Honoring Rock’s Greatest--Cream and the Crop

This year’s list of Rock and Roll Hall of Fame nominees is almost as notable for the names that are missing as for the ones that are included.

It’s no surprise that such essential forces as the Jimi Hendrix Experience and Cream earned places on the ballot, but some eyebrows should be raised over the omissions of such potential candidates as Bob Marley, the Grateful Dead, Rod Stewart and maybe even the Jefferson Airplane.

Why are mid-level artists like Gene Pitney and Duane Eddy on the ballot, rather than an A-level figure like Marley, who established reggae as an international force and rekindled rock’s social consciousness in the ‘70s?

The answer is that the nominating committee--a 28-member microcosm of the larger body of record executives, critics and musicians who determine the inductees--has too much reverence for some of rock’s early stars.

This wasn’t a problem when the Hall of Fame judges chose their first inductees in 1985. Because artists aren’t eligible until 25 years after their first recording, only ‘50s musicians were eligible at that time.

And the committee and Hall of Fame voters did a good job in isolating the A-level artists--Presley and James Brown to Chuck Berry and Jerry Lee Lewis--from the rest.

Rather than recognize all the newly eligible A-level artists in recent years, however, the committee has tended to just place the most obvious ones (such as Hendrix and Cream) on the ballot then round out the list of nominees with old favorites from the ‘50s and early ‘60s.

The problem is that many of these old favorites are B- and C-level artists--and an increasing number of them are slipping into the Hall of Fame because voting rules encourage the induction of five to to seven artists, even in years when there clearly aren’t five to seven A-level artists on the ballot.

Who will be selected from this year’s list for induction at January’s Hall of Fame dinner in New York? More than 500 industry leaders have cast ballots on this year’s field, and the winners will be announced Nov. 4.

Here’s my rating of the 15 nominees--with artists listed alphabetically within categories.

The A List

David Bowie-- Thirteen Top 40 singles, in c luding two No. 1 records, “Fame” (1975) and “Let’s Dance” (1983), plus a dozen Top 20 albums, including “Young Americans” (1975) and “Scary Monsters” (1980). First year of eligibility.

Bowie didn’t win any friends among Hall of Fame voters with his recent remarks that he couldn’t care less about being a member, but the balloting was already completed so his words won’t have any affect on his fate. But Bowie also hasn’t won any friends in recent years with a series of uneven albums and lackluster tours. Still, he was a towering influence in the ‘70s, a man with a liberating mission in a time--just before punk--when rock had lost most of its personality and daring.

Cream-- Just three Top 40 singles, including “Sunshine of Your Love” and “White Room” (both 1968), but seven Top 40 albums, most notably “Fresh Cream” and “Disraeli Gears” (both 1967). First year of eligibility.

Though the British trio of guitarist Eric Clapton, singer-bassist Jack Bruce and drummer Ginger Baker was together for just three years, Cream stands as one of the most commanding groups from rock’s richest decade. It didn’t enjoy the mainstream acceptance--or songwriting craft--of the Beatles or Stones, but its blues-rock style did more than any group except the Jimi Hendrix Experience to establish instrumental power and virtuosity as major weapons in the rock arsenal.

Jimi Hendrix Experience-- Just one Top 40 hit (the remake of Bob Dylan’s “All Along the Watchtower” in 1968), but 10 Top 20 albums, from “Are You Experienced” (1967) to the posthumous “Crash Landing” (1975). First year of eligibility.

Both with the Experience (also featuring bassist Noel Redding and drummer Mitch Mitchell) from 1967 to 1969 and on his own, Hendrix was one of rock’s brightest flames--in every sense of the word. At the time of his death in 1970 at age 27, Hendrix stood as the most important instrumentalist ever in rock--and it’s a title that he still holds. On record and on stage, he showed how you could make the guitar as powerful a statement of independence and rebellion as the most challenging lyrics.

Velvet Underground-- No Top 40 singles or Top 100 albums until “VU,” a collection of previously unreleased material, broke into the charts in 1985, 13 years after the band called it quits. First year of eligibility.

The Four Seasons lead the Velvet Underground 21 to 0 in the number of Top 20 singles--which is all you need to know about the difference between commercial acceptance and artistic accomplishment. Led by Lou Reed and John Cale, this New York quartet opened doors in rock by combining a literary sensibility with arty textures as they examined some of the forbidden corridors of the urban experience. More noteworthy ‘80s bands--from R.E.M. on--were probably influenced by this band than by the Beatles.

