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Posts Tagged ‘Bon Jovi’

Now we have had a few days to let the Rock and Roll Hall of Fame’s nominees percolate a bit, and we’ve had some time to reflect on their merits. I’d like to continue my coverage, as is my tradition, by looking at each of the nominees in turn, and evaluating them in three areas: one is my simple, highly subjective ranking of how much I like them, which I will call preference. I’ll also attempt to more objectively evaluate each nominee on their worthiness to join the rock and roll greats in Cleveland. Finally, I’ll weigh in on the likelihood of their induction this year. Before I begin, I’d like to give a shout-out to Philip over at Rock Hall Monitors- I heavily borrowed this format of discussing the nominees from him.

With 19 nominees again this year, there’s no time to waste. Let’s get down to it.

Bon Jovi (Preference: 11, Worthiness: 18, Likelihood: 3) Well, the weird extended feud- which seems to have included Bon Jovi pulling their swag from the Rock Hall- seems to be over. Bon Jovi was nominated before- for the Class of 2011- but fell short. The fact that, say, Darlene Love, got in that year and they didn’t speaks volumes. The voters didn’t like what they were selling. But that was before the fan vote. As long as the fan vote has been there, its winner has gotten in- even if, in the case of KISS, we couldn’t track down an actual Rock Hall voter who picked them. I’m not saying it’s rigged or anything- I’m really not- but let’s just say the Hall has an incentive to induct Bon Jovi. The bad publicity of the almost inevitable fan vote winner failing to get inducted is one reason. The good publicity of uniting the band with estranged guitarist Richie Sambora is another. Still- if there was ever a time that a fan favorite might not get in- this would be the one. I still think they are a near-lock. Journey got in- but they weren’t on the same level of hackery and critical hatred and contempt from their contemporaries as Bon Jovi. We’ll see.

Kate Bush (Preference: 6, Worthiness: 13, Likelihood: 16) I think I predicted her a few years ago, never taking that prospect very seriously. Well, here we are! Kate Bush is one of the very best songwriters of her era, and has a place in British pop history as having performed the first #1 both written and sung by a woman (“Wuthering Heights”). Her oeuvre, very much like an avant-garde playlet set to music, wasn’t everybody’s cup of tea. (It is my cup of tea, though. “The Man with the Child in His Eyes” is one of my favorite tracks by any performer.) Yet, she stands out as an artist among the artists listed here. Unfortunately, she was much bigger in the UK than in the USA, and the Hall’s voters definitely tilt American. Moreover, the Hall must be aware that she will almost certainly be a no-show to the ceremony: she is a famously unwilling traveler, and took 35 years between concerts prior to her 2014 engagements in London. Moreover, she’s competing with Eurythmics in the arty new wave women category- and frankly, she’s just not the icon that Annie Lennox is.

The Cars (Preference: 4, Worthiness: 5, Likelihood: 5) With the exception of Chaka Khan, this is the only act on here that has been placed on the ballot each of the last three years. The Cars are in a sweet spot: lots of classic rock staples, but lots of critical love. Later baby boomers love them, but whichever Gen X music writers are voters probably view them highly as well. There’s also no shortage of modern acts who are fans of their work, keeping them relevant today.   But they might face the same issue that plagued them the last two years: being the sixth or seventh favorite act of too many voters, and not quite getting their box ticked.

Depeche Mode (Preference: 19, Worthiness: 10, Likelihood: 13) I’ll say this for Depeche Mode: they probably had more influence on what music sounds like today than anyone else on this list. Taking Kraftwerk’s embrace of electronica and achieving top 40 success, they were a major stadium act of their day.  They are fully deserving of Rock Hall induction, even if their music is much darker and not quite as melodic or organic as what I would prefer in my own listening habits. Acts of their caliber, though, have trouble getting in. While Depeche Mode isn’t quite alternative, the fact that The Smiths or The Replacements didn’t get in sniffing distance of induction doesn’t bode well, nor does Nine Inch Nails’ failure to get in during their two nominations.

Dire Straits (Preference: 3, Worthiness: 4, Likelihood: 6) Well, here was a surprise! Dire Straits were one of those acts that fell under the radar, never really coming up in any list of egregious snubs. And yet, now that they are up for consideration, the case for them seems evident. Mark Knopfler was one of the great rock guitarists of his era, they made some pioneering music videos, and- frankly- they stand out for me in terms of crafting fine rock and roll more than any other act on the ballot. Listen to their songs, and you get poetic slices of life with first-rate musicianship: “Espresso Love,” “Telegraph Road,” “Romeo and Juliet,” “Sultans of Swing.” And come on…you know you want Sting to come out and do “Money for Nothing” at the ceremony. This was a great, great choice, and they just might make it through, even on a competitive ballot like this year’s.

