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SIRIUS Music Interact with other SIRIUS Listeners and SIRIUS Master Music Programmers. It's an opportunity to share news and insights on music-matters -- that matter most to you. Rate the music and gush about your favorite new artists.

 
 
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Old 11-14-2006, 08:30 PM   #1
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Default Who deserves to get into the Rock 'N Roll Hall of Fame this year?

There are nine artists nominated for induction into the Rock 'N Roll Hall of Fame for this year. Ballots have been sent out to the voting body (comprised of about 1,000 "rock experts"). Those receiving at least 50 percent of the vote get inducted. Officially the criteria consists of "influence and significance of the artist’s contributions to the development and perpetuation of rock and roll."

Here's your chance to voice your opinion about who should make it in, and who does not belong. Then we'll compare these opinions to the official selections to be announced later this year, or early next year. Which of the following acts belong in the Hall of Fame:

Chic
Dave Clark Five
Grandmaster Flash
R.E.M.
Ronettes
Patti Smith
Stooges
Joe Tex
Van Halen

I will next post a one paragraph biography for each artist, that I copied from allmusic.com.
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Old 11-14-2006, 08:31 PM   #2
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Default Chic

There can be little argument that Chic was disco's greatest band; and, working in a heavily producer-dominated field, they were most definitely a band. By the time Chic appeared in the late '70s, disco was already slipping into the excess that eventually caused its downfall. Chic bucked the trend by stripping disco's sound down to its basic elements; their funky, stylish grooves had an organic sense of interplay that was missing from many of their overproduced competitors. Chic's sound was anchored by the scratchy, James Brown-style rhythm guitar of Nile Rodgers and the indelible, widely imitated (sometimes outright stolen) bass lines of Bernard Edwards; as producers, they used keyboard and string embellishments economically, which kept the emphasis on rhythm. Chic's distinctive approach not only resulted in some of the finest dance singles of their time, but also helped create a template for urban funk, dance-pop, and even hip-hop in the post-disco era. Not coincidentally, Rodgers and Edwards wound up as two of the most successful producers of the '80s.
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Old 11-14-2006, 08:31 PM   #3
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Default Dave Clark Five

For a very brief time in 1964, it seemed that the biggest challenger to the Beatles' phenomenon was the Dave Clark Five. From the Tottenham area of London, the quintet had the fortune to knock "I Want to Hold Your Hand" off the top of the British charts with "Glad All Over," and were championed (for about 15 minutes) by the British press as the Beatles' most serious threat. They were the first British Invasion band to break in a big way in the States after the Beatles, though the Rolling Stones and others quickly supplanted the DC5 as the Fab Four's most serious rivals. The Dave Clark Five reached the Top 40 17 times between 1964 and 1967 with memorable hits like "Glad All Over," "Bits and Pieces," "Because," and a remake of Bobby Day's "Over and Over," as well as making more appearances on The Ed Sullivan Show than any other English act. The DC5 were distinguished from their British contemporaries by their larger-than-life production, Clark's loud stomping drum sound, and Mike Smith's leathery vocals. Though accused by detractors of lacking finesse and hipness, they had a solid ear for melodies and harmonies and wrote much of their early material, the best of which endured quite well. Interestingly, and unusually for that era, bandleader Dave Clark managed and produced the band himself, negotiating a much higher royalty rate than artists of that period usually received. After a couple years of superstardom, the group proved unable to either keep up with the changing times or maintain a high standard of original compositions, and called it quits in 1970.
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Old 11-14-2006, 08:32 PM   #4
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Default Grandmaster Flash

DJ Grandmaster Flash and his group the Furious Five were hip-hop's greatest innovators, transcending the genre's party-music origins to explore the full scope of its lyrical and sonic horizons. Flash was born Joseph Saddler in Barbados on January 1, 1958; he began spinning records as teen growing up in the Bronx, performing live at area dances and block parties. By age 19, while attending technical school courses in electronics during the day, he was also spinning on the local disco circuit; over time, he developed a series of groundbreaking techniques including "cutting" (moving between tracks exactly on the beat), "back-spinning" (manually turning records to repeat brief snippets of sound), and "phasing" (manipulating turntable speeds) — in short, creating the basic vocabulary which DJs continue to follow even today.
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Old 11-14-2006, 08:33 PM   #5
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Default R.e.m.

