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!

Halestorm’s “ReAniMate 3.0,” Letters from the Fire’s “Worth the Pain” Two Worthy Hard Rock Efforts

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I’ve long been a music aficionado, especially the hard rock/metal genre. Sure, I’ll enjoy a Billy Joel concert (as I did most recently in Orlando) or even the newer pop music out there (my lovely wife and I went to the 2016 Jingle Ball, featuring Pitbull, Fifth Harmony, Martin Garrix, Chainsmokers and many other artists residing in the Top 40 today), but I always come back to my home. Perhaps it is the power of the guitars or the political nature of many of the lyrics (yes, they are saying something with their words and commentary – take the time to read the liner notes if you miss them the first time around), but hard rock/metal speaks to me more than many other genres in the industry.

Honestly, today’s hard rock/metal scene isn’t your granddaddy’s brand. The blues rock that such groups as Led Zeppelin, Cream, the Who and the Rolling Stones (yes, I am going to toss them in the hard rock genre – for their time, they were the “punks” of their era) bear little resemblance to the power drivers such as Metallica, Disturbed or even more pop-driven hard rock/metal bands like Breaking Benjamin or Shinedown. But they’re still hard rock/metal and still damned entertaining in their own right.

There’s a great deal of hard rock/metal out there right now, but these are two efforts that have caught my ear of late. If you’re looking for some great music, you might want to look these up.

Halestorm, ReAniMate 3.0

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Halestorm is one of the preeminent bands in the hard rock/metal genre today. Powered by the blistering vocals of Lzzy Hale (who happens to throw in badass guitar work also), the nimble and crushing lead guitars of Joe Hottinger and the guttural tempo setters in bassist Josh Smith and drummer AreJay Hale (Lzzy’s brother), Halestorm is one of the most popular acts in the business. That perch has allowed them to take on some pet projects, including the continuation of this series of cover EPs.

ReAniMate 3.0: The CoVeRs eP is the third in a series of “cover Eps” that Halestorm has issued over their career. The first, naturally called ReAniMate: The CoVeRs eP and released in 2011, brought a diverse selection of songs such as Lady Gaga’s “Bad Romance” (one of the best covers of all-time in this writer’s opinion), the Beatles’ “I Want You (She’s So Heavy)” and Skid Row’s “Slave to the Grind” under one artist. In each case, Halestorm took the songs and added their own touches to them, basically creating their own versions of songs people thought they knew (the exact challenge facing anyone who takes on a previously released tune).

That highly successful EP (how successful? A recent eBay auction for a signed copy of the CD went for $175) begged for a follow up and, after releasing a CD of their own material, Halestorm obliged their fans. ReAniMate 2.0: The CoVeRs eP was released in 2103 and followed in the same format as the first. This time around, Hale & Company took on Judas Priest (“Dissident Aggressor”), Daft Punk (“Get Lucky”), Pat Benatar (a natural in “Hell is for Children”) and Fleetwood Mac (“Gold Dust Woman”). It also seemed to leave the audience wanting more and, earlier this month, Halestorm would deliver again.

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ReAniMate 3.0: The CoVeRs eP rockets out of the gate with arguably the best song on the disc. The remake of Whitesnake’s “Still of the Night” gets the unmistakable treatment from Hale and her mates, hedging close enough to the original that it is familiar but applying their own touch. Hale’s voice gives Whitesnake lead man David Coverdale a run for his money and the rest of the band is more than able to power out the song.

The second-best song on 3.0 is Halestorm’s take on the Joan Jett and the Blackhearts classic “I Hate Myself for Loving You.” On the first two discs, Hale and her group did not touch any Jett tunes, either solo or from her days in the Runaways. It seems as if it would be a perfect match and, in this case, it was, as Halestorm takes the Jett standard to new heights.

There was one clunker on the disc, however. I never was a fan of Sophie B. Hawkins and perhaps that is why I didn’t really care for the Halestorm remake of “Damn, I Wish I Was Your Lover.” While Hale can pull off the poppy tunes like this (and she’s already put some country artists to shame who dared try to match her on stage), it didn’t work for the remainder of the band, in my thought. This is the only down point of the record, however, as the rest of ReAniMate 3.0: The CoVeRs more than makes up for it. These cover Eps are nice, but it really whets the appetite for original Halestorm material that is supposed to come later this year.

Letters from the Fire, Worth the Pain

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Trying to reach the rarefied air that Halestorm exists in, the band Letters from the Fire have had a jaded history. Originally formed in 2007 as Park Lane, guitarist Mike Keller and high school friend Grayson Hurd found bassist Clayton Wages and singer Eliot Weber and mucked around the San Francisco area, eventually changing their name to Letters from the Fire in 2012. Following their debut release Rebirth, there was apparently another overhaul of the band, with Cameron Stuckey coming on as rhythm guitarist and, perhaps most importantly, shifting from Weber’s male voice to the female voice of Alexa Kabazie (with Hurd and Weber departing).

The changes have made a great deal of difference for Letters from the Fire. Their latest full-length album, Worth the Pain, is a magnum opus of their career. From start to finish, Keller, Kabazie and Company have put their entire heart and soul into the record. For that effort, they have created a 13-track crusher of an album.

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Where to start with the best songs of Worth the Pain? It comes out of the gate with “Perfect Life,” featuring Keller’s excellent lead guitar efforts and Kabazie’s emotional and powerful vocals. “Mother Misery” continues the high level of excellence out of the band and “Give in to Me” is simply outstanding. The title track is a powerful tune…it is angry, aggressive, and appropriate. “My Angel” has excellent tempo and mood changes throughout the song and “Holy Ghost” starts quietly but turns into a raging storm by the end.

If there were one qualm to have with this record from Letters from the Fire, it would be that the lyrical content could reach out a bit more. Most of the songs are of the “fuck you, you broke my heart” sentiment; there are indicators, though, that the band could stretch beyond this with some deeper lyrics. As this is the first effort from this lineup, it really raises some expectations for the follow up.

Letters from the Fire’s Worth the Pain is reminiscent of Amy Lee and Evanescence, but to lop them in with that band would be doing them a disservice. They’ve got the chops to stand on their own and they’ve got the experience. Now it is just a matter of driving to the end and the success that they seem destined for…and Letters from the Fire seem to have the spirit to do just that.