Eurythmics (Preference: 5, Worthiness: 9, Likelihood: 7) I knew if I kept predicting them, I would eventually be right! Eurythmics have a number of qualities that commend themselves to an easy induction process. The hall loves soulful singers, and Annie Lennox is probably the best singer on the ballot, depending on your feelings about Chaka Khan. She took the sonic palette of new wave and infused it with depth and humanity. Dave Stewart, for his part, has worked with the Heartbreakers, Ringo Starr, Stevie Nicks, Mick Jagger, Daryl Hall, and plenty of others. The hall has also given VH1 and MTV veterans a stronger presence on the Nom Com (and presumably the Voting Committee too) in recent years, and Eurythmics certainly made the most of the music video format.

J. Geils Band (Preference: 17, Worthiness: 19, Likelihood: 11) Ah, geez. Someone on the committee loves these guys, because this is their fifth appearance. By all accounts they were a very fine live band and I’m willing to look past their somewhat embarrassing string of 80s hits. I don’t think they suck or anything, but in my own judgment, they just don’t clear the bar of excellence or influence or even record sales to have even the remotest case for the Rock Hall. Nevertheless, I’m not willing to write off their chances. They have a “your favorite band’s favorite band” thing going for them, and voters loved blues acts enough to induct two of them in 2015. But J. Geils- essentially Chic without the charm or the pity votes- probably isn’t joining Stevie Ray and Paul Butterfield in the hall this year.

Judas Priest (Preference: 13, Worthiness: 6, Likelihood: 12) It seems like just last year, we were debating who would be next metal act now that Deep Purple was in. Some said Iron Maiden, some solo Ozzy, others noted Dave Grohl’s affinity for Motorhead. Instead, it was Judas Priest, in my opinion the most deserving of that lot. Judas Priest has been safely in my top ten Rock Hall prospects in both the 2015 and 2017 itinerations. But look…it took Deep Purple three tries to get in and they were considered the most egregious Rock Hall snub in some quarters. Hardly any one outside the metal community feels that way about Priest. They are an eminent metal band, and unlike others on this list, they are genuinely honored and delighted to have been nominated. I hope they get in one day, but this just doesn’t feel like their year. I’m sure they have Eddie Trunk’s vote, but it isn’t going to be enough.

L. L. Cool J (Preference: 18, Worthiness: 8, Likelihood: 8): Well, LL Cool J has the rap and hip-hop genres all to himself on the ballot this year (although Rage as a foot in that river). He has been feted by the Kennedy Center, but will it be enough? Two rap acts have gotten in during the last two years, but NWA was a proud iconoclast benefitting from a bestselling movie, and 2pac was a cultural icon in the conversation for the best rapper of all time. LL Cool J seems a little…safe after these two. And there may very well be “rap fatigue” among the voting body that still isn’t 100% sold on the genre. Having said that, LL Cool J has to be considered a contender on any ballot he’s on, but his chances seem a bit middling this year.

MC5 (Preference: 15, Worthiness: 15, Likelihood: 18) Tom Morello’s influence surfaces here as well, with one of his favorites earning their third nomination. This band is very much like a secret handshake among rock nerds and political iconoclasts. Despite a short heyday, they made history with their notorious manager John Sinclair, and their rough-hewn records and performances influenced everyone from My Chemical Romance to Sonic Youth. Don’t expect an induction this year, though: if it took several nominations for The Stooges, for example, to get in, MC5 isn’t making it with this many classic bands on the ballot. Plus, they are competing with RATM and Nina Simone as the most politically charged act on the list this year.

The Meters (Preference: 10, Worthiness: 17, Likelihood: 19) My respect for The Meters has grown exponentially since the day they were last nominated four years earlier. I hadn’t even heard of The Meters at the time, and therefore assumed that they didn’t deserve to get in. I was mistaken. Although they rank only 17th in terms of deserving nomination, I can’t say enough how much respect I have for their funky beats, halting and jerky rhythms and distinctive New Orleans sound. Having said all that, if Chic couldn’t get in under any number of scenarios, don’t expect The Meters to fare better.

The Moody Blues (Preference: 7, Worthiness: 2, Likelihood: 1) When I declared The Moody Blues as my #1 Rock Hall prospect back in 2015, that was probably…too much. I felt like I needed to put a ~real~ rock and roll band in the top spot, and so didn’t consider Janet or Kraftwerk or Carole King or someone for that honor like I should have. Nevertheless, The Moody Blues are one of the most famously egregious Rock Hall snubs ever. Even ten years ago, people were listing them alongside Chicago, Kiss, Genesis, Neil Diamond, Alice Cooper, and the like. Well- those artists are now in. And it’s the Moody Blues’ turn to join them.

