By Phill Marder

Faithful readers of Goldmine know that last year I was assigned the task of compiling a list of 10 bands snubbed by the Rock & Roll Hall of Fame.

Considering the track record of the Hall of Fame, limiting the list to 10 was nigh impossible. And when I did, the fur started flying as readers pounded me with, “Hey dummy, what about this band…and what about that band?” Then there were the readers who complained some individuals were excluded, one naming Joe Tex, Don Covay, Connie Francis, Freddy Cannon, Len Barry and Pat Boone, all fine suggestions except for the fact none qualify as a “band” or “group,” even allowing for weight gain due to the aging process.

So, this year I get the chance to add 10 more. All 10, as well as many others, were profiled in “Great Blogs Of Fire” last year, and more are still to come. With all on last year’s list ignored – Heart was the only nominee and they didn’t make it – the importance of being on this list is questionable. In fact, considering my track record, group’s should be trying to avoid this list.

Remember, last year’s list included Bon Jovi, The Cars, Chicago, The E-Street Band, The Guess Who, Heart, Kiss, The Moody Blues, Paul Revere & The Raiders and Rush. So don’t gripe if they’re not on this year’s list.

And remember, Grand Funk Railroad was the installment prior to this 2011 recap, so if you missed it, check “Great Blogs of Fire” under blogs. There you’ll also find articles on solo artists – Todd Rundgren, Chubby Checker and more – and several duos – Hall & Oates, America, Pet Shop Boys, etc.

And stay tuned. There’s a good chance your favorite, if not already covered,  will be coming to this blog soon. Or to an even bigger recognition.

Again, in alphabetical order, 10 more bands that should be in the Rock & Roll Hall of Fame:

CHEAP TRICK -

The almost original foursome has been around so long now, their biggest problem is probably being taken for granted.

Another problem may be the band’s lack of success in England, strange as few groups have been as capable of sounding as Beatlesque as Cheap Trick and they have been quite strong in some other European locales, in addition to Japan and the entire Pan Pacific.

Cheap Trick is a rare example of critics and fans agreeing. They get overall good reviews and they sell product and concert tickets as well.

There are bands that should enter the Hall of Fame ahead of Cheap Trick. But there also are some currently enshrined that should have followed them.

THE CURE -

Robert Smith’s guys were nominated last year, but didn’t make the cut. How close were they? Anyone…anyone??

I’m confident The Cure will get there eventually. Of course, many of us oldtimers are skeptical of anything that came across after 1980. But I try to keep an open ear and I purchased the 1987 disc, “Kiss Me, Kiss Me, Kiss Me,” apparently doing my part to make it the band’s highest charting (#35) album to that date in the U.S.  It actually was the group’s sixth U.S. charting long player, so we’re not talking overnight wonder here.

The LP turned out to be a favorite of mine, with strong material and excellent musicianship, and the follow-up, “Disintegration,” climbed all the way to No. 12. But it took until 1992 for the band’s biggest hit, “Wish,” which rose to No. 2 and No. 1 in the U.K. All told, The Cure has been one of Britain’s top groups since 1980, placing 11 albums in the Top 10.

DEEP PURPLE -

The question is, “How many of today’s guitarists cut their teeth on the riff from “Smoke On The Water?” The answer? Anyone?…anyone?

That 1973 classic became Deep Purple’s signature song and their biggest hit, equaling the No. 4 finish of their first big single, “Hush.” Deep Purple also connected for two top 10 singles in the United Kingdom, “Black Night” and “Strange Kind Of Woman.”

But we all know Purple was not a singles band, though they did manage to mix heavy melody content with their hard rock/metal foundation, which earned them recognition as the world’s loudest band. From 1968 until 1993, this remarkably durable congregation smashed its way through several lineups without losing steam, putting five LPs into the U.S. top 20 and 12 into the U.K. top 20, where they topped the charts three times, with “Fireball,” “Machine Head” and “Deepest Purple.”

DEF LEPPARD -

They say a leopard never changes its spots. Why should Def Leppard?

