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.

The Searchers, with their jangly guitars & close harmonies, were British royalty


(No. 46 in a continuing series on artists who should be in the Rock & Roll Hall of Fame, but are not)

By Phill Marder


Part 2 of the English Invasion leftovers, for want of a better term, brings us three more bands considered great by some, marginal by others.

They all had their moments. The question is, were there enough moments to merit induction into the Rock & Roll Hall of Fame?

4. The Searchers – Their website refers to them as “the most underrated British band to emerge during the Merseybeat era.” But those who listened closely – The Byrds, for instance – loved the sound of those jangly guitars and spectacular harmonies.

“Their 1964 singles included a venture into folk-rock before the genre had been “invented” in the press, in the form of a cover of Malvina Reynolds’ “What Have They Done to the Rain.” Interestingly, their 12-string guitar sound would become a key ingredient in the success of the Byrds, who even took the riff from “Needles and Pins” and transformed it into the main riff of “Feel a Whole Lot Better,” wrote Bruce Eder at allmusicguide.com.

Hailing from Liverpool, the Searchers, Tony Jackson then Frank Allen on bass, Chris Curtis, drums, and Mike Pender and John McNally on guitars were, of course, overshadowed by another group from the area, but their success cannot be overlooked.

In the United Kingdom, three of their first four singles hit No. 1 with their second single just missing, stopping in the runner-up slot. The initial hit, “Sweets For My Sweet,” was a remake of the Drifters’ 1961 hit. Ironically, it did not even chart in the United States as the group’s releases were often entirely different between the two countries.

But the group’s third hit and second British No. 1 finally broke the band stateside when the Sonny Bono/Jack Nitzsche-penned “Needles & Pins” climbed to No. 13 a couple months after peaking in the UK. This recording, of course, became the Searchers’ trademark hit and one of the most remembered British Invasion classics.

Amazingly, many in the US don’t remember much else by the band, though “Don’t Throw Your Love Away,” another British No. 1, “Some Day We’re Gonna Love Again,” “When You Walk In The Room,” the aforementioned “What Have They Done To The Rain” and “Bumble Bee” all cracked the US Top 40.

Their biggest success, however, came at the close of 1964 when their cover of the Clovers’ 1959 classic, “Love Potion No. 9” soared to No. 3. This gem and “Bumble Bee” didn’t even chart in the UK, where “Goodbye My Love,” “He’s Got No Love” and “Take Me For What I’m Worth – all stiffs in the U.S. – were all major U.K. hits in 1965.

And while the group was not known for its albums, four climbed into the British top 10. And their 1965 release, “The Searchers No. 4” in the U.S., was one of the British Invasion’s unsung gems, mixing sterling originals with Ian Tyson’s “Four Strong Winds,“ Marvin Gaye’s “I’ll Be Doggone,“ the Ronettes “Be My Baby” and Jackie DeShannon’s “Each Time,“ those fantastic harmonies cutting through a previously unheard of maze of fuzz tones and echo. Put their successes together, and the Searchers had quite a track record over a two-year period. When Curtis left, the band’s success waned, but the group has played steadily over the years and continues today with McNally and Allen still in the fold.

But perhaps the band’s most significant statement came long after their heyday with the 1979 album “The Searchers” followed by 1981’s “Love’s Melodies.”

Eder wrote, “Those records, ‘The Searchers’ and ‘Love’s Melodies,’ were the best work the group ever did, highlighted by achingly beautiful yet vibrant and forceful playing and singing, and an unerring array of memorable hooks and melodies.

“The material is some of the most beautiful recorded anywhere in this era, and anyone lucky enough to spot a copy of either of these records — neither of which has yet shown up on compact disc — should grab them.”

Naturally, they bombed. But today both albums are available on one CD entitled the “Sire Sessions: Rockfield Recordings.“

Phill’s Hall of Fame – Oh Yes !
Chances for Rock Hall of Fame induction – Hopefully, next Invasion group in line

Punk bands of the ’70s had nothing on The Troggs, who set the standard for Raunch & Roll

5. The Troggs – Signed by Larry Page, the Kinks’ manager, in 1964, the Troggs often are overlooked when it comes to evaluating the great bands of the British Invasion.

Their breakthrough hit, the incomparable “Wild Thing,” didn’t come until the Summer of 1966, the very tail end of the initial British onslaught. Grinding its way to No. 1 in the states, the song became such a classic that the Troggs became pegged as one-hit wonders, much like the Kingsmen, who started with “Louie, Louie” and the McCoys, who broke out of the pack with “Hang On Sloopy.”

