Oh God.
Hall & Oates > Springsteen, take that shit.
^now youâre just getting silly.
Yeah Iâm pretty sureâŚI canât remember right now, but I remember talking about a band that rejected it in my Music class last yearâŚ
after a quick google search, it was actually this past semester we talked about it, and it wasâŚthe Sex Pistols
^ Consistent with their punk aesthetic.
^LMFAO!
YeahâŚof all those artists, maybe four are better than suck!!!
Oh, and Rush and YesâŚW T F already!!! Put these bands IN!!!
Didnât Beasties get snubbed?
Rush will be in there!
Red Hot Chili Peppers snubbed. 
Where is the call for Crowded House? 
Yes, never let them in. Gene Simmonsâ ego is big enough. And I say No to Yes and the MonkeesâŚjust because you had a couple hits doesnât mean youâre Hall of Fame material.
I will say yes to Rush and Iâll add in the Moody Blues who have far more hits than people realize.
And some of theseâŚDarlene Love?..Really? She was good for maybe two or three years and had a few hits and that makes her Hall of Fame? And now weâre putting in record executives in? And Leon Russell is borderline. It really seems like theyâre grasping at straws here. I donât know how you can have this many inductees every year when most eligible artists last 30 years or more.
Ozzy did something like this with Black Sabbath where he told them to take his bandâs name off the list because the Hall isnât voted by the fans and instead by the âsupposed elite for the industry and the media, whoâve never bought an album or concert ticket in their lives.â Though I think this was more due to him not making it in than some real protest since they seemed fine with it when they finally got in. Strangely, the closest âFUâ Iâve seen was the induction ceremony for Steely Dan where Fagan gave them maybe the coldest speech Iâve seen so far.
Bah. Theyâll get in as overrated as they areâŚ
^Say no to Yes? 
HmmâŚI didnât know the R N R HOF was based on âhitsâ I could be wrong. I am no expert at the subject. But Yes most definitely belongs in there. Moodys for sure!
Maybe the coldest,âŚbut Jerry didnât even show up when the Grateful Dead were inducted.
Now thatâs a cold âFUâ if I ever saw one.
^Iâll drink to that! 
Mike looks the best out of all of them. I like that purple vest and tie.
Fish reminds me of Chris Farley in Tommy Boy. 
If another year passes without Mr. Mister getting inducted Iâm protesting and not listening to Rock and Roll until they get in. I meanâŚcome on:
[youtube]http://www.youtube.com/watch?v=aWyeVfuolT4[/youtube]
I hope one or all of them have the decency to waive their induction this year in favor of Captain Beefheart.
This wikipedia entry on his legacy and influence is pretty greatâŚparticularly the Matt Groening part.
Legacy and influence
Van Vliet has been the subject of at least two documentaries, the BBCâs 1997 The Artist Formerly Known As Captain Beefheart narrated by BBC disc jockey John Peel, and the 2006 independent production Captain Beefheart: Under Review.[98]
According to John Peel, âIf there has ever been such a thing as a genius in the history of popular music, itâs Beefheart⌠I heard echoes of his music in some of the records I listened to last week and Iâll hear more echoes in records that I listen to this week.â[68] His narration to the BBC documentary adds: âA psychedelic shaman who frequently bullied his musicians and sometimes alarmed his fans, Don somehow remained one of rockâs great innocentsâ.[24] Mike Barnes would call him an âiconic counterculture heroâ, who with the Magic Band âwent on to stake out startling new possibilities for rock musicâ.[4] Lester Bangs cited Beefheart as âone of the four or five unqualified geniuses to rise from the hothouses of American music in the Sixtiesâ.[99] John Harris of The Guardian praised how the âpulses with energy and ideas, the strange way the spluttering instruments meld togetherâ.[8] A Rolling Stone biography would describe his work as âa sort of modern chamber music for [a] rock band, since he plans every note and teaches the band their parts by ear. Because it breaks so many of rockâs conventions at once, Beefheartâs music has always been more influential than popular.â[42] In this context, it is performed by the classical group, the Meridian Arts Ensemble.[100] Piero Scaruffi would characterize âthree basic elementsâ: âthe ballad out of tune, with guitar interlaced with jolting rhythm, vocal miasma and a rogue harmonicaâ.[69] Scaruffi ranked Trout Mask Replica number one on his list of the greatest rock albums of all time.[101] He says that âthe distance between Captain Beefheart and the rest of rock music is the same distance that there was between Beethoven and the symphonists of his timeâ. Nicholas E. Tawa, in his 2005 book Supremely American: Popular Song in the 20th Century: Styles and Singers and What They Said About America, included Beefheart among the prominent progressive rock musicians of the 1960s and 70s,[1] while the EncyclopĂÂŚdia Britannica describes Beefheartâs songs as conveying âdeep distrust of modern civilization, a yearning for ecological balance, and that belief that all animals in the wild are far superior to human beings.â[9]
Many artists have cited Van Vliet as an influence, beginning with the Edgar Broughton Band, who covered âDropout Boogieâ (mixed with The Shadowsâ âApacheâ)[102] as early as 1970. The Minutemen were great fans of Beefheart, and were arguably among the few to effectively synthesize his music with their own, especially in their early output, which featured disjointed guitar and irregular, galloping rhythms. Michael Azerrad describes The Minutemenâs early output as âhighly caffeinated Captain Beefheart running down James Brown tunesâ,[103] and notes that Beefheart was the groupâs âidolâ.[104] Others who arguably conveyed the same influence around the same time or before include John Cale of The Velvet Underground,[105] Laurie Anderson,[106] The Residents and Henry Cow.[52] Genesis P-Orridge of Throbbing Gristle and Psychic TV,[107] and poet mystic ZâEV,[108] both pioneers of industrial music, would cite Van Vliet along with Zappa among their influences. More notable were those emerging during the early days of punk rock, such as The Clash[72] and John Lydon of the Sex Pistols (reportedly to manager Malcolm McLarenâs disapproval), later of the post-punk band Public Image Ltd.[109]