Following the adage, “if it ain ‘t broke, don’t fix it,” this English quintet has remained remarkably consistent in its output, earning recognition from some as the world’s premier heavy metal band, from others as the world’s premier hard rock band and from fans as just an extremely popular and enduring band, no matter the category critics assign them.

From their debut album, “On Through The Night,” which appeared in 1980, to  “Songs From  The Sparkle Lounge,” which kept Def Leppard in the top 10 in 2008, vocalist Joe Elliott and his cohorts have maintained a standard of excellence, resulting in two albums, “Hysteria” and “Adrenalize,” that topped both the U.S. and U.K. charts, plus a No. 2, “Pyromania,” in the U.S.

Perhaps the Rock & Roll Hall of Fame will induct them if guitarist Phil Collen promises to wear a shirt?

DURAN DURAN -

No it didn’t reach Elvis or Beatles’ standards, but the fervor generated by England’s “Fab 5″ eclipsed most others in Rock history, save, perhaps, The Monkees.

They broke into the big time with 1981′s British hit single, “Planet Earth,” and conquered the U.S. market the following year with “Hungry Like The Wolf.”

With MTV and videos the new fad, Duran Duran quickly swept the globe. Was it their music or just their good looks? Video made them giants, but time proved they had the musical chops to justify the popularity. In the U.S., Duran Duran gave us 13 top 20 singles and eight top 20 LPs and they did even better in their U.K. homeland, charting 13 top 20 LPs and 22 Top 20 singles.

They are currently on tour supporting last year’s hit album, “All You Need Is Now.”

THE ELECTRIC LIGHT ORCHESTRA -

The must be inducted member is Jeff Lynne, thanks to his work with The Move and The Traveling Wilburys, his success as a songwriter and his accomplishments as a producer.

But since the R&R Hall of Fame has ignored him thus far and seems to have an aversion  toward progressive rock groups, let’s go for Lynne’s crowning achievement – ELO, one of the most accomplished and popular groups of the ’70s and early ’80s.

Trendsetters, with a full-time, three-member string section, ELO dominated the radio waves and best-seller charts from 1972 until 1986, with five of their LPs and seven singles reaching the Top 10.

FOREIGNER -

Probably too popular for the Rock & Roll Hall of Fame.

Even though they recorded for Atlantic, even though they had No. 1 albums and singles on both sides of the Atlantic…Ocean, that is… and even though they rocked as hard as any band since the ’70s, Foreigner cannot get a nod.

If they’re being ignored because of their monster ballads, someone should make “Urgent,” “Dirty White Boy,” “Juke Box Hero” and “Break It Up,” among others, required listening for the Rock Hall’s nominating committee.

GERRY & THE PACEMAKERS -

When I wrote this segment last year, it also included Herman’s Hermits, but Peter Noone, apparently disturbed by my summary of the Hermits, responded by writing, “I don’t want to be in the Rock & Roll Hall of Fame” and suggested I put my efforts into getting Gerry & the boys inducted in addition to another somewhat childish suggestion.

Talk about ego.

I suppose it never occurred to Noone that maybe the surviving Hermits or the families of anyone not still with us may want the honor and recognition for their work. Judging from his comment, Noone apparently doesn’t think The Hermits was a group effort. But the article suggested Herman’s Hermits should be in the Hall of Fame, not Peter Noone should be in the Hall of Fame.

This section also included Manfred Mann, The Searchers, The Troggs and The Zombies, and I still think all six rate induction, but since I’m just picking one, Gerry & The Pacemakers get the edge, though the Hermits did have the most hits.

Why the Pacemakers before the Hermits? Overall, the groups were close. But the difference between the frontmen, Gerry Marsden and Noone, gives the Pacemakers the edge.

Marsden was not the most prolific writer, but when he did write he penned some of the best songs to come out of the British Invasion, “Don’t Let The Sun Catch You Crying ” and “Ferry Across The Mersey” being the most memorable. Noone sang almost all cover material. Marsden played guitar, Noone played the crowd. And, though Noone’s vocal efforts were pleasant enough on lighter fare, Marsden was much better overall and thus much more versatile.