When a band starts off with a recording of that magnitude, what follows is often forgotten and, in the case of those three bands, a lot followed. One hit wonders, no way.

In fact, the flip side of “Wild Thing,” “With A Girl Like You,” also charted, reaching No. 29. But in the Troggs’ homeland, “Wild Thing” stopped at No. 2 while “With A Girl Like You” topped the charts two months later!

The Troggs’ first two singles were entirely opposite, a pattern the group’s releases followed throughout their peak period. The raunchy “I Can’t Control Myself” (need I describe further?) was followed by the soft ballad “Any Way That You Want Me,” which gave way to “Give It To Me” (need I describe further?), then the mystical “Night Of The Long Grass,” all major hits in the U.K. without making a dent in the U.S. probably due to two factors, the lack of U.S. touring and a dispute over distribution rights between two labels, both of which issued Troggs’ product in the U.S.

While the Troggs didn’t write “Wild Thing,” they did compose much of their other material, but self-penned or not they had an ear for real oddball LP tracks, “Cousin Jane” “Strange Movies” and “Hi Hi Hazel” for instance. And bone crunchers, such as “I Want You,” so raw even a caveman could dig it,, helped make their two albums great listening.

In 1968, “Love Is All Around” became another Top 10 classic on both sides of the Atlantic.

The Stooges? The Ramones? The Clash? The Sex Pistols? All these bands are in the Rock & Roll Hall of Fame. But the Troggs were as punk as punk gets, and they were punk at a time when it really was dangerous to be punk, some of their nastiest singles banned in several quarters.

They could play, they could write and they could incite.

Phill’s Hall of Fame – Yes…or else.
Chances for Rock Hall of Fame induction – not too good.

The Zombies were not big sellers, but their few hits made a major impact

6. The Zombies – Currently touring once more, The Zombies have fanatical followers who scream for their induction into the Hall of Fame. But, truth be told, The Zombies had little impact during their time except for a trio of fantastic singles.

In fact, in their homeland only one record ever charted, the single “She’s Not There,” which stalled at No. 12.

It did much better in the States, climbing to No. 2 with the follow-up, “Tell Her No,” getting to No. 6. Four years later, “Time Of The Season” made it to No. 3, but by then The Zombies already had broken up. Their ‘60s albums charted in the U.S. only, but never got close to being called hits, though “Odessey and Oracle” was a true masterpiece.

Albums released later, including one released in May, featured different combinations of members and failed to make any chart impact.

And there lies the dilemma of The Zombies. I have just about everything they recorded and love most of it. I bought their albums when they were released and they quickly became favorites. Obviously, I was in the minority.

Part of the group’s problem was a lack of exposure that resulted in a missing focal point. While most can tell you Peter Noone was the lead singer of Herman’s Hermits, Eric Burdon led the Animals, Mick captained the Stones, Gerry fronted the Pacemakers, Freddie did likewise with The Dreamers, Billy Joe Kramer was the voice of the Dakotas, etc., only real fans would be capable of naming Colin Blunstone lead singer of the Zombies, even though he was one of the Invasion’s most distinctive vocalists. Rod Argent? Again, the very knowledgeable know him, the average person wouldn’t have a clue.

The critics do, though. Richie Unterberger of allmusicguide.com wrote, “Aside from the Beatles and perhaps the Beach Boys, no mid-’60s rock group wrote melodies as gorgeous as those of the Zombies. Dominated by Colin Blunstone’s breathy vocals, choral backup harmonies, and Rod Argent’ shining jazz- and classical-influenced organ and piano, the band sounded utterly unique for their era.”

The Zombies seem to have perfect credentials for induction into the Rock & Roll Hall of Fame…not many sales, not many followers, but a small, select group that thinks they were fabulous and the passage of time which makes them seem much more important than they were, which they should have been.

Phill’s Hall of Fame – Certainly.
Chances for Rock Hall of Fame induction – Very much alive.

The “classic” Deep Purple lineup recorded this 1970 album

(No. 25 in a continuing series on artists who should be in the Rock & Roll Hall of Fame, but are not)

By Phill Marder

There is no question Deep Purple belongs in the Rock & Roll Hall of Fame. At least from this writer’s viewpoint.

“Who is Deep Purple?” is the question.