Nina Simone (Preference: 2, Worthiness: 1, Likelihood: 4) Some people think she’s not quite rock and roll, or that she would be more fitting in an Influence or Musical Excellence category. I sort of understand, but ultimately come down strongly on inducting Nina as an artist. Like Miles Davis or Johnny Cash, she was a bridge between genres. She readily covered rock and roll standards in a jazzy nightclub style, and rock and rollers covered her songs too (most famously, “Don’t Let Me Be Misunderstood.”) In her career, she branched out to record some of the most direct civil rights anthems of her time. While, say, Odetta’s songs prayed for peace, Simone pointed fingers and demanded justice in “Mississippi Goddamn” and “I Wish I Knew How It Would Feel To be Free.” It’s no wonder that her influence continues through such figures as Beyonce, Lauryn Hill, Alicia Keys, and Mary J. Blige- any of whom would happily drop everything to help induct her in Cleveland. Dave Davies from The Kinks publicly tipped his hand with an enthusiastic “for God’s sake” preceding his intent to vote for her. I think that’s prescient. Do you honestly think the surviving Animals won’t pick her? Do you honestly think Paul McCartney- who credits her “I Put A Spell On You” for the sultry “I love you, I love you, I love you” bridge in “Michelle” won’t find a spot for her? Or Elton John, who named his damn piano after her? Or Mavis Staples? Or surviving members of the Family Stone? Or the Furious Five? Or the social justice-friendly critics and executives who put Joan Baez in last year? Don’t be silly. Nina Simone is getting in.

Radiohead (Preference: 9, Worthiness: 3, Likelihood: 2)  Back in the late 1940s, William Randolph Hearst gave a famous directive to his vast media empire: Puff Graham. A network of radio stations and newspaper outlets then spent months establishing Billy Graham as the nation’s evangelist par excellence, handing him fame and success- albeit in recognition of his considerable skills as a revivalist. That’s not unlike the relationship between the Rolling Stone Industrial Complex and Radiohead. For years, they’ve told us that The Bends and OK Computer are two of the greatest albums of their time. They found a space for them among their 100 Immortals (and believe me, they were very stingy about including post-1970s acts.) All of this was deserved, no doubt- but it didn’t hurt to have friends in high places. Their acclaim has translated to some of the most well loved records of the late 90s- and if the voters could put Green Day in during their first year, Radiohead should be a piece of cake.

Rage Against the Machine (Preference: 14, Worthiness: 7, Likelihood: 9)  I appreciate Rage Against the Machine, which gave my generation a hyper-politicized group as earlier generations had MC5 or Country Joe and the Fish. Rage was far more popular than either- to the point of developing a near sub-culture around themselves, and any discussion of great albums from the turn of the millennium will have to include The Battle of Los Angeles. In a different year with different contenders, I would be optimistic about their prospects. But now? They face competition from Radiohead for the “newbie who has to get in on the first ballot” stakes. They face competition from MC5 and Nina Simone as the most “woke” act available. Morello is an amazing guitarist, but he’s up against Mark Knopfler and Link Wray. Too much pressure from too many quarters- an unlucky ballot for RATM.

Rufus, feat. Chaka Khan (Preference: 12, Worthiness: 16, Likelihood: 15) I’m curious how Rufus got tied to Chaka Khan again- the last two years, it was just Chaka by herself. If anything, this makes Khan’s prospects even more unlikely- people don’t really remember Rufus, and they are more tied to the funkier end of disco, while Khan’s solo career put her into more favorable diva territory. It’s distantly possible they’ll get in, but if it took Donna Summer five tries before her death made her nigh-inevitable, I can’t see Chaka Khan having better luck. It’s a shame- Rufus and Chicago collaborated frequently, and I’d love to hear Danny Seraphine make another profane induction speech.

Sister Rosetta Tharpe (Preference: 8, Worthiness: 12, Likelihood: 17) I’m still a little puzzled by Tharpe’s inclusion on the ballot. She is, beyond dispute, a key piece of rock and roll history– but her heyday was in the 40s and early 50s. I’m not exactly sure what the Nom Com is up to– are they greasing the skids for an Early Induction award (of which Tharpe is wholly deserving?) Did someone else get the Early Influence slot and this was a consolation prize? Some other folks have said “nobody will vote for her, because they know she’ll get in as an Early Influence.” I don’t agree–it’s giving Rock Hall voters too much credit for knowing how their institution works. I doubt very many rock legends have the brain-space to remember Freddie King and Wanda Jackson’s backdoor inductions between touring, buying HD televisions, and remembering to give their former mistresses hush money.