JETHRO TULL -

It’s almost impossible to take the Rock & Roll Hall of Fame seriously when bands such as Jethro Tull have yet to be inducted.

Led by Ian Anderson, who resembled a crane when stationary and a “Dancing With The Stars” version of Joe Cocker when on the move, Tull was a completely unique band. I mean, Anderson played flute and they were named after the inventor of a seed drill. C’mon.

But even with little success producing hits, Tull dominated album charts for well over 20 years and rarely failed to sell out personal appearances. In 1972 and 1973, they produced albums that topped the U.S. charts, “Thick As A Brick” and “A Passion Play.” 1974′s “War Child” just missed, stopping at No. 2, and four others, “Aqualung,” “Living In The Past,” “Minstrel In The Gallery” and “Songs From The Wood” cracked the top 10. They reached similar heights in their homeland.

THE MONKEES -

No group I pitched for last year drew anywhere near the response garnered by fan favorites, The Monkees.

So what did the R&R HOF do? Ignored The Monkees and inducted Don Kirshner instead. No fear, Monkee fans…Goldmine backs The Monkees 100 percent, even though they canceled the end of last year’s tour, rendering my tickets useless.

The arguments are just as useless. The R&R HOF is aware of how many records the group sold, how many concerts it sold out, how popular and innovative the TV series was, and how meaningless is the complaint of the group not playing on their earliest recordings.

Most of the artists in the “Great Blogs Of Fire” series point out just how out of touch the R&R Hall of Fame is with the public. Perhaps none more than The Monkees.

THE SMITHS -

The Brits always seem to be more open to extremes than those in the States, one example being the United Kingdom’s embracing of The Smiths, a group for the most part ignored in the U.S. At least comparatively speaking.

Without a hit single in the colonies, The Smiths still managed to chart seven LPs, though none ranked stronger than #55 in spite of critical acclaim here. However, in the British Isles, where the group was revered, 18 singles hit the top 30 and 17 albums cracked the top 40, including two that topped the charts and five that hit #2.

Controversial lead singer Morrissey also has achieved great success on both sides of the Atlantic as a solo artist.

Either the Brits know something the Americans don’t, or they have extremely poor taste. As a fan of The Smiths and Morrissey, I’d lean toward the former.

TOMMY JAMES & THE SHONDELLS -

Last year Joan Jett & the Blackhearts were nominated for the Rock & Roll Hall of Fame. They had three top 10 hits, one being the No. 7 “Crimson & Clover.” The source of the much superior original, Tommy James & the Shondells, has yet to be recognized.

The Shondells’ “Crimson & Clover” topped the charts in 1969. Two other James top 5 hits, “I Think We’re Alone Now” and “Mony Mony,” hit No. 1 on remakes, the former by Tiffany, the latter by Billy Idol.

In total, this group produced eight Top 10 hits, including the No. 1 “Hanky Panky,” the No. 2 “Crystal Blue Persuasion” and the No. 4 solo smash by James, “Draggin’ The Line.”

And, perhaps more importantly, they did it all on Roulette Records and managed to stay alive, too. Speaking of alive, James still tours with a group of Shondells, rocking harder than ever.

YES -

The blog, “Great Blogs Of Fire,” already has documented the Rock & Roll Hall of Fame’s apparent disdain for Progressive Rock.

No Moody Blues, no Rush, no Jethro Tull, no Electric Light Orchestra, no sense.

And the neglect has stretched even to Atlantic Records, of which almost everyone involved in the company currently is inducted save two of the label’s most successful recording acts – King Crimson and Yes, coincidentally both giants of Progressive Rock.

We haven’t gotten around to King Crimson…yet. But we did profile Yes last year, and there’s no question they belong in the Hall of Fame. With just two major hit singles, “Roundabout” and the No. 1 “Owner Of A Lonely Heart,” Yes still managed to become one of the world’s best-selling groups and one of Rock’s largest concert draws.

