This next batch includes an eclectic selection of pop, punk, alternative, R&B and rock artists. Three previously-nominated artists and three previously-selected Rock Hall Contenders will be spotlighted.
#60: The Pointer Sisters
Eligible Since 1999
Never Nominated
Essential Songs: “Yes We Can Can” (1973), “Fairytale” (1974), “Fire” (1978), “I’m So Excited” (1982), “Automatic” (1983), “Jump (For My Love)” (1983)
The Pointer Sisters are the missing link of great girl groups not already in the Rock Hall. They bridged the gap between the girl groups of the 1960s (e.g., The Supremes, The Shirelles, The Vandellas) and 1990s (e.g., TLC, Destiny’s Child, En Vogue)—an essential component in the evolution and sound of girl groups that cannot be ignored. The Pointer Sisters, along with the likes of LaBelle, kept the girl group tradition alive and a constant mainstay on the charts. And like LaBelle, the Pointer Sisters took more stylistic risks with their sound than any other girl group of their era and allowed them to sing in different genres and styles so effortlessly. But when they started as a quartet in the early 1970s, they refused to copy the trends of other girl groups and instead adopted a thrift-store look (1940s era) and combined elements of jazz, funk and pop into the creation of an original sound. They became instant stars thanks to the Allen Toussaint-penned hit “Yes We Can Can” and would be the start of a 15-year reign of constant chart successes. They also wrote the uncharacteristic country ballad “Fairytale” which became not only a top-20 pop hit, but also won them the Grammy for Best Country Song. Very few groups can orbit around different genres so effortlessly and successfully as The Pointer Sisters. Their versatility allowed them to be musical chameleons and remained a constant mainstay on FM radio for nearly two decades. They scored over two-dozen top-40 pop hits and seven of them reached the top ten. Many of them are pop culture staples such as “I’m So Excited,” “Automatic” and “Jump (For My Love” that can be heard in films, television shows and commercials at any given moment. And instead of relying on one lead vocalist (like most girl groups did), the Pointer Sisters each took turns and every one of them sang multiple hits. They also have two separate eras where they achieved substantial success: as a quartet and then as a trio (sans the late Bonnie). Rock Hall-inducted bands such as Genesis, Van Halen and The Doobie Brothers also had two separate eras—just like The Pointer Sisters had and that only strengthens their case for induction. The Pointer Sisters also became one of the first black female artists to get played regularly on MTV and they became even bigger stars thanks to their outlandish and often campy music videos. They broke barriers that defied expectations placed on black female singers and became successful on their own terms. If that’s not rock and roll, then what is? Few groups are as talented, commercially-successful or musically-diverse in the history of American pop music as The Pointer Sisters and a Rock Hall induction should be happening sooner than later.
For more information on the Pointer Sisters, check-out this Rock Hall Contenders piece written about them last year.
#59: Phil Collins
Eligible Since 2007
Never Nominated
Essential Songs: “In the Air Tonight” (1981), “I Don’t Care Anymore” (1982), “Against All Odds (Take a Look at Me Now)” (1984),
Take Me Home” (1985), “Another Day in Paradise” (1989), “Something Happened on the Way to Heaven” (1990)
It’s impossible to fully articulate popular music in the 1980s without mentioning Phil Collins. His music was everywhere that decade: in movies, television shows, radio and of course MTV. But he was the atypical rock star for that generation: balding hair, rounded face and often-overproduced vocal style. Lyrically, Collins’ songs are the antithesis of the often youthful rock music: self-afflicting love songs sounding like a man in the midst of a midlife crisis. Collins, somehow, became one of the unlikely superstars of the decade and definitely a major force shaping the sounds and themes of adult contemporary for years to come. He did something very few have done before or since: obtain two hugely successful musical projects simultaneously. Starting the decade strong with his band Genesis, Collins also embarked on a highly-successful solo career starting with his debut album Face Value (1981) and the iconic hit single “In the Air Tonight.” Say whatever you will about Collins, but the man knows how to write a damn good pop song with terrific hooks. Yes, some of them are schmaltzy and borderline corny, but most rock stars would be guilty of that. Collins’ name became synonymous with the excessiveness of pop music, but his music did prove influential in the adult contemporary genre. He’s even widely sampled in hip-hop and there’s even a tribute album featuring many hip-hop stars. And here’s a staggering but highly relevant fact: he is one of only three artists to sell over 100 million records as both a solo artist and a member of a band/group. The only two are….two-time inductees Paul McCartney and Michael Jackson. And that doesn’t even scratch the surface of all the awards and honors Collins has received throughout his career. He won 8 Grammys, an Academy Award and inductions into both the Songwriters Hall of Fame (2003) and the Rock Hall (2010). Similar to Bon Jovi, I doubt few people would publicly admit to liking or even supporting Collins’ candidacy for the Rock Hall. But I have a feeling once the ballots are returned, they would favor in Collins’ favor. Critics always loathed his records, but they aren’t the only voters and I feel many Rock Hall voters would support Collins.