Cartoonist and writer Matt Groening tells of listening to Trout Mask Replica at the age of 15 and thinking âthat it was the worst thing Iâd ever heard. I said to myself, theyâre not even trying! It was just a sloppy cacophony. Then I listened to it a couple more times, because I couldnât believe Frank Zappa could do this to me - and because a double album cost a lot of money. About the third time, I realised they were doing it on purpose; they meant it to sound exactly this way. About the sixth or seventh time, it clicked in, and I thought it was the greatest album Iâd ever heard.â[110] Groening first saw Beefheart and the Magic Band perform in the front row at the Arlene Schnitzer Concert Hall in the early 1970s.[111] He later declared Trout Mask Replica to be the greatest album ever made. He considered the appeal of the Magic Band as outcasts who were even âtoo weird for the hippiesâ.[24] Groening served as the curator of the All Tomorrowâs Parties festival that reunited the post-Beefheart Magic Band.[111]
Van Vlietâs influence on post-punk bands was demonstrated by Magazineâs recording of âI Love You You Big Dummyâ in 1978 and the tribute album Fast ânâ Bulbous - A Tribute to Captain Beefheart in 1988, featuring the likes of artists such as the Dog Faced Hermans, The Scientists, The Membranes, Simon Fisher Turner, That Petrol Emotion, the Primevals, The Mock Turtles, XTC, and Sonic Youth, who included a cover of Beefheartâs âElectricityâ as a bonus track on the deluxe edition of their 1988 album Daydream Nation. Other post-punk bands influenced by Beefheart include Gang of Four,[8] Pere Ubu, Stripper, Babe the Blue Ox and Mark E. Smith of The Fall.[112] The Fall covered âBeatle Bones âNâ Smokinâ Stonesâ in their 1993 session for John Peel. Mike Verna (drummer/vocalist for Stripper) recorded a version of âHarry Ireneâ on his 2008 solo album, Audrey.[113] Beefheart is considered to have âgreatly influencedâ New Wave artists,[9] such as David Byrne of Talking Heads, Blondie, Devo and The B-52s.[106]
Tom Waitsâ shift in artistic direction, starting with 1983âs Swordfishtrombones, was, Waits claims, a result of his wife Kathleen Brennan introducing him to Van Vlietâs music.[114] âOnce youâve heard Beefheart,â said Waits, âitâs hard to wash him out of your clothes. It stains, like coffee or blood.â[115] Guitarist John Frusciante of the Red Hot Chili Peppers cited Van Vliet as a prominent influence on the bandâs 1991 album Blood Sugar Sex Magik as well as his debut solo album Niandra Lades and Usually Just a T-Shirt (1994) and stated that during his drug-induced absence, after leaving the Red Hot Chili Peppers, he âwould paint and listen to Trout Mask Replica.â[116] Black Francis of the Pixies would cite Beefheartâs The Spotlight Kid as one of the albums he listened to predominately when first writing songs for the band.[117] Kurt Cobain of Nirvana would also acknowledge Van Vlietâs influence, mentioning him among his notoriously eclectic range.[33] The White Stripes in 2000 released a 7ââ tribute single, Party of Special Things to Do, containing covers of that Beefheart song plus âChina Pigâ and âAshtray Heartâ. The Kills included a cover of âDropout Boogieâ on their debut Black Rooster EP (2002). The Black Keys in 2008 released a free cover of Beefheartâs âIâm Gladâ from Safe as Milk.[118] Beck includes âSafe as Milkâ and âElla Guruâ in a playlist of songs as part of his websiteâs Planned Obsolescence series of mashups of songs by the musicians that have influenced him.[119] Franz Ferdinand cited Beefheartâs Doc At The Radar Station as a strong influence on their second LP, You Could Have It So Much Better.[8] Placebo briefly named themselves Ashtray Heart, after the track on Doc at the Radar Station; the bandâs album Battle for the Sun contains a track called âAshtray Heartâ. Joan Osborne covered Beefheartâs â(His) Eyes are a Blue Million Milesâ, which appears on Early Recordings. She cites Van Vliet as one of her influences.[120] PJ Harvey and John Parish would discuss Beefheartâs influence in an interview together. Harveyâs first experience of Beefheartâs music was as a child, as her parents had all of his albums in their record collection, which when she listened to made her âfeel illâ. Harvey was reintroduced to Beefheartâs music by Parish, who lent her a cassette copy of Shiny Beast (Bat Chain Puller) at the age of 16. She has cited him as one of her greatest influences since. Parish would describe Beefheartâs music as a âcombination of raw blues and abstract jazz. There was humour in there, but you could tell that it wasnât [intended as] a joke. I felt that there was a depth to what he did that very few other rock artists have managed [to achieve].â[121]
^2017
I knowâŚhits technically shouldnât matter have but I figured that the perception that they only had a few big âhitsâ is the reason why the Moodys havenât gotten in yet. I think it should be required that you listen to Moody Bluesâ entire albums at a timeâŚitâs remarkable how almost every album has the songs intertwined into each otherâŚthat, above all else, is why they should get in. And yeahâŚnot a fan of Yes but thatâs me. No to Yes.
Hey, if a one-hit wonder like Percy Sledge can get in, then why not a two-hit wonder like Mr. Mister?