a first year eligible (FYE) nomination, but he will also earn a FYE induction into the Rock Hall. It is a tough decision as to which part of the industry that Jay-Z has had more of an impact on – the rap world, where he has been a force for 25 years, or the recording industry itself through his ownership of Tidal and forays into label ownership and artist development. And, since the Rock Hall enjoys a great show, imagine Jay-Z trotting the boards with Beyonce? The Rock Hall is salivating at that thought.

Foo Fighters – If there’s been anyone to carry the banner for rock music in the past 25 years, it would be Foo Fighters. Dave Grohl could have easily packed up shop after the death of Kurt Cobain and Nirvana and just made guest appearances on records for the rest of his career. Instead, he forged on with his own sound and added to the legend of rock. Add in the factor that Grohl is a hell of a music historian himself and that he is on the Nomination Committee (he will have to abstain from voting for himself, likely), it would be odd if they aren’t a FYE nominee but also a FYE inductee.

Pat Benatar – Benatar has been snubbed by the Rock Hall for far too long. Her nomination last year was her first after 15 years of eligibility and it was considered that she was a “lock” for entry. Then they took the vote…Benatar was not only a choice by many but she was the runner-up in the Fan Vote from 2019 (hold on, we’ll get to that) and the Rock Hall has caught hell over bypassing her. With a chance to redeem themselves, I don’t expect the Rock Hall to get it wrong twice (then again, the Rock Hall does have a way to surprise you).

Dave Matthews Band – The top vote getter from the Fan Vote, which has been around for at least six years previous (I could be wrong), usually had been inducted by the Rock Hall. That included such entries as Bon Jovi, Rush and KISS, among others. DMB were the top vote-getters in 2019, but that and $1.50 got them a cup of coffee at McDonald’s – they were bypassed for entry into the Rock Hall, the first time that it had happened. I personally don’t see where DMB has earned entry – I’ve never been a jam band fan – but, since the Rock Hall caught shit for not inducting them with the 2020 class, I can’t see them keeping them out twice.

Judas Priest – This is one that the time is ticking on. The Priest has only been the driving force behind heavy metal for 50 years and, eligible since 1999, they’ve only received two nominations. I would hate to see them fall by the wayside like Kraftwerk (who, after being nominated six times, might have run out of chances), MC5 (nominated five times) or even Chic (nominated 11 TIMES), but it is a realistic possibility.

Rage Against the Machine – The practitioners of the hybrid rap/rock scene of the 90s, RATM combined their aggressive stylings with a socio-political bend that enraptured their fans. Or…maybe not so much. As they prepared for a since-postponed tour in 2020, some RATM fans became outraged at the political stances of guitarist Tom Morello and the band. In one of the funniest exchanges on Twitter, Morello, who holds a political science degree from Harvard, responded to an upset follower who said “I used to be a fan until your political opinions come (sic) out,” “What music of mine were you a fan of that DIDN’T contain “political BS”?” Gotta love that!

Kate Bush – Ah, to have more than five votes (then again, I might have used it on RATM)! Bush is one of the long-overlooked female vocalists from the 80s who should be recognized for her achievements. Her work with Peter Gabriel preceded an excellent solo career in the 80s, but she’s never gotten the acclaim that she deserves (Cyndi Lauper, Annie Lennox and others fall in this category). I’d love to give her a vote, but with some of the others that are on down the list, it makes it difficult.

Eurythmics – Falls into the same category as Bush. One of the many 80s acts that we should start inducting into the Rock Hall. In many cases, these artists have been eligible for 15 years and they’ve never even received a nomination, let alone induction. Time to start fixing this situation and quit bleeding the rock dry from the 1960s/70s.

The Go-Go’s – They came thisclose to getting one of my five picks. The first all-female band to have a #1 album on the Billboard charts, The Go-Go’s were groundbreakers for women in rock. Although they have a litany of women that they owe a huge amount of credit to (Fanny, The Runaways, Suzi Quatro), The Go-Go’s got there and inspired many others. Add in the recent documentary on Showtime and it is quite conceivable that The Go-Go’s earn an induction seat in 2021.

Duran Duran – Anyone who was alive during the 1980s was impacted by Duran Duran. They helped to shape the musical landscape of the 80s, not only with their music but also with their videos on MTV, and had a hand in fashion also, among other things. This is a band that has NEVER been nominated previously – that should be corrected this year and they should take a seat in the Rock Hall.

Alice in Chains – This is a group that may sneak into the Nominations because of recent buzz regarding the group. Seattle’s Museum of Pop Culture (MoPOP) inducted the band this fall into their rolls and, since there are only Nirvana and Pearl Jam currently carrying the banner for the Grunge Era of rock, a third would be nice (Soundgarden could fit in this category too). Unfortunately, grunge looks like it is going to get the same treatment that hard rock/metal has gotten over the years from the Rock Hall.

Todd Rundgren – Personally, I would love to see Rundgren get in. He’s more than deserving of it for his performing career, his usage of multimedia (witness his upcoming virtual concert tour) and his producing credits. Perhaps the only way to get this man in may be through the Award for Musical Excellence, which hasn’t been awarded since 2017 (to Chic’s Nile Rodgers).

The Smiths – Politics aside, The Smiths are more than worthy of nomination for their career’s labors. However, Morrissey’s tirades seem to have tarnished the potential induction of the band into the Rock Hall, and that’s unfortunate. They get on my list because they are one of the artists from the 2016 Nomination Class that hasn’t been inducted yet.

Beck – I’ve personally never been a huge Beck fan, but I can recognize his artistic creativity and the impact he’s had on other artists. The devotion from his fans are hard to ignore too. He was a FYE nominee, but he failed to go that extra step – he will get in, but will it be this year or in the future?

Daft Punk – A driver of the synth rock/electronic rock scene since the 90s, Daft Punk should be a slam dunk nominee/entry. But Kraftwerk…well, let’s just say that people would like to see them get in first rather than Daft Punk. It isn’t out of the question for the Rock Hall to commemorate those that have achieved great success over the originators, however – just look at how rap’s forefathers have languished behind some of those that have been inducted.

Alanis Morrissette – Another one who could sneak in and get a nomination, if not inducted. Morrissette’s been white hot of late, with a Broadway show (you know, when Broadway was actually performing) and a critically acclaimed album in 2020. She was first eligible in 2019 but was bypassed…the Rock Hall might want to correct that oversight.

Guess we’ll find out in 2021 just how close to right I am!

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

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

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

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

New York Dolls

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

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

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

KC and the Sunshine Band

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

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

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

War

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

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

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

Carole King and Gordon Lightfoot

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

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

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

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

Nick Lowe and Dave Edmunds

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

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

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

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

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

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

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