Link Wray (Preference: 16, Worthiness: 14 Likelihood: 10) Link is back! His family has been great to me over the years, and I am delighted for them. His case may be helped by the recent documentary (I’m not sure how many people knew he was part Native American when he was last nominated for the Class of 2014). Nevertheless, like that ’14 ballot, he’s up against A-list 90s acts, and a bevy of never-before-nominated classic rock favorites. Yet as a 50s guitar hero whose stock and trade was rough and ragged instrumentals, he might very well sneak in by virtue of his uniqueness- there isn’t anyone like him on the ballot this year.

The Zombies (Preference: 1, Worthiness: 11, Likelihood: 14) Look, I’m in the tank for The Zombies. They are one of my favorite artists. Odessey and Oracle is one of my ten favorite albums of all time. If I were starting a superband, I’d pick Rod Argent as the keyboard player and work backward from there. I want them to get in, and in a different year, they’d make it. Put them on the ’15 ballot instead of Paul Butterfield, and I have a hunch they’d earn enough votes to get inducted. It’s unfortunate, because they are more musically excellent and more significant in the long term than either The Dave Clark Five and The Hollies- each of whom has been in the hall for the better part of a decade. Unfortunately, last year they were up against fellow psychedelic keyboard-heavy act Steppenwolf. And this year, they are up against their contemporaries The Moody Blues, who are more famous and had more longevity. (To emphasis the point of them being contemporaries, remember that “Nights in White Satin” and “Time of the Season” were recorded within weeks of each other.) Maybe someone like Terry Sylvester of The Hollies will vote for both, but I’d imagine most people will diversify their ballots a bit more– which puts The Zombies in a precarious place.

So…where does this go from here? If I had to predict the Class of 2018, I think Moody Blues, Radiohead, and Bon Jovi are gimmes, although I’d love to be proven wrong on Bon Jovi. I’m pretty confident about Nina Simone for reasons I detailed in her section. And I’ve got a good feeling about The Cars. For a radio-friendly, critically-acclaimed group, I just can’t see them falling short a third time. But that sixth spot, assuming there is one, is giving me fits. Dire Straits and Eurythmics seem like the two most logical choices. But I would give an outside chance to LL Cool J, J. Geils Band, Rage Against the Machine, and Link Wray. The others strike me as very long shots. In a contest between Dire Straits and Eurythmics, I’d have to predict the former. Knopfler is a top-shelf guitarist, and his songwriting and storytelling is their secret weapon. The hall loves those features, as the relatively painless inductions of Leonard Cohen, Tom Waits, Randy Newman, and Bill Withers all suggest. the problem is that this gives us a class very similar to last year’s: a bunch of classic rock mainstays, a first-year-eligible act or two, and just one woman and one artist of color. (In fact, in this case, they would both be the same person- Nina Simone!)

Who am I voting for on the rockhall.com fan vote? Well, The Zombies and Nina Simone are two pet projects of mine, and two of my favorite artists of all time. Of course I’m voting for them. I want to usher The Cars in after three tries, so they are in, too. I would round it out with Dire Straits and Eurythmics, two of my favorite artists who are also among my top 15 Rock Hall prospects. While I really appreciate The Moodies, I’m so confident of their chances that I don’t think they need my vote. Kate Bush and Sister Rosetta were in contention as well. I’m fine making Radiohead and RATM wait another year. That’s not a very balanced vote on my part- too many acts that peaked in the early 80s- but I can live with that. (For comparison, my votes last year went to: Pearl Jam, Janet Jackson, Joan Baez, Kraftwerk, and The Zombies.)

What do you think? Am I on the right track with my directions? Have a pegged your favorites wrong? Let me know in the comments- until then, we have two and a half months of speculating to do!

 

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The news leaked a little early, but around midnight on 5 October, we learned the identity of our nominees for the Rock and Roll Hall of Fame’s class of 2018. There were plenty of returning nominees: The Cars, LL Cool J, Link Wray, The Zombies, Depeche Mode, MC5, Rufus feat. Chaka Khan, J. Geils Band, The Meters, and Bon Jovi. We also have a collection of snubs receiving their first nomination. Two of them- Sister Rosetta Tharpe and Nina Simone- were theoretically eligible for the Rock Hall’s first class back in 1986. They are rounded out by Moody Blues, Dire Straits, Eurythmics, Judas Priest, and Kate Bush. Radiohead and Rage Against the Machine earned a nomination on their very first year of eligibility.

