Rock and Roll Hall of Fame snubs

On the subject of Musical Excellence, I restate my case for Billy Preston and a slew of the Wrecking Crew, starting with bassist Carol Kaye.

The Rock and Roll Hall of Fame announced the nominees for 2018:

Bon Jovi
Kate Bush – first time
The Cars
Depeche Mode
Dire Straits – first time
Eurythmics – first time
J. Geils Band
Judas Priest – first time
LL Cool J
MC5
The Meters
Moody Blues – first time
Radiohead – first time
Rage Against the Machine – first time
Rufus featuring Chaka Khan
Nina Simone – first time
Sister Rosetta Tharpe – first time
Link Wray
The Zombies
“To be eligible for nomination, an individual artist or band must have released its first commercial recording at least 25 years prior to the year of induction which means the 2018 nominees had to release their first official recording no later than 1992.”

Since we can vote for these folks, I cast my ballot for these:

The Moody Blues: #1 on Culture Sonar’s Top Ten Rock and Roll Hall of Fame Snubs. Commercial and critical cred, evolving in musical styles.

Nina Simone, the high priestess of soul – listen to Feeling Good

Two artists I think they should just plop into the Hall as early influencers are Sister Rosetta Tharpe, The Godmother of Rock & Roll, and Link Wray, the father of the power chord.

One band that should be in via the Musical Excellence route, and that’s the Meters, who defined New Orleans funk. And on the subject of Musical Excellence, I restate my case for Billy Preston and a slew of the Wrecking Crew, starting with bassist Carol Kaye.

Again, I’m pushing for Estelle Axton, the AX of STAX Records, as a non-performer. Her brother and business partner Jim Stewart has been there since 2002.

Chuck Miller made the case for Neil Sedaka; I’ll buy that, and would suggest that they include his longtime writing partner Howie Greenfield. Like Mann and Weil and Goffin and King, they were successful Brill Building creators.

If I knew the Meters, Tharpe, and Wray would get in another way, I probably would vote for Culture Sonar’s #9 pick The Cars, plus Dire Straits and Eurythmics.

I’m guessing that Bon Jovi, the Cars (high on the fan ballot in previous years) and the Moody Blues will make it.

High on my disappointed they weren’t even nominated:

Emerson Lake & Palmer – while I’d like to see King Crimson, Greg Lake’s previous band, go in first, I’d take whatever prog rock I could get

The Doobie Brothers- oddly enough, the death of Steely Dan’s Walter Becker has made me, even more, a fan of this choice. Only Becker and Walter Fagen are in the Hall, which means original Dan guitarist Jeff Baxter is not. Neither is Michael McDonald, who had a stellar solo career after singing and playing for Steely Dan then reviving the Doobies.

Warren Zevon – yes. a critical darling, whose songs were heavily covered.

Three Dog Night – yes, they didn’t write their own songs. But they made credible recordings covers of a wide range of artists, including musicians that people didn’t know at the time, including Harry Nilsson, Randy Newman, Elton John and John Hiatt. I really enjoyed their early stuff. And they had 21 consecutive Top 40 hits.

Music Throwback: Nights in White Satin

“It was a series of random thoughts and was quite autobiographical.”

Perusing my Across the Charts book of the Billboard charts of the 1960s, I noticed that the single Nights in White Satin by the Moody Blues only got up to #103 on the US charts in early 1968. This was the first single off their second album Days of Future Past.

The group changed greatly between its first album, The Magnificent Moodies from 1965, and the second, both in terms of musical style and personnel. Denny Laine, who sang lead vocals on the group’s first big hit, a cover of Go Now, is best known as later being a mainstay of Paul McCartney’s OTHER band, Wings.

From Songfacts:
Nights in White Satin was written by Justin Hayward, who joined the band the previous year after Denny Laine left the group. He got the idea for the song after someone gave him a set of white satin sheets, and wrote it in his bed-sit at Bayswater. Haywood told the Daily Express Saturday magazine May 3, 2008: ‘I wrote our most famous song, Nights in White Satin when I was 19. It was a series of random thoughts and was quite autobiographical. It was a very emotional time as I was at the end of one big love affair and the start of another. A lot of that came out in the song.'”

From the Wikipedia:
“The album, plus two singles therefrom, Nights in White Satin and Tuesday Afternoon…, took time to find an audience. In the Moody Blues’ native Britain, the two singles from the album didn’t initially catch on; Nights in White Satin made only No. 19 on the British singles chart in early 1968, and Tuesday Afternoon didn’t chart at all.

“However, the British public learned to appreciate Nights in White Satin subsequently; it made No. 9 on the UK singles chart on re-issue in December 1972 and No. 14 on the charts on another reissue at the end of 1979, and is now regarded as the Moody Blues signature song by British audiences. In the US, Nights in White Satin did not make the Billboard Hot 100 in 1968, although it reached No. 2 on re-release in 1972; Tuesday Afternoon was more successful on initial release stateside, peaking at No. 24 on the Billboard Hot 100.”

I am fascinated that a song that was pretty much of a dud in one release can become a hit four years later. It was apparently music ahead of its time.

LISTEN to:

Tuesday Afternoon HERE

Nights in White Satin (single) HERE or HERE

Nights in White Satin (album cut) HERE