POP MUSIC : The Magnificent Seven : John Lennon, Elton John and the Jackson 5 are shoo-ins for the Rock and Roll Hall of Fame, but what about reggae legend Bob Marley?

For most of its nine-year history, the Rock and Roll Hall of Fame has been far too generous in opening its doors to new members. One widely suspected reason is that hall directors believe that the more acts inducted, the more colorful the induction dinner.

The problem with rules that allow up to seven recording artists to be voted in each year is that there often aren’t seven top-caliber artists eligible in a given year.

That’s why we end up with acts such as the Four Seasons and the Platters being inducted alongside Elvis Presley and the Beatles. The goal should be honoring landmark artists who made an irreplaceable contribution to rock music, not just record-makers who had a flurry of hits.

The good news this year is that there are seven classic artists among the 16 nominees. Winners will be announced around Nov. 1. So the hall’s directors can have a full slate of honorees at their Jan. 19 induction dinner in New York without dipping into second- and third-level record acts. It’s up to the 600 executives, musicians and critics who determine the winners to vote wisely.

Under hall rules, artists become eligible 25 years after their first record release. That means artists who began their careers in 1968 are now eligible--and 1968 gave us a strong crop of nominees. It’s hard to imagine the voters not lining up behind first-time nominees the Band, Elton John, the Jackson 5, Joni Mitchell and John Lennon.

The bigger test will be whether they finally recognize the contributions of Bob Marley and the Velvet Underground, both of whom have been passed over before.

The A List

The Band-- Only two Top 40 singles, but four Top 20 albums (plus three others with Bob Dylan) and two signature songs, “The Weight” and “The Night They Drove Old Dixie Down” (which both made the Top 20 thanks to versions by Aretha Franklin and Joan Baez, respectively). First year of eligibility.

Second only to Creedence Clearwater Revival on my list of great American rock groups, the Band gave us records that were extraordinary on every level--records that combined the timeliness and humanity of folk music, the soulful strains of country and the sharp sophistication of rock. The Band deserves bonus points for realizing in 1976 that it was time to quit--and for doing so in such style in the movie “The Last Waltz.”

The Jackson 5-- Eleven Top 10 singles, starting with “I Want You Back” in 1969, plus 11 Top 20 albums, stretching from “Diana Ross Presents the Jackson 5” in 1970 to “Victory” in 1984. First year of eligibility.

It might have been the Motown hit factory that designed the hits for these kids (just as that same factory also crafted hits for the Temptations and Four Tops), but Michael sang the songs with such youthful yearning and self-affirmation that the music was every bit as liberating in its way as that of the Temptations or the Tops. By the time the brothers became known as simply the Jacksons, the early, disarming spirit was pretty much replaced by strict professionalism, but the ‘70s records remain jewels.

Elton John-- Two dozen Top 10 singles, starting with “Your Song” in 1970 and including 1974’s “Don’t Let the Sun Go Down on Me,” plus 19 Top 20 albums, including seven in a row betw e en 1972 and 1976. First year of eligibility.

It sounds odd for this Englishman to be described as underrated, but John’s reputation as the quintessential ‘70s hitmaker has frequently caused fans and critics to overlook his excellence as a singer, pianist and, especially, writer (with lyricist Bernie Taupin). John the performer also reminded audiences in the ‘70s--an era of considerable pop pretentiousness--that rock ‘n’ roll could still be fun.

John Lennon-- Twelve Top 20 singles, including 1969’s “Give Peace a Chance” and 1971’s “Imagine,” plus nine Top 20 albums, including “Imagine” and 1980’s “Double Fantasy.” First year of eligibility.

Since Lennon is already in the Hall of Fame with the Beatles, the question is whether he deserves to also be inducted on the basis of his post-Beatles work. Absolutely. Like Dylan’s landmark ‘60s albums, Lennon’s early-’70s solo work (notably “Plastic Ono Band” and “Imagine”) exhibited an uncompromising artistry that taught a whole generation of musicians that rock ‘n’ roll can be as powerful and rewarding an art form as literature or film.

Bob Marley-- No Top 40 singles in the United States and just two Top 20 albums: 1976’s “Rastaman Vibration” and 1977’s “Exodus.” Eighth year of eligibility.

Don’t let the lack of U.S. chart success fool you. Marley is one of the half-dozen most important figures in post-’60s international pop, and the failure of Hall of Fame voters to induct him during his first year of eligibility remains the most embarrassing moment in the voting process--a slight that has been repeated seven times. Marley is to reggae what Dylan was to rock or Hank Williams was to country--someone whose vision defined the art form and whose charisma opened a door for mainstream appreciation.

Joni Mitchell-- Four Top 40 singles, including “Help Me” and “Big Yellow Taxi” in 1974, plus seven Top 20 albums, including 1971’s “Blue” and 1974’s “Court and Spark.” First year of eligibility.