Wow! That’s quite a group. First impressions? It’s hard to go wrong with any of these. Almost. J. Geils is a joke, and I’m not fond of the Bon Jovi pick for reasons I’ll get in to…but you could make a fine class out of this batch if done properly. Lots of longtime snubs are addressed in acts like The Moody Blues. Metal-heads will be vindicated by Judas Priest finally earning a nomination.

A few things stand out, though. Others have noticed this- but this ballot is very light on R&B. (Remember, R&B is narrower than “black artists who don’t rap.”) Simone and Tharpe aren’t really in that genre, as jazz and gospel performers respectively. That leaves  Rufus/Chaka and The Meters. That’s…pretty astonishingly low, especially since these are two of the least likely acts to actually get enough votes. Compare that to the ballot for the Class of 2015 where Chic, War, The Marvelettes, The Spinners, and Bill Withers all vied against one another.

Two other omissions strike me as odd: Nine Inch Nails and Janet Jackson. I would have bet the farm on the Rock Hall moving heaven and earth to induct Reznor in Cleveland, a town he is deeply rooted in. For whatever reason, that didn’t happen. Janet was also passed by- an odd choice given how well her nomination was received during the last two years and the guaranteed ratings boost she would give the HBO special.

And then there’s Sister Rosetta Tharpe. I have mixed feelings about this. I’m thrilled that she’s now on the Rock Hall’s radar; she was listed as #1 when I ranked Early Influence candidates this summer, and that’s just the issue. Her best work was in the 1940s and early 1950s– an Early Influence by any fair assessment. The prospect of her getting in as an artist isn’t unprecedented- Muddy Waters is in as an artist too, and he peaked during that same period. But it’s very weird, and raises questions about whether this nomination is a bad faith effort to just grease the skids for an Early Influence or Musical Excellence nod. In fact, it was unusually ballsy for the Rock Hall to nominate a total of three acts whose first record came out before 1960: Tharpe, Nina Simone, and Link Wray.

And, frankly, I’m not thrilled with the Bon Jovi pick. I’m talking an awful lot of smack, given that I included them in my 100 Rock Hall Prospects, but this continues a depressing trend of choosing uber-commercial acts who don’t clear the Musical Excellence bar.  The Journey nomination seemed just a bit fishy to me last year, and Bon Jovi coming back- suspiciously after mending ties with the Rock Hall and re-donating their swag for exhibition- also raises concern. Look- if you like hair bands, great. Good on you. But musically, Bon Jovi is not in the same class as the other 18 musicians on this ballot. It’s true. And yet, they are currently leading the Rock Hall’s fan poll. That poll didn’t exist when they were first nominated back in 2011. But since it was initiated, the winner of the fan poll has always been inducted. In fact, at least three of the top five artists who win the fan poll get in. That’s disconcerting when black and female artists with greater musicianship tend to sink like stones in the public poll as hoards of suburban baby boomers vote for their favorites- look at the Meters and Rufus and Kate Bush rounding out some of the last places. If the trend holds and Bon Jovi gets in, who is next– Duran Duran? Def Leppard? Foreigner? Do they all get in before Kraftwerk and The Smiths too? Where does it end?

Finally, it’s hard to see who had the most influence on making this ballot. Tom Morello’s hand can be seen clearly in MC5 and Judas Priest’s nominations- both artists the RATM guitarist advocated for. But Questlove’s involvement cannot be readily perceived, nor can David Grohl’s. Those expecting a Soundgarden nomination were disappointed.  Similarly, my theory about Paul Shaffer nominating Warren Zevon also turned out to be bunk.

But let’s re-examine my predictions. I am proud to say that I got nine right: Radiohead, Rage Against the Machine, The Zombies, Eurythmics, LL Cool J, Link Wray, Nina Simone, J. Geils Band, and Moody Blues. Irritatingly, lots of artists I’ve predicted in other years showed up this year when I didn’t pick them: Judas Priest, The Meters, Kate Bush, Dire Straits, and MC5 all fell into that category. Troy Smith got an impressive ten right- congratulations!

For all my complaining, my two pet favorites, The Zombies and Nina Simone, are both nominees this year. If nothing else, I’m very grateful for that.

Hopefully this weekend, I’ll flesh this out, as is my custom, by rating each of the nominees on three scales: 1) how much I personally like them; 2) how deserving they are of induction; 3) how likely they are to be inducted.

Oh, and as a point of trivia- the top ten artists in my 2017 update to my Rock Hall Prospects have all now been nominated at least once: Moody Blues, Kraftwerk, Nina Simone, Carole King, Janet Jackson, Judas Priest, The Spinners, Dire Straits, and The Smiths. In fact, everybody in my top 15- with the sole exception of Mariah Carey- has  been nominated as well.