Almost every one of their long-players hit the top 10 in the United Kingdom and seven reached the top 10 in the states. That success has been duplicated around the globe.

Yes has been eligible 17 years without a nomination. Memorandum to the Rock & Roll Hall of Fame nominating committee and voting members – It is no crime to be an instrumental virtuoso.

I know, I know…It’s a baker’s dozen, not 10. Shhhhhhhhhh.

And remember, there’s more to come in 2012. So keep reading…and writing.

The Monkees should be on the next train to the Rock & Roll Hall of Fame

(No. 47 in a series on artists who should be in the Rock & Roll Hall of Fame, but are not)

By Phill Marder

Just about one year ago, this column/blog made its Goldmine debut.

Most of the articles have been dedicated to profiling artists who should be in the Rock & Roll Hall of Fame, but are not. And in each column I have tried to give the reasons why I support those profiled.

As promised, you haven’t read “Big Star should be in the Hall of Fame because I like them” or “The Small Faces should be in the Hall of Fame before The Monkees because I think so.” Not unless you read the comments, that is.

The list of those profiled is extensive:
Jack Scott; Burt Bacharach & Hal David; Chubby Checker; Donovan; Bon Jovi; Donna Summer; America; The Guess Who; Jeff Lynne; Neil Sedaka; Chicago; Cher; Kiss; Hall & Oates; Mary Wells; The Miracles; The Marvelettes; Todd Rundgren, Heart; Jan & Dean; Linda Ronstadt; The Moody Blues; Rush; Jay & The Americans; Jimmy Buffett; The Cars; Bob Crewe; Paul Revere & The Raiders; Deep Purple; The Smiths; Connie Francis; Johnny Rivers; Jethro Tull; Def Leppard; Cliff Richard; Tommy James & The Shondells; The E-Street Band; The Crickets; The Comets; The Pet Shop Boys; Freddy Cannon; Gary US Bonds; Yes; Glen Campbell; Duran Duran; The Cure; The Monkees; Paul Anka; Bobby Vee; Foreigner; Lionel Richie & The Commodores; Brook Benton; Bobby Day; Gerry & The Pacemakers; Herman’s Hermits; Manfred Mann; The Searchers; The Troggs; The Zombies.

Quite a list and, believe it or not, there’s still a few I haven’t gotten to yet. In my mind, they all should have been in the Hall of Fame already. But which ones do Goldmine readers agree with – at least so far? It’s time to sum up as the HOF nominating committee should be busy making its choices for the next class, if it hasn’t already.

So just who has garnered the most support over the year and who do Goldmine readers think should be on this year’s list of nominees? Clicking the “thumbs up” symbol at the close of each article, I assume means you agree with the piece. Either that or you confused it with another finger.

So we’ll take the 10 profiled who received the most “thumbs up” and presume these would be Goldmine readers’ choices.

But first, under my favorite rule – “it’s my blog & I’ll do what I want to” – we can induct Bob Crewe and the team of Hal David & Burt Bacharach as non-performers, since they were primarily writers and we can add Bon Jovi, Donovan and Donna Summer because they were nominated last year and didn’t get in, though their credentials were much more substantial than almost all those who did. And don’t start crying “Bon Jovi sucks” and “Donna Summer isn’t Rock & Roll.” A zillion fans have a different opinion of Bon Jovi and Donna Summer rocks a lot harder than many already in the Hall of Fame, disco beat or not.

The E-Street Band, with 544 recommendations, ranks second on the list of “thumbs up” from Goldmine readers, but should receive automatic induction to rectify the previous, unjustified slight which saw them passed over when Bruce went in. Likewise, The Miracles (with Smokey Robinson), The Comets (with Bill Haley) and The Crickets (with Buddy Holly).

Linda Ronstadt and The Moody Blues got their fair share of “thumbs up,” but really connected with comments, most of which were positive. So they qualify for “Goldmine recommendations.”