As far as I can determine, and feel free to send in any corrections if necessary, there have been 14 different members of Deep Purple, including three different lead singers, since the band’s chart debut “Shades Of Deep Purple” in 1968. With some members coming in and out more than once, there have been seven (I think) five-man combinations, all of which have been successful.

Ironically, the only member who appeared in every version is drummer Ian Paice. Ironic because it was Searchers’ drummer Chris Curtis who formulated the original concept for the band with himself as the lead singer, then wound up never being a member. Ironic also because Paice has been the most maligned of the group members, critics often denigrating his drumming prowess. In fact, I remember Paice once being called the worst drummer of any major rock band. That’s just another example of a music critic not knowing which end of the drumstick is up.

As a drummer myself, I can assure you Paice is terrific. As is the rest of the band.

But back to the question. If Deep Purple is inducted into the Hall of Fame, as they should be, just which members should be included?

The first combination of guitarist Ritchie Blackmore, bassist Nick Simper, organist Jon Lord, Paice and lead singer Rod Evans saw its first albums and singles chart, but, strangely, only in the United States, where the initial album, powered by the No. 4 single “Hush,” reached No. 24. The next two releases didn’t do as well, though, and Evans and Simper left, being replaced by vocalist Ian Gillan and bassist Roger Glover.

Gillan, Blackmore, Glover, Lord and Paice became the band’s classic combination, taking Deep Purple to new heights from 1969 to 1973, coming back from 1984 to 1989, and again from 1992 to 1993.

This was also the conglomeration that broke the band in the United Kingdom market, where it has enjoyed tremendous success since. The first effort, Lord’s “Concerto For Group and Orchestra,” a live effort performed at London’s Royal Albert Hall, didn’t do much in the States, but became the group’s first UK chart effort, hitting No. 26. Then the fun started.

“Deep Purple In Rock” had a weak showing in the US, but bolted to No. 4 in the UK and a single – “Black Night” – just missed being the band’s first chart-topper in their native land, reaching No. 2. Meanwhile, Gillan, playing the lead role, took place in the recording of the album “Jesus Christ Superstar,” earning rave reviews as the two-record set topped the US charts for three weeks.

The next single “Strange Kind Of Woman” reached No. 8 in the UK. Included on the US version of the ensuing “Fireball” LP, it helped bring the group back in the States, the LP hitting No. 32, while becoming the group’s first No. 1 album in the UK.

“Machine Head,” generally considered Deep Purple’s finest hour, appeared in 1972, topping the British charts for three weeks and soaring to No. 7 in the US. But the group’s signature song, the single, “Smoke On The Water” on which Blackmore introduced one of Rock’s most instantly identifiable guitar riffs, didn‘t gain release in the US until a year later, eventually getting to No. 4. Even stranger, the song didn’t hit the British chart until 1977, peaking at No. 21.

And even stranger was the fact that all this was happening after Gillan and Glover had quit the group, though the live “Made In Japan” and the studio “Who Do We Think We Are” had continued their run of success. In fact, by 1977 there was no group.

At the close of 1974, David Coverdale and Glenn Hughes had moved in on vocals and bass, respectively, and the next two LPs, “Burn” and “Stormbringer” reached the UK top 10 and did almost as well in the US. But when Tommy Bolin replaced Blackmore in 1975, the band’s fortunes suffered an immediate downturn. By the end of 1976, the band had disintegrated and Bolin was dead from a heroin overdose.

Various releases, compilations and old live recordings, kept Deep Purple alive on the charts, but it wasn’t until 1984 that the group reformed, the classic lineup intact. Two smash albums, “Perfect Strangers” and “The House Of Blue Light” ensued. After the live LP,“Nobody’s Perfect” did ok as 1988 ended, Gillan left again, replaced by Joe Lynn Turner.

With Turner out front, the group had moderate success with 1990‘s “Slaves and Masters“ album. Eventually, Gillan came back again in 1992, Steve Morse joined on guitar in 1994 and Don Airey came in to replace Lord on keyboards in 2002.

All told, Purple’s remarkable career has produced just six hit singles in the UK, but 21 hit albums, including three that topped the charts. In the United States, only three of the group’s singles could be considered hits, but they put 20 LPs on the Top 200, 11 reaching the top 50, with three climbing into the top 10.

The majority of Purple’s success is due to the five members of the classic lineup. Those five must be inducted. But Coverdale and Hughes also should be considered for induction for their contributions to three major albums, though their relatively short stay with the band diminishes their credentials. And certainly Evans and Simper must be taken into consideration for getting Deep Purple off the ground with three hit albums and two hit singles. Morse and Airey also must be considered for helping to keep Purple alive today.