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Here is the first installment of my “100 Greatest Rock Hall Prospects” list, starting out at #100, and moving on to #1 in the coming weeks.  (Chicago, fortunately, lost their spot at #1 by virtue of being inducted.)  Hopefully, I’ll be able to imbed a Spotify playlist on this blog shortly, but please bear with me; I haven’t quite figured that trick out yet.  This particular batch has some eclectic, but somewhat borderline, cases.  Interestingly, five of these artists have already been nominated, but haven’t made it in yet.  Let me know your thoughts as we journey through the epochs of rock and roll.  Remember- this is just one guy’s opinion, so I hope you won’t take umbrage if your favorites aren’t on the list or are ranked too low for your liking.

100.  fela-kutiFela Kuti:  For all we complain about certain “snubs” from the Rock Hall, there are some genres, and indeed, some geographical regions that are left out in the cold entirely.  No artist who spent their career working from Africa, to give one less obvious example, has been inducted.  If the Hall ever looks in that direction, they could do no better than Fela Kuti.  Like Bob Marley before him, Kuti worked outside the Anglo-American axis, and pioneered a bold new synthesis while standing up to political oppression.  And also like Marley, he is regarded as much as a prophet as a musician.  Kuti’s contribution is Afrobeat, a dynamic synthesis of funk and traditional Nigerian rhythms, and a key progenitor to world music.  Redbull Music Guide calls him “A complex man who was equal parts shaman, showman, and trickster,” a crafty thorn in the side of the violent regimes that Nigerians endured during his lifetime.  If it weren’t for the horrific migrations out of Africa in the 1600s and 1700s, rock and roll could have never happened, so it is incumbent on us to recognize a figure who, more than anyone else, brought it all back home.  If this seems like a far-fetched choice, remember that Kuti has plenty of admirers in high places, ranging from Jay-Z to his onetime collaborator, Ginger Baker.

99.  Husker Du:  Husker-DuI was a bit dismissive about Husker Du in my introduction to this project, but they still deserve serious consideration for a Rock Hall induction.  They helped create alt-rock and set the table for Green Day and other latter-day acts that dominated radio when I was a teenager, except they did it years before it was cool.  Ultimately, they were a musician’s band, more famous for influence than for record sales.  Patrick Smith said it best: “To say that Hüsker Dü never cultivated any sort of image, in the usual manner of rock bands, is putting it mildly. These guys just didn’t look or carry themselves like musicians. And they didn’t care.”  Their records rarely had a picture of the band, but they were workmanlike, touring relentlessly to break out of the underground scene they were beholden to.  Husker Du bridged the gap between thrash and alternative, recording an essential album, Zen Arcade, with little time and a meager budget.  Nirvana, Pixies, the Foo Fighters and countless other acts cite them as an important influence.

98.  D.C. Talk: d.c. talkOne important genre that the Rock Hall has heretofore neglected (and will probably neglect for a very long time) is Christian Contemporary.  This is probably because its artists and its audience exist in a somewhat insular subculture in America far removed from anybody on the Nominating Committee.  But if your daddy listened to James Dobson on the radio and your mama read Amish romance novels, chances are, D.C. Talk was a part of your life in the 1990s.  D.C. Talk remains the most historically important Christian contemporary artist for the Rock Hall’s consideration, at least until Jars of Clay become eligible in 2020.  They started out recording plenty of spiritually uplifiting secular songs like “Lean On Me” and “Jesus Is Just Alright” before 1995’s Jesus Freak came out like a bolt out of the blue.  A lot of music that white evangelicals were listening to…well…let’s just say it was shoddily recorded and noticeably derivative.  There were lots of earnest singer-songwriters with acoustic guitars and beards, or Styx-wannabes like Petra.  D.C. Talk broke away from the evangelical tendency toward second-rate music, playing conscientious hip-hop-infused rock that didn’t sound like a pale imitation of existing artists.  Wisely, they tapped into post-punk and alternative’s need for personal authenticity and its identification with society’s misfits and losers, balancing the introspective with a finely-developed social consciousness.  Virtually every edgy Christian songwriter of a generation began his or her education with D.C. Talk.