R.E.M. mark the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon. Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Though there were no overt innovations in their music, R.E.M. had an identity and sense of purpose that transformed the American underground. Throughout the '80s, they worked relentlessly, releasing records every year and touring constantly, playing both theaters and backwoods dives. Along the way, they inspired countless bands, from the legions of jangle pop groups in the mid-'80s to scores of alternative pop groups in the '90s, who admired their slow climb to stardom. It did take R.E.M. several years to break into the top of the charts, but they had a cult following from the release of their debut EP, Chronic Town, in 1982. Chronic Town established the haunting folk and garage rock that became the band's signature sound, and over the next five years, they continued to expand their music with a series of critically acclaimed albums. By the late '80s, the group's fan base had grown large enough to guarantee strong sales, but the Top Ten success in 1987 of Document and "The One I Love" was unexpected, especially since R.E.M. had only altered their sound slightly. Following Document, R.E.M. slowly became one of the world's most popular bands. After an exhaustive international tour supporting 1988's Green, the band retired from touring for six years and retreated into the studio to produce their most popular records, Out of Time (1991) and Automatic for the People (1992). By the time they returned to performing with the Monster tour in 1995, the band had been acknowledged by critics and musicians as one of the forefathers of the thriving alternative rock movement, and they were rewarded with the most lucrative tour of their career. Toward the late '90s, R.E.M. was an institution, as its influence was felt in new generations of bands.
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Old 11-14-2006, 08:33 PM   #6
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Default Ronettes

The Ronettes weren't the most commercially successful girl group, but their music was some of the most groundbreaking in the field, thanks to their association with the legendary Wall of Sound producer Phil Spector. Their biggest hit, "Be My Baby," is widely regarded as one of the crowning achievements of Spector's oeuvre, and of girl-group pop in general. In fact, many critics have deemed it one of the most supremely romantic records of the rock & roll era; Spector's production frames the song's yearning lyrics and Ronnie Bennett's sweetly sultry vocals in a sweeping, near-symphonic level of emotion. Even though the Ronettes never managed another hit as big as "Be My Baby," many of their subsequent singles boasted the same kind of creative synergy between Spector and Bennett.
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Old 11-14-2006, 08:34 PM   #7
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Default Patti Smith

Punk rock's poet laureate, Patti Smith ranks among the most influential female rock & rollers of all time. Ambitious, unconventional, and challenging, Smith's music was hailed as the most exciting fusion of rock and poetry since Bob Dylan's heyday. If that hybrid remained distinctly uncommercial for much of her career, it wasn't a statement against accessibility so much as the simple fact that Smith followed her own muse wherever it took her — from structured rock songs to free-form experimentalism, or even completely out of music at times. Her most avant-garde outings drew a sense of improvisation and interplay from free jazz, though they remained firmly rooted in noisy, primitive three-chord rock & roll. She was a powerful concert presence, singing and chanting her lyrics in an untrained but expressive voice, whirling around the stage like an ecstatic shaman delivering incantations. A regular at CBGB's during the early days of New York punk, she was the first artist of the bunch to land a record deal and release an album, even beating the Ramones to the punch. The artiness and the amateurish musicianship of her work both had a major impact on the punk movement, whether in New York or England, whether among her contemporaries (Television, Richard Hell) or followers. What was more, Smith became an icon to subsequent generations of female rockers. She never relied on sex appeal for her success — she was unabashedly intellectual and creatively uncompromising, and her appearance was usually lean, hard, and androgynous. She also never made an issue of her gender, calling attention to herself as an artist, not a woman; she simply dressed and performed in the spirit of her aggressive, male rock role models, as if no alternative had ever occurred to her. In the process, she obliterated the expectations of what was possible for women in rock, and stretched the boundaries of how artists of any gender could express themselves.
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Old 11-14-2006, 08:34 PM   #8
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Default Stooges