How typical of the male-oriented rock world of the late ‘60s and early ‘70s to keep calling every promising young folk-oriented male artist the next Bob Dylan, when the real next Dylan was already at hand in Mitchell--at least in the sense of a songwriter who, like Dylan, employed a dazzling literary sensibility and an unflinching honesty in illuminating areas of the human heart that had frequently been left unexplored in popular music.

The Velvet Underground-- No Top 40 singles or Top 100 album until “VU,” a collection of previously unreleased material, broke into the album charts in 1985, more than a dozen years after the band called it quits. Third year of eligibility.

The failure to vote this hugely influential New York group into the Hall of Fame earlier is another major oversight. If this were a race track, the inquiry sign would have gone up long ago. How could a group like the Four Seasons--who sold umpteen-million records without influencing anybody except Billy Joel--be embraced by the hall voters, and the Underground--whose minimalist studies in social realism influenced everyone from R.E.M. to Ministry--be snubbed?

The B List

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). Third year of eligibility.

The argument in favor of the Springfield being on the A list is that the band signaled a generational change almost as vividly as such other Los Angeles bands as the Byrds and the Doors. The argument against: The Byrds and the Doors were more important, partly because the Springfield broke up so soon.

The Grateful Dead-- Despite a flock of Top 20 albums, starting with “Workingman’s Dead” in 1970 , and its amazing drawing power these days, the group has had only one Top 40 hit--1987’s “Touch of Grey.” Third year of eligibility.

Not a personal favorite, but the Dead is at the heart of a sociocultural phenomenon so unique in rock that it is hard to imagine walking through a Hall of Fame exhibit without seeing a plaque in their honor. In the case of the Dead, the public has spoken convincingly.

Pink Floyd-- Two Top 40 singles, 1973’s “Money” and 1980’s “Another Brick in the Wall,” plus seven Top 20 albums, including the phenomenal “The Dark Side of the Moon,” which has spent more than 700 weeks on the U.S. pop chart since its release in 1973. Second year of eligibility.

In some ways, Pink Floyd’s saga--with the unprecedented impact of “The Dark Side of the Moon” and “The Wall”--has been as remarkable a chapter in rock as the Grateful Dead’s. The influence of the band’s sonic exploration can also be felt in legions of young bands, especially in England.

Rod Stewart-- More than a dozen Top 10 singles, including “Maggie May” in 1971 and “You’re in My Heart” in 1977, plus more than a dozen Top 20 albums, including the recent “Unplugged.” Third year of eligibility.

The argument for Stewart being on the A list is his pre-1977 work, which includes such wonderfully evocative vocals as the original “Reason to Believe,” and his good-natured stage shows with the Faces. The argument against: almost everything since.

Frank Zappa-- Only one Top 40 single (1982’s “Valley Girl,” featuring daughter Moon Unit Zappa), but seven Top 30 albums, including 1968’s “We’re Only in It for the Money” and 1969’s “Uncle Meat.” First year of solo eligibility.

Few musicians have ever possessed a vision as powerful and as incorruptible as Zappa’s. His work with the Mothers of Invention represented a rejection of almost everything that was celebrated as rock, which is probably why it was rejected by the mainstream rock world.

The C List

The Animals-- Fourteen Top 40 singles, including 1964’s “House of the Rising Sun” and 1965’s “Don’t Let Me Be Misunderstood,” plus three Top 20 albums. Fifth year of eligibility.

You know how actors often say it was honor enough just to be nominated? The nomination in this case is honor enough for a band that made some important records, but which was overshadowed by so many of its British Invasion mates.

Martha & the Vandellas-- Twelve Top 40 singles, including 1963’s “Quicksand” and 1964’s “Dancing in the Street,” but no Top 20 albums. Seventh year of eligibility.

Speaking of being overshadowed, any group on Motown was destined to be dwarfed in history by the Supremes, Temptations, Four Tops and Miracles, so it’s not surprising--or without reason--that this Motown act has been passed over all these years in the voting.

The Moonglows-- Three Top 40 pop singles, including 1955’s “Sincerely,” plus seven Top 40 R&B; singles, also including 1958’s “Ten Commandments of Love.” No Top 20 albums. Ninth year of eligibility.

Here’s another case where being nominated is honor enough. The R&B; group is arguably as deserving of induction as the Platters, but that’s one of the problems with the voting process: The cut-off line is too low.

Young Rascals-- Thirteen Top 40 singles, including 1966’s “Good Lovin”’ and 1967’s “Groovin’,” plus six Top 20 albums including “Once Upon a Dream” in 1968. Third year of eligibility.

This was a colorful, but essentially one-dimensional New York group. The fact that the Rascals keep getting nominated must be an East Coast thing. The fact that they keep getting passed over in the final voting is a good sense thing.

THE NOMINEES

The Animals

The Band

Buffalo Springfield

The Grateful Dead

The Jackson 5

Elton John

John Lennon

Bob Marley

Martha & the Vandellas

Joni Mitchell

The Moonglows

Pink Floyd

Rod Stewart

The Velvet Underground

Young Rascals

Frank Zappa