97.  NyDolls3 New York Dolls: This pick goes against everything I stand for in terms of my personal taste, but it is tough to deny their longstanding influence.  The New York Dolls were gender-bending to a striking, and apparently persuasive, degree (just this semester, one of my students foolishly included them in a diorama on “women in rock.”)  There was this sorta Jagger-knock-off feel to their sound and their sneering and pouting temperament, but they were an important piece of what became punk music.  Even if they got there by way of glam.  I love that their first gig was in a homeless shelter; it’s the perfect encapsulation of the New York underground scene that embraced all kinds of people who were rejected elsewhere.  They challenged convention (particularly gender convention) with their wardrobe choices and became heroes to Patti Smith, The Ramones, and other top-shelf acts that became massively big later on.  (Then again, they also influenced KISS.  This isn’t something to be proud of; it’s more like remembering Lee Harvey Oswald for influencing Mark David Chapman.)  At a time when popular music was getting more complex and ethereal, New York Dolls not only brought it back down to earth, but into the gutter.  They lived fast, some of them died hard, and they enjoyed only a short career before disbanding, but everyone who was there at the time vouches for their importance.  The band was nominated once in 2001, but it may be a long time before they see the inside of the Rock Hall.  If it took the Sex Pistols five tries and the Stooges eight tries, they may have quite a wait ahead of them.

96. Harold Melvin Blue NotesTeddy Pendergrass/Harold Melvin and the Blue NotesEvery genre in the rock and roll family tree moves the listener in a different way.  The deep soul branch touches the most plaintive notes of our conscious selves, and speaks to our deepest hurts and our most aching longings.  I can think of no outfit that did this quite so well as Pendergrass- either with or without Harold Melvin and the Blue Notes.  Their most important (and most widely covered) hit, “If You Don’t Know Me By Now” is a track of profound emotional depth, and that’s just one of a small armada of hits that tore up the R&B charts through the 70s.  Pendergrass kept this going in his solo career, which was cut short by a freak accident that paralyzed him and shortened his life (eerie parallels to Curtis Mayfield, no?)  Actually, like Mayfield, Pendergrass and the Blue Notes also threaded a careful line between love songs and socially conscious numbers in tune with their times (give a listen to “Wake Up Everybody” for a fine essay in this genre.)  While figures like Barry White had a more conspicuous calling card in his spoken-word seduction, Pendergrass had chops that weren’t overshadowed by deceptive production.  Philadelphia artists have a habit of being ignored by the Rock Hall, as Daryl Hall pointed out at his own induction, and the Blue Notes would be a worthy addition given the absence of Philly soul from the Cleveland halls.  Classic rockers will have a fit, but I’d rather have a first rate soul outfit than a group of second-rate rockers.

95.  Procol HarumProcol Harum: For a few years, it seemed like Cleveland was letting every British invasion act it could remember into its halls.  When Procol Harum was nominated for the Class of 2013, it sure looked like a front-runner on a ballot filled with dicey blues and rap prospects.  Yet, they failed to get the votes, and I wonder why.  Inductees Dave Clark Five and The Hollies certainly had more hits, I’ll grant you that, but Procol Harum had significantly more vision behind it, and was a better fit for the Hall’s own agenda.  With a full-time lyricist at their disposal, they challenged rock and roll’s artistic boundaries, using greater classical influences, and a broader array of instruments- with the organ at the front of the mix- to create baroque pop.  The result of this technique was the glorious “Whiter Shade of Pale,” a track that serves as the exemplar of ambitious (if somewhat obtuse) psychedelia.  But don’t stop there, because “The Devil Came From Kansas,” “Conquistador,” and “A Salty Dog” were all ambitious and masterfully composed, rich gems waiting for those who are willing to delve further into their catalog.  All these factors make them important antecedents to progressive rock sensibilities.  Today, every artist records with a full orchestra as a fun lark.  But Procol Harum was perhaps the first band to do so with a 1972 album with the Edmonton Symphonic Orchestra, exploring how classical and rock and roll might be genres in collaboration rather than competition.  Procol Harum is still on tour today with its frontman Gary Brooker, and despite recurring lawsuits over “Whiter,” the band would be able to perform, and even skip the light fandango, if called upon.

94.  chuck willisChuck Willis: The Rock Hall has, traditionally, been very mindful of 50s R&B legends- people who didn’t have tons of hits that are played on Oldies radio today, but were indispensable to the foundations of rock and roll.  But a few of them never quite made it past the hurdles of induction.  Joe Tex is one of them.  Esther Phillips is another.  But arguably the turban-wearing Chuck Willis is the most influential of the figures in this category.  He was nominated on each of the Hall’s first five ballots, and once again in 2011, without success.  As the voting body becomes younger and perhaps less historically astute, Willis’s window is probably gone unless he gets a backdoor “early influence” nod.  It’s a shame, because he deserves induction without any asterisks.  He wrote his own material in a genre where that rarely happened, popularized “C. C. Rider” and The Stroll, one of Rock’s first dance crazes, and toggled easily between sincere ballads and riveting rockers.  His blend of crooning and wailing established the template for every number of R&B vocalists to come.  Unfortunately, he was felled by peritonitis in his prime, and died at the age of 30, one of rock and roll’s first big casualties, even predeceasing Buddy, Richie, and the Bopper.

