That’s because Tony was about the only guy who could hit as hard as Bonzo and still groove it 
The Replacements were pretty much the epitome of rock-n-roll during their career.
Still no nomination for Warren Zevon. 
I never cared for Rush but they should be in it. The fact that they aren’t speaks volumes about Jann Wenner’s pettiness.
I know why they hate prog (which means that I won’t be expecting to see either Yes or King Crimson as nominees anytime soon), but why TF would they also hate metal? Isn’t that hewing more closely to the “3 chords and the truth” manifesto that critics so often will proclaim their alleigance to?
I’m kind of curious if the nomination is some sort of trap to make Rush look ridiculous, kinda like:
Alex: Yay, we’re honored.
RRHoF: Ooops, sorry, guys, you didn’t get in…guess you shouldn’t have dissed us last year! Guess you’re not up to our exacting standards yet.
I’ve not got any issue with Hip Hop,but I just find the critical acclaim for Public Enemy to be utterly ridiculous.This whole acclaim is based upon silly anti-establishment posturing and nothing more.I don’t see why a group so reliant upon sampling other peoples work would be taken so seriously.A less talented version of The Clash(which isn’t saying much considering how grossly overrated they are).They are almost certain to get in,though.
Not sure why Tony Thompson would need validation from Led Zeppelin.Anybody who isn’t a complete and utter moron realizes that,in regards to actual musicianship,Chic were as good as any during the late 70’s.This was blatantly obvious even at that time.
So, what - they go up on stage and the Mean Girls dump a bucket of pig’s blood on them as they accept their RRHoF award? Then, each of their bizarre psychic powers manifest - figuring out what Geddy’s, Alex’s and Neil’s powers are would be a silly-fun exercise - and they take out the remaining geezer rock royalty at the Waldorf?
Carrie/2112 - the new movie!
Maybe it was obvious to you, but among rock fans of my generation, it was taken for granted that most disco groups weren’t real musicians.
People who felt that way MIGHT reconsider if they knew how highly esteemed Thompson was in rock circles.
Anticipating that, maybe Rush could come out on stage and announce “We’re going to perform*** Caress of Steel ***in its entirety.”
That POV about Public Enemy and The Clash - that both are low-talent poseurs, basically - is something you are welcome to have, but you would have to agree that it is not the prevailing POV about either. I personally disagree - PE innovated on their approach to production, political lyrics, how they branded themselves - hugely influential. And Chuck D has a voice that is its own phenomenon.
(too funny, as I think about it: a great comparison for Chuck D in terms of “having a voice that is so good for what it is trying to do that it should be regarded as its own important contribution to the genre,” is Roy Orbison.)
And The Clash - they have an arc that is wonderful and innovative - straight-up punk to their White Album variety of London Calling.
Sounds to me like you do have an issue with hip hop, as 99% of it could be described as being reliant upon samples of other peoples [sic] work. Aside from that, it was hardly only the lyrics that made PE acclaimed (lots of critics, in fact, thought Chuck D was full of shit and loved them despite the fact) - the music and the way they used samples was totally different than any other hip hop of the time. Dense, discordant and chaotic wasn’t the template for earlier acts.
^100% correct.^
I got a laugh from Dennis Miller today as he discussed Rush getting nominated:
Listen to some DJ Shadow sometime, his work is constructed of nothing but samples. And it’s fucking brilliant.
I know it isn’t,and I know why it isn’t.Both groups were critical darlings of their day,and you cannot overlook the anti-establishment front that put up, because it was the most significant aspect of their appeal.And while sampling may be creative within hip-hop,it can hardly be compared to actual musicians who actually try compose their own work,as opposed to blatantly ripping off the work of others.And the production was carried out by an entire team,with only one member of the group being involved.
Innovation is such a grossly overrated and overused term in music,and it certainly doesn’t apply to The Clash.There was a group around during that time called Wire,who were far more creative and far better musically than The Clash.They were more talent than image,though,so I gather they didn’t receive too great exposure.
Then,like I said,they were morons.With the exception of Bootsy Collins and Chris Squire,I’d rate Bernard Edwards higher than any rock bass player of that era.
Heh. For years I thought of Strummer and Jones as the Lennon and McCartney of punk (respectively), but I still never made the White Album connection. Well done.
I HOPED I’d be the one who posted something like this, but Nooooo.
+1
Are you a musician? I am, and I think there’s a huge difference between MC Hammer sampling Rick James and the urgent, chaotic sound collages put out by the Bomb Squad. Whatever tools they are using, they are creating.
Wire are wonderful, but The Clash stand up - very durable songs still getting played and having an influence.
I don’t like The Doors, but I don’t begrudge them their influence and durability. Spittin’ into the wind, my friend.
This.
I don’t understand why they just don’t induct everyone. What’s the point of ‘competition’? Either they affected the course of musical history or they didn’t. Full Stop.
I think the problem with Rush is that their success has been spread relatively thin. At no time, even in their heyday of the early 80s, have they been close to being the biggest band around. And they’re not influential at all. They have followed trends rather than starting them. They started off as Led Zeppelin copyists, then shadowed the likes of Yes and Genesis, then morphed into a sort of heavy rock version of the Police, and in the 90s went all grungy, about two years after grunge happened.