So there’s seven new inductees (Bacharach & David counting as one) and four corrections. Then, toss in one shoo-in from the newly eligibles, Guns N’ Roses, and that makes 12.

Now for our top 10. Yes, this would make a big induction class, but who cares? Twenty-two went in the second year, 16 the first. And what’s fair is fair. The object is to get those who truly deserve to be inducted inducted.

For Goldmine readers, these 10 truly deserve, according to the number of “thumbs up” received:

(1) The Monkees (1149) – The pre-fab four easily outdistanced all competition, getting more than twice as many “thumbs up” as the runner-up E-Street Band…so far. If you don’t like them, try to keep an open mind. They represent everything a Hall of Fame should be about…massive popularity, massive success, instant recognition.

(2) The E-Street Band (544) – Goldmine readers pretty much proved Bruce Springsteen’s backup band was recording more than the required 25 years ago.

Loyal followers made Todd Rundgren No. 3 in this list of Rock Hall hopefuls

(3) Todd Rundgren (404) – Though Todd was one of the earliest selections and I certainly believe he belongs in the HOF, I must admit I was surprised at the strong support he received. No question, he’s an obvious choice.

(4) Deep Purple (234) – The English veterans have piled up impressive stats over the years and their immense and faithful fan base pushed them near the top of the list.

(5) The Smiths (232) – Right behind Deep Purple – and this order could change at any minute – is Morrissey’s cult favorites and critics’ delight. But unlike most favorites of the critics, The Smiths demonstrated legitimate talent and, consequently, sold records.

(6) Duran Duran (201) – Speaking of selling records, few bands have sold more worldwide than the Fab Five. Proved long ago they’re not just a bunch of pretty faces.

(7) The Cure (201) – Tied with Duran Duran because they’re in the same article, The Cure’s following no doubt contributed mightily to their strong showing on this list.

(8) Jethro Tull (176) – One doesn’t think of Ian Anderson’s various combinations as mainstream, but years after their peak they still command a lot of love, respect and admiration. And their accomplishments merit Hall of Fame recognition.

(9) Yes (157) – The story of Yes finished ninth in the “thumbs up” category but drew a large number of passionate comments – most positive. In fact, the Yes story was in the Top 5 most popular stories until just recently.

(10) Jimmy Buffett (152) – When I included Jimmy Buffett in the series, I wasn’t sure what to expect. The response was heartening. Longevity and quality does count.

Just missing the top 10 – or “Bubbling Under” in musical jargon – was Heart which garnered 135 “thumbs up.” I had the pleasure of seeing them this summer, and they remain an incredible band and should be inducted soon. Cliff Richard (94) and Jeff Lynne (79) also posted respectable numbers and should receive careful consideration.

Canadian supergroups The Guess Who & Rush have gained surprisingly little support

A friend who recently stopped by looked at the list of those profiled and his first response was, “The Guess Who’s not in?” The Guess Who received support, but not what I expected, and Rush was a big disappointment, considering the fanaticism of their fan base. Maybe Goldmine doesn’t reach Canada. But Kiss also limped in with a very low number, only about half of that received by The Cars.

Early selections, those whose careers peaked in the ’50s or early ’60s, are at a distinct disadvantage because there are fewer followers left alive and most are at the age where internet use isn’t a priority. Of those, Connie Francis easily drew the strongest support and Jay & the Americans had their share of backing. Glen Campbell, Jan & Dean, Johnny Rivers and Jack Scott each hit double figures but were nowhere near the leaders.

Does your opinion mean anything? Maybe, maybe not. But I do know at least some members of the nominating committee have been reading “Great Blogs of Fire” the past year, which means they’re also privy to your comments. While we’ve been critical of the Hall of Fame, I hope we’ve also been fair.

Some of you have given up on the Hall of Fame, but Rock & Roll is my music, thus the Hall of Fame is my Hall of Fame. So, in the words of the immortal Curtis Mayfield, I’m gonna keep on pushing.

Tadwashere left this comment on Facebook – “Just curious… What are you going to write about when you are done working through the list of people who aren’t in the hall of fame?”