While Deep Purple has remained a still-potent concert attraction, Purple fans also soon may be treated to a new recording as Gillan said just last month, “…we’re going to get together and have a writing session real soon.”

“We’ll see how it goes,” he added. “…we’re getting poked by various connections who would like to see another Deep Purple record. So I think it’s about time.” Blackmore also remains active with “Blackmore’s Night” touring and the “Autumn Sky” LP released last year.

It’s also “about time” the band was inducted into the Rock & Roll Hall of Fame. In the 70s, the Guinness Book of Records called Deep Purple “the world’s loudest band.” That alone should merit induction, but Deep Purple’s credentials speak with just as much volume.

Almost everyone knows the songs of Neil Sedaka, a Rock giant from the beginning

By Phill Marder

(Ninth in a series on artists who should be in the Rock & Roll Hall of Fame, but are not)

During one segment of the 25th Anniversary Rock & Roll Hall of Fame concert, a shot of Neil Sedaka was flashed on the screen behind the stage. A terrific singer, masterful pianist and a writer of some of Rock’s most enduring hits, Sedaka deserved to be on the stage in person – as an inductee.

It’s long past time for Neil Sedaka to get the recognition he deserves as one of the greats of early Rock & Roll. As one of Rock’s founding fathers, his impact on the infant musical form was immeasurable.

He didn’t have the classic rocker look or sound of Elvis, Ricky Nelson, Gene Vincent, Eddie Cochran or Jack Scott. In fact, he was the opposite, looking like the kid next door who carried the lunchpail to school each day, hoping the local bully would be looking the other way when Sedaka passed by. Appropriately, Sedaka, while in high school, was among New York City’s outstanding classical pianist, earning a scholarship to Julliard. But he wanted to be part of “the in crowd” and, along with childhood friend Howard Greenfield, who served as his lyricist, Sedaka began writing pop songs. Soon he hit it big with “Stupid Cupid” by rock’s first female star, Connie Francis. He then tried to place “The Diary” with Little Anthony & The Imperials, but they turned it down so he did it himself. The group did record it eventually, but Sedaka’s version was superior and his career as a hitmaker was off and running.

From Christmas of 1958 until Thanksgiving of 1963, it was almost impossible to turn on the radio without hearing a hit by Sedaka. Featuring sparkling production, overdubbed lead vocals and catchy background vocal phrases, Sedaka remained on top of the charts on both sides of the Atlantic and many of his songs – “Stairway To Heaven,” “Calendar Girl,” “Happy Birthday, Sweet Sixteen” and “Breaking Up Is Hard To Do” – have survived as classics through every rock fad. If you don’t listen to Oldies Radio, you’ve heard them on commercials.

“Breaking Up Is Hard To Do” was Sedaka’s first No. 1, hitting the top in 1962, but it wouldn’t be his last. Though a major star in Britain – Sedaka placed seven singles in the UK Top 10 between 1959 and 1962 – the British Invasion brought Sedaka’s career to a screeching halt. and he retired from recording around 1966. But, unlike many stars who never recovered, Sedaka returned in the mid-70s with another string of hits, and, this time, also a collection of best-selling albums. The resurgence was spawned by the U.S. No. 1 success of “Laughter In The Rain” in 1974 and another No. 1, “Bad Blood,” a duet with Elton John the following year. Also a totally different version of “Breaking Up Is Hard To Do” reached No. 8.

To emphasize his popularity overseas, the Brits drove his “Laughter and Tears” LP all the way to No. 2 in 1976, and as recently as last year his “Music Of My Life” release ranked 15th on the British album chart.

In addition to “Stupid Cupid”, Sedaka wrote other huge hits for Francis – including “Where The Boys Are,” which peaked at No. 4 – and also penned tunes covered by Jimmy Clanton (No. 7 “Venus In Blue Jeans”), the Carpenters (“Solitaire,” No. 17), the Fifth Dimension (No. 20 “Workin’ On A Groovy Thing”), the Captain & Tennille (the No. 1 “Love Will Keep Us Together”) as well as the Searchers, Tom Jones, Skeeter Davis, the Monkees, Frank Sinatra, Clay Aiken, Elvis and many others.

He’s been inducted into the Songwriters Hall Of Fame in 1983, has a street in Brooklyn named in his honor and a star on the Hollywood Walk of Fame. Seems there’s just one accolade missing.

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