The B List

Booker T. & the MG’s-- Seven Top 40 singles, including “Green Onions” (1962) and “Hang ‘Em High” (1968). Eligible since 1987 .

The group’s contributions go far beyond its own hits. The band--featuring Booker T. Jones on keyboards, Steve Cropper on guitar, Duck Dunn on bass and Al Jackson on drums--helped design the soulful, seductive Stax Records sound employed by such artists as Otis Redding.

Buffalo Springfield-- One Top 40 single, 1967’s “For What It’s Worth,” plus three Top 50 albums, including “Buffalo Springfield” and “Buffalo Springfield Again” (both 1967). First year of eligibility.

This trailblazing country-rock band made some marvelous records, but it may best be remembered as a launching pad. The lineup included Neil Young, a Hall of Fame certainty, and Stephen Stills, who may be voted into the hall when eligible as a member of Crosby, Stills & Nash.

Johnny Cash-- Thirteen Top 40 pop singles, including “I Walk the Line” (1956) and “Ring of Fire” (1963), plus more than a dozen No. 1 singles in the country field. Eligible since 1985.

Honoring Cash would be a good way to salute country music’s often under-appreciated contributions to the early development of rock. But that’s not the only reason to honor Cash, whose independence and integrity served as a model for many ‘60s and and early-’70s rockers.

The Isley Brothers-- Twelve Top 40 pop hits, including “Twist and Shout” (1962) and “It’s Your Thing” (1969), as well as almost 50 Top 40 R&B; hits, including seven No. 1 R&B; singles. Eligible since 1987.

One of the most durable and influential R&B; groups, the Isleys have showed extraordinary range, touching during a 30-year career on everything from intense, gospel-accented R&B; to hard-edged funk.

Frankie Lymon & the Teenagers-- Three pop hits, including “Why Do Fools Fall in Love” (1956) and “Goody, Goody” (1957), plus six R&B; hits. Eligible since 1985.

Lymon was barely in his teens when he recorded “Why Do Fools Fall in Love,” and the only thing that has matched the youthful energy and innocence he exhibited in that and other vocals--even after all these years--was Michael Jackson singing “I Want You Back.”

Sam and Dave-- Three Top 40 pop hits, including the classic “Hold On I’m Comin’ ” (1966) and “Soul Man” (1967). First year of eligibility.

Sam Moore and David Prater teamed up for some exciting records and stirring live shows in the ‘60s, which may also have been soul music’s greatest decade. Even though the duo was greatly dependent on the Stax production team, it helped elevate the sound to new heights.

Yardbirds-- Six Top 40 hits, notably “For Your Love” and “I’m a Man” (both 1965). Eligible since 1989.

This short-lived British band introduced a new level of rock dynamics, but, like the Buffalo Springfield, its legacy may rest in its being a launching pad for guitar heroes Eric Clapton, Jeff Beck and Jimmy Page.

The C List

Bobby (Blue) Bland-- Four Top 40 singles, including “Turn on Your Love Light” (1961) and more than 50 R&B; hits. Eligible since 1985.

This smooth and stylish singer has been an influence in rock, but he seems a more likely candidate for a blues or soul hall of fame.

Duane Eddy-- Fifteen instrumental hits, including “Rebel-Rouser” (1958) and “Peter Gunn” (1960). Eligible since 1985.

John Fogerty thinks enough of Eddy to have made a personal endorsement at the Hall of Fame nomination committee meeting last spring, but it’s hard to place the man with the twangy guitar alongside rock’s premier figures.

Etta James-- Nine Top 40 pop hits as well as almost two dozen R&B; hits, including “The Wallflower” (1955) and “Trust in Me” (1961). Eligible since 1985.

You could argue that this exquisite singer is more deserving of a place in the Hall of Fame than LaVern Baker, but James’ body of work--partly because of marginal material--lacks the consistency of a Hall of Fame entry.

Gene Pitney-- Sixteen Top 40 entries, including “Town Without Pity” (1967), “Only Love Can Break a Heart” (1962) and “It Hurts to Be in Love” (1964). Eligible since 1987.

An above-average singer and songwriter (his compositions include “He’s a Rebel” and “Hello, Mary Lou”), but by no means an irreplaceable figure.