Well, there’s still a few more HOF entries to go, and then a couple other topics I think Goldmine readers will enjoy. Stuff such as the “Goldmine’s 20 Greatest Doo Wop Groups.” It’s not listed under “Great Blogs of Fire,” but can still be found under “Articles” if you scroll down a few hundred times (not that many, really). That ranked in the Top 5 most popular list for quite some time.

I have had some requests…but I’m gonna keep writing, anyway (badaboom). If you’d like to add your requests or thoughts, feel free to submit your comments.

Their third release elevated Yes into supergroup status

(No. 37 in a continuing series on artists who should be in the Rock & Roll Hall of Fame, but are not)

By Phill Marder

Many observers believe the Rock & Roll Hall of Fame has an extreme bias against bands that fall into the Progressive Rock category. Especially Progressive Rock fans.

Truth or illusion?

Well, there are approximately 260 inductees currently listed in the Rock Hall. Three are considered Progressive Rock bands…Pink Floyd, Genesis and Traffic. That’s about one percent.

Genesis was a Progressive Rock band under the wing of Peter Gabriel, then became a hit making machine when Gabriel left and Phil Collins took over lead vocals. I never thought of Traffic as a Progressive Rock band, but they are listed on several Progressive Rock websites, so what do I know? Pink Floyd certainly makes the grade.

But several Progressive Rock mammoths – the already profiled Moody Blues, Rush and Jethro Tull, for instance – have received the coldest of shoulders from the Rock Hall’s nominating committee, thus far. As has the band atop many Progressive Rock band lists…Yes.

To make the prejudice against this genre even more obvious, Yes was on Atlantic Records most of its heyday. And almost everyone on the Atlantic Records’ roster has been inducted, deserved or not.

Ernesto Lechner, writing in “The New Rolling Stone Album Guide,” points out, “You can say a lot of nasty things about progressive rock, and many people have – most frequently, that the genre emphasizes musical chops over soulful expression.”

To Lechner’s credit, he doesn’t seem to agree with that viewpoint, adding, “…in the case of Yes, the British band’s often overbearing pretentiousness resulted in moments of rare grace and beauty…“

But even the compliments are tinged with disparagement. Anything progressive seems to carry the same label from most critics…pretentious, bombastic etc. If Lou Reed had been around in the 1700s or 1800s, today’s critics probably would have favored him over Beethoven and Bach.

But that we’ll save for a future discussion. For now, let’s get back to Yes – and why this super group belongs in the Rock & Roll Hall of Fame.

First off, Progressive bands don’t usually have hit singles. After all, 10- to 20-minute pieces don’t lend themselves to top 40 radio. Still, Yes has managed several, including the startling “Owner Of A Lonely Heart,” startling because it climbed all the way to No. 1 in 1983, and 1972’s “Roundabout,” which peaked at No. 13. 1971’s “Your Move,” 1984’s “Leave It” and 1987’s “Love Will Find A Way” and “Rhythm Of Love” all also hit the top 40. Only “Owner Of A Lonely Heart” reached the top 40 in their homeland, but that stopped at No. 28 there. However, “Wonderous Stories” climbed to No. 7 in 1977 and “Going For the One” made it to No. 24 later the same year. The next year, “Don’t Kill The Whale” made it No. 36.

On the album charts, where progressive bands shine best, Yes placed 24 entries in the United States, 12 reaching the top 20 with seven entering the top 10, making Yes one of the highest charting album bands in Billboard history. In the U.K., Yes was even bigger, reaching the top 20 with 14 long-players, 11 climbing into the top 10. In addition, 1973‘s “Tales From Topographic Oceans,” probably the band’s most controversial release, topped the UK charts as did “Going For The One” four years later.

“Topographic Oceans” is a two-record set, each of the four sides consisting of one long piece. I bought it when it came out, but didn’t play it much. A few years back, I tried it again on CD, figuring I now had more time and patience to enjoy it. But, the years didn’t make much difference. It has its moments, but often I find myself anxiously waiting for Elvis or Bo Diddley to interrupt.