During the psychedelic haze of the late '60s, the grimy, noisy and relentlessly bleak rock & roll of the Stooges was conspicuously out of time. Like the Velvet Underground, the Stooges revealed the underside of sex, drugs and rock & roll, showing all of the grime beneath the myth. The Stooges, however, weren't nearly as cerebral as the Velvets. Taking their cue from the over-amplified pounding of British blues, the primal raunch of American garage rock, and the psychedelic rock (as well as the audience-baiting) of the Doors, the Stooges were raw, immediate and vulgar. Iggy Pop became notorious for performing smeared in blood or peanut butter and diving into the audience. Ron and Scott Asheton formed a ridiculously primitive rhythm section, pounding out chords with no finesse — in essence, the Stooges were the first rock & roll band completely stripped of the swinging beat that epitomized R&B and early rock & roll. During the late '60s and early '70s, the group was an underground sensation, yet the band was too weird, too dangerous to break into the mainstream. Following three albums, the Stooges disbanded, but the group's legacy grew over the next two decades, as legions of underground bands used their sludgy grind as a foundation for a variety of indie rock styles, and as Iggy Pop became a pop culture icon.
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Old 11-14-2006, 08:35 PM   #9
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Default Joe Tex

Joe Tex made the first Southern soul record that also hit on the pop charts ("Hold What You've Got," in 1965, made number five in Billboard). His raspy-voiced, jackleg preacher style also laid some of the most important parts of rap's foundation. He is, arguably, the most underrated of all the '60s soul performers associated with Atlantic Records, although his records were more likely than those of most soul stars to become crossover hits.
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Old 11-14-2006, 08:36 PM   #10
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Default Van Halen

With their 1978 eponymous debut, Van Halen simultaneously rewrote the rules of rock guitar and hard rock in general. Guitarist Eddie Van Halen redefined what electric guitar could do, developing a blindingly fast technique with a variety of self-taught two-handed tapping, hammer-ons, pull-offs, and effects that mimicked the sounds of machines and animals. It was wildly inventive and over the top, equaled only by vocalist David Lee Roth, who brought the role of a metal singer to near-performance art standards. Roth wasn't blessed with great technique, unlike Eddie, but he had a flair for showmanship that was derived as much from lounge performers as Robert Plant. Together, they made Van Halen into the most popular American rock & roll band of the late '70s and early '80s, and in the process set the template for hard rock and heavy metal for the '80s.
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Old 11-14-2006, 10:13 PM   #11
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Who deserves to get into the Rock 'N Roll Hall of Fame this year?
 
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Chic -- I'll vote no. We gotta draw the line somewhere.
Dave Clark Five -- Yes. Good band. Good sound.
Grandmaster Flash -- No. Influential, but I don't feel like they lasted long enough, if that makes any sense.
R.E.M. -- Yes. I like to reward bands that have maintained their success over many years.
Ronettes -- borderline No vote. I wasn't around at the time, but I would not like to see a band inducted mainly on the basis of one song (which they probably did not themselves write)
Patti Smith -- Yes. I'm not a fan, but she influenced many.
Stooges -- No. Not enough commercial success.
Joe Tex -- No. (I'm not too familiar with him)
Van Halen -- Yes. Very successful and highly influential. Eddie VH is one of the all-time guitar greats.
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Old 11-15-2006, 03:34 PM   #12
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Van Halen is/was a lot of things, Metal ain't one of 'em. That's as insulting as putting Posion and Bon Jovi in the same catagory as Pantera. I'd still give VH a vote. They're a great band, just not metal.

R.E.M - Yeah, I'd vote for them, too.

Grandmaster Flash - anyone who can claim responsibility for rap doesn't deserve a nomination.

I still laugh at the Sex Pistol's reaction to their nomination. Priceless.
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Old 11-16-2006, 05:39 PM   #13
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hi road,

i only know 2 of the acts, so can only respond to them.

dc5 - yes
ronnettes - no

i liked the ronnettes, but not hof accomplishments.
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Old 11-17-2006, 11:05 AM   #14
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Chic
Dave Clark Five
Grandmaster Flash
R.E.M.
Ronettes
Patti Smith
Stooges
Joe Tex
Van Halen
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Old 11-17-2006, 12:36 PM   #15
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I think this year's crop is all deserving with the exception of Van Halen. I say that because why should Van Halen get in before KISS? Forget that KISS "discovered" them, they also set the stage (literally) for what a live rock show would become. Correction, them and Alice Cooper -- who also isn't in. Both omissions are a travesty! I'm not by any means saying that Van Halen (or other groups of the era) wouldn't be where they are without KISS, but while they are deserving of induction there are others who should come first.

At this rate, Guns 'n' Roses are going to get in before KISS and Alice :{
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