93.  mary wellsMary Wells: Has the Rock Hall milked Motown dry?  It seems like every significant Motown artist is enshrined in the Hall, although the Nom Com seems on the lookout for more of them.  The Marvelettes have been nominated a couple times, most recently for the Class of 2015, but I think a stronger case can be made for Mary Wells if you’re going to close the book on Hitsville, USA.  Go back and listen to her old 45s, and you’ll hear a remarkable self-possession and personality shine through.  Sultry but sweet, emotive but confident, she should have had a much bigger career than she enjoyed.  It must have been tough as a female artist in the 60s, with the virgin/whore dichotomy at full bore.  Your output had to be demure enough to be respectable but sensuous enough to be interesting.  There aren’t many songs that are simultaneously both seductive and innocent as her vocal work on the coda of “My Guy.”  Unfortunately, she violated Rock and Roll Rule #3: Don’t Cross Berry Gordy.  (Rule #1 is “Don’t bite the head off a bat” and Rule #2 is “don’t marry your 13-year-old cousin.”)  Rumors persist that Gordy sabotaged her career after she left Motown, irritated by The Supremes getting more attention, better promotion, and more quality material.  But any way you slice it, the hits dried up prematurely for one of soul’s most talented vocalists.   

92.  megadethMegadeth: there are probably metal bands that deserve to be in before Megadeth, but they are certainly in the queue.  Founded by Metallica castaway Dave Muscatine, Megadeth presided over the creation of thrash-metal: angry, focused, intentional, and intense.  The band has danced with the devil for decades, with lyrics that explore death and destruction, but never wholly endorsing a violent worldview.  In terms of zeitgeist, it’s remarkable how well Megadeth directed their ire at the bloodlust of the 1980s, with a revived Cold War and a lot of unnecessary, phallus-waggling American incursions into Latin America and the Caribbean.  Nobody, as it turns out, was buying peace.  Although Muscatine has expressed interest in induction, it’s probably a long way off.  The Nom Com just isn’t interested in thrash metal, and their rivals, Metallica, belong to the Rock Hall’s “in-club” and these guys most definitely do not.

91.  bon joviBon Jovi: If you really stop and think about it, one of Cleveland’s more insidious biases is against artists that women tend to like more than men- perhaps a reflection of the male super-duper-majority on the Nom Com.  How many artists in the Hall of Fame today have a decisively female fan base?  Bobby Darin?  Ricky Nelson?  Neil Diamond?  I can’t think of too many more.  Teen idols tend to get passed over as long on image and short on chops.  Every once in a while, an exception like Peter Frampton- a surprisingly good guitarist- challenges that stereotype, but otherwise, good luck waiting for Bobby Vinton, Frankie Avalon, Lief Garrett, and Neil Sedaka to come to Cleveland.  But in the mid-to-late 1980s, Bon Jovi were not only teen idols, but the most well-remembered emblems of hair bands.  With long mullets, screechy guitar solos, and ear-worm hooks, bands like Bon Jovi tore up the charts in the mid-to-late 80s.  They wracked up a number of big hits made for stadium sing-alongs and Jon holding out the microphone to the audience (every song they’ve done seems to have a “wuhhh-oh” or an “aaah-ah” in the chorus crafted for this kind of moment.)  It was listener friendly, but almost factory-designed to vex the serious listener or critic, ever searching for technique and nuance.  But technique and nuance were never part of Bon Jovi’s appeal.  I had just started listening to Top 40 radio when “Always” was out, inaugurating Bon Jovi 2.0, and several years later, they did it again with “It’s My Life” and later remade themselves into John Mellencamp-style heartland rockers in the new millennium.  In a crazy way, a Bon Jovi comeback seemed more far-fetched and anachronistic than its contemporary Santana and Cher comebacks, partly because it was so tough to disassociate them from the mullet-infested, Dollar Store Springsteen side of the 80s.  After all, didn’t Nirvana exist to save us from bands like Bon Jovi?  Nevertheless, as a cultural artifact, as hitmakers of astonishing resilience, and as contributors to the rock and roll milieu, Bon Jovi deserves a place in the Hall.  “Tommy used to work on the docks” is one of the great opening lines in all of rock history.   Bon Jovi has been nominated once before- for the Class of 2011- but didn’t get in.  With the recent exception of Janet Jackson, that’s probably the most shocking non-induction in the last decade of Rock Hall history.  I’d expect them to get a second chance sooner rather than later- especially under the aggressive new management of Irving Azoff.

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