Lechner noted, “depending on your point of view, ‘Tales From Topographic Oceans’ is either prog rock’s absolute nadir or its dreamy masterpiece” and Bruce Eder, writing in allmusicguide.com, agrees, saying, “No album has more divided both fans and critics of Yes alike. At the time of its release, critics called ‘Tales From Topographic Oceans’ excessive, representing the height of progressive rock’s self-indulgent nature. Originally inspired by Jon Anderson’s reaction to a set of Shastric scriptures, the album displayed a sublime beauty in many parts, and immense, mesmerizing stretches of high-energy virtuosity for most of its length.”

Anderson, of course, served as the group’s distinctive lead vocalist from its formation until just recently when ill health forced him to step down. He was replaced by Canadian Benoit David, who sings lead on the group’s upcoming release “Fly From Here.” Though Yes has survived a ton of personnel changes over the years, replacing its figurehead may prove the group’s final gasp, no matter how good David is.

The classic lineup remains the group that gave us “The Yes Album,” “Fragile” and “Close To The Edge” classics in 1971 and 1972. The key was the addition of guitarist Steve Howe, who can play rings around almost any other rock guitarist. Howe joined Anderson, keyboardist Tony Kaye, bassist Chris Squire and drummer Bill Bruford for “The Yes Album,” which helped the band turn the corner after two so-so LPs.

The next change came for “Fragile,” when keyboard whiz and showman extraordinaire Rick Wakeman took over for Kaye and that five also gave us “Close To The Edge.” Alan White replaced Bruford for “Tales From Topographic Oceans” with only Anderson and Squire remaining constants over the years. But even Anderson stepped aside for “Drama,” on which Trevor Horn served as vocalist.

Basically, the inductees should include Anderson, Squire, Howe, Wakeman, Bruford, White, Kaye and Trevor Rabin, who contributed guitar and keyboards on various albums.

One thing I find with Progressive Rock recordings – and particularly those of Yes – is that no matter how many times I’ve listened previously, each hearing brings something new thanks to the virtuosity of the players.

The players in Yes are great musicians and this should not be held against them. Great musicians often put their heart and, yes, their soul into their playing. I won’t be around to have the last laugh, but I would almost guarantee that 50 years from now, the music of Yes will have endured while the recordings of several of the artists already inducted into the Hall of Fame will have been long forgotten.

Jethro Tull’s second LP reached No. 1 in the United Kingdom

(No. 29 in a continuing series on artists who should be in the Rock & Roll Hall of Fame, but are not)

By Phill Marder

Their hit singles are almost non-existent. Yet most fans of popular music during the Rock era are familiar with many of their songs. In fact, many know many by heart.

In the 1970s, they were one of the most popular bands on the planet, selling out albums and concerts around the world. On the Billboard album charts, they rank 20th on the list of best sellers in the ’70s. Of the 19 artists above them, just Barbra Streisand, Chicago and John Denver have failed to gain entry into the Rock & Roll Hall of Fame. In fact, of the 10 ranked below them, just one – Grand Funk Railroad – has yet to be inducted.

Like Grand Funk, Jethro Tull, our topic for this week, was/is immensely popular with the listening audience. But, not surprisingly, most critics had/have little good to say about Ian Anderson (lead vocals and flute) and Martin Barre (lead guitar) and their varying supporting cast, and, at present at least, this seems to weigh heavily on a band’s chances of entering the “hallowed” Hall.

Still, when a band puts up numbers the likes of Jethro Tull and does it for over 40 years, it’s time for Anderson, Barre and company (band members over the years number into the 20s), to receive their just due.

Tull first made its presence felt in United Kingdom concert appearances as the ’60s drew to a close. With the band playing what was then described as a mixture of blues and jazz behind the madman antics of their front man, British audiences responded by sending their initial LP, 1968’s “This Was,” into the top 10, while U.S. record buyers ran it to No. 62, a more than respectable showing for a new group without a hit.

The following year, Tull broke the British singles market with two top 10 hits, “Living In The Past” and “Sweet Dream,” and the “Stand Up” LP, though it didn’t include either hit, became the group’s only No. 1 long-player in the UK. It was far from their lone UK success, though. “Stand Up” also broke the band in Norway, starting a string of six straight Top 10 LPs there.

And while “This Was” had opened the American door for Tull, “Stand Up” pushed them right through, reaching No. 20. Album No. 3, “Benefit,” did even better in the States, just missing the top 10. It didn’t follow “Stand Up” to the top in the UK, but it didn’t miss by much, peaking at No. 3.

Remaining a favorite concert attraction and having established a constant presence on flourishing FM progressive rock radio, Tull had become one of the most popular bands in the world by the time they released their first true blockbuster – “Aqualung.” The title cut and “Locomotive Breath” became radio staples and the album became a classic, hitting the top 10 in the US and UK. Even Rolling Stone praised the album’s “fine musicianship” and considered it “serious and intelligent,” eventually ranking it No. 337 on its list of 500 all-time best albums. Guitarist magazine listed Barre’s guitar solo on the title track on their list of “20 greatest guitar solos of all time.”

How do they come up with these lists? Well, they get a group of “experts” to choose them, Rob Sheffield for one. Sheffield calls Charlie Watts the greatest drummer in rock & roll history, so perhaps these lists should be taken with a shaker of salt…assuming you haven’t lost it.

It was nice to see “Aqualung” fairly well received in the media, but Anderson was displeased the album had been pegged as a concept work. In response, he promised, “If the critics want a concept album we’ll give the mother of all concept albums and we’ll make it so bombastic and so over the top…” That they did, the entire album being one 45-minute song. Anderson later claimed the resulting “Thick As A Brick” was a spoof of progressive rock albums. Whatever it was, it worked, becoming Tull’s first No. 1 album stateside and reaching No. 5 in Britain. The sarcastic and humorous newspaper cover didn’t help endear Tull to its critics.

The next “new” release, “A Passion Play,” also hit the top of the United States chart and the next, “War Child,” just missed, stopping at No. 2.

But get this, the same two – Mark Coleman and Ernesto Lechner – that ripped Rush in The New Rolling Stone Album Guide, wrote this in that same “esteemed” publication…“The immediate success of Aqualung spurred Anderson to indulge his artistic whims, resulting in two challenging, wildly experimental, and occasionally obtuse theatrical concept albums: Thick As A Brick and Passion Play. After that strategy backfired, Jethro Tull returned to traditional song structure on War Child and the acoustic-flavored Minstrel In The Gallery.”

Backfired? BACKFIRED? How does consecutive No. 1 albums qualify as strategy backfiring? Maybe Anderson intended to produce two duds? That’s like saying the Phillies acquired Roy Halladay, Cliff Lee and Roy Oswalt and the moves backfired as they won the next two World Series. We all should have such career backfires.

Recovering from that “slump,” Tull continued to release best-selling works, four more LPs hitting the US top 20 before closing its most productive decade with “Stormwatch,” which peaked at No. 22. In the spirit of a true super group, Jethro Tull continued to release new material as the years passed, charting six US albums in the 1980s, four reaching the UK top 20, including “Tne Broadsword And The Beast,” which also climbed to No. 19 in the US, and four more best-sellers in the ‘90s.

In 1987, Tull, always hard to classify, found out just what category it fit when “Crest Of A Knave” won the Grammy for “best hard rock/metal performance vocal or instrumental” beating out Metallica and Jane’s Addiction in what Entertainment Weekly called one of the 10 biggest upsets in Grammy history. Hard rock? Heavy metal? Anderson, Barre and company didn’t even go to the award show figuring there was no way they would win. Later, their label, Chrysalis, took out an advertisement informing the public – tongue in cheek, of course – that “the flute is a heavy metal instrument.”

Anderson, Barre and cohorts still tour worldwide, live albums being the result the last few years. A live performance at the Rock & Roll Hall of Fame induction ceremony would be most deserving.