#58: Gloria Estefan and Miami Sound Machine
Eligible Since 2003
Never Nominated
Essential Songs: “Conga” (1985), “1-2-3” (1987), “Rhythm is Gonna Get You” (1987), “Get on Your Feet” (1989), “Coming Out of the Dark” (1991), “Turn the Beat Around” (1994)
At its very core, rock and roll is the music of the youth but more importantly it’s meant for dancing. The Miami Sound Machine were already stars in Latin America starting in the late 1970s, but became global superstars when they migrated to America in the mid-1980s. Fronted by husband-and-wife duo Gloria and Emilio Estefan, the Miami Sound Machine wrote catchy pop songs with an irresistible blend of Cuban-inspired sounds. They revived the popularity of Latin music in the U.S., even inspiring a new dance craze with their crossover smash “Conga.” But Miami Sound Machine will forever be known as our introduction to Gloria Estefan, one of the great pop stars of the 1980s. Like many pop stars, she also performed adult contemporary songs alongside her dance-pop hits with equal success. A tragic 1990 car accident almost left her permanently paralyzed but she eventually recovered and her journey back to superstardom is one of the great comeback stories in modern music. In the 90s, she returned to her roots by releasing a series of Spanish-language albums that cemented her status as a global superstar. Her success particularly set the template for the modern Latin pop star. Jennifer Lopez, Shakira, Selena, Christina Aguilera and Selena Gomez are a few of the artists impacted by Estefan’s groundbreaking legacy. Estefan is perhaps more responsible than any other performer to ensure the popularity of Latin-based music in the last 4 decades. She’s sold more than 100 million records and remains one of the most recognizable and popular people on the planet. She was won many awards in recent years including a Kennedy Center Honor (2017), Gershwin Prize for Popular Song by the Library of Congress (2019) and a nomination for induction into the Songwriters Hall of Fame (2020). With a ton of accolades given to her recently, a Rock Hall nomination might happen very soon. When the Rock Hall’s museum unveiled their “Louder Than Words” exhibit on the intersection of rock and politics in 2016, they filmed an interview with Estefan shown in the exhibit. One of John Sykes’ goals to have a more inclusive Rock Hall and there is a dearth of Latin performers inducted into the Rock Hall. There might not be a bigger name in Latin music than Estefan. And given Estefan’s backstory as the child of Cuban refugees who migrated to the United States and escaped Castro’s regime, there is perhaps no better example of the American dream in popular music. When the nominating committee further evaluates other great 80s pop stars, Estefan and Miami Sound Machine must be considered as one of the great crossover success stories. They just need to get on their feet and make it happen.
For more information on Gloria Estefan, check-out this Rock Hall Contenders piece written about her last year.
#57: Eric B. & Rakim
Eligible Since 2012
Nominated in 2012
Essential Songs: “I Ain’t No Joke” (1987), “I Know You Got Soul” (1987), “Paid in Full” (1987), “Follow the Leader” (1988), “Microphone Fiend” (1988), “Don’t Sweat the Technique” (1992)
Here’s something that most people who follow the Rock Hall often forget: Eric B. & Rakim were nominated in their first year of eligibility. The same class that saw Guns N’ Roses waltz right in also saw the Beastie Boys finally inducted on their third appearance. But make no mistake, Eric B. & Rakim were just as important to the development of the genre as any of their contemporaries. Fellow Long Islander Rakim, from Wyandanch, met Queens native Eric B., a DJ at the time, when the former was looking to collaborate with a rapper for an upcoming record in 1985. Rakim, an up-and-coming rapper who played at house shows through New York at the time, was recommended by one of Eric B.’s friends and the rest is history. They released their debut single “Eric B. is President” (1986) and quickly worked on their debut album Paid in Full (1987), an absolute game change in hip-hop. Perhaps more than any hip-hop album in the late 80s, Paid in Full anticipated the genre in the next decade. Eric B.’s heavy usage of sampling (especially from James Brown) and Rakim’s effortless and often-poetic deliveries. Rakim’s style was radically different as he is much smoother on the mic and phrases words in such a way that’s incomparable to anyone else. Both are masters of their craft, no debate on that, but Rakim is often cited as the greatest MC of all time. There’s several polls and surveys out there to drive that point home. Virtually every rapper from the late 80s onward cites Rakim as a major influence and some of these are big names (e.g., Jay-Z, Nas). Unlike other hip-hop inducted artists, Eric B. & Rakim lack both a widely-known song and commercial success often alluded them. These are strikes against a potential induction because every hip-hop inductee so far are household names. Eric B. & Rakim certainly aren’t but a Rock Hall induction is certainly plausible. They reunited for their first show in nearly 25 years at New York City’s Apollo Theater in July 2017. They even visited the Rock Hall’s museum in April 2019 and were scheduled to perform at an induction fest alongside nominating committee member Questlove among others. They are widely liked by critics and widely hailed as a pioneering act in the landscape of late 80s hip-hop. Rolling Stone ranked Paid in Full at #61 on their 500 Greatest Albums list (2020) and they were ranked #5 on the Best Duos list from last September. Please check out this excellent piece written by former nominating committee member Touré on the 2012 nominees. He makes the best case possible for their Rock Hall induction: “Rakim, to me, is a glaring omission. As most reading this know, you cannot tell the story of hip-hop without Eric B & Rakim. They are seminal. So the story of hip-hop told by the Hall will have a gaping void until that's remedied.” Except their name to come again in a few years after Jay-Z and Eminem enter the Rock Hall.
#56: Joe Cocker
Eligible Since 1995
Never Nominated
Essential Songs: “With a Little Help from My Friends” (1968), “Delta Lady” (1969), “Feelin’ Alright?” (1969), “The Letter” (1970), “You Are So Beautiful” (1974), “Up Where We Belong” (1982)
Of all the artists who performed at the original Woodstock festival that aren’t already inducted into the Rock Hall, Joe Cocker stands the best chance. His charismatic and distinctive stage presence—bizarre face and hand gestures, disheveled clothes and hair and raspy vocal style—made him an overnight superstar. Captured in the ironic Oscar-winning documentary Woodstock (1970), Cocker performed a melody of songs including a cover of The Beatles’ “With a Little Help from My Friends” that served as Cocker’s introduction to a global audience. Cocker’s association with the Beatles will always put him in the conversation of worthy Rock Hall prospects because if there’s one thing the Rock Hall loves, it’s the Beatles. Cocker put his definitive stamp on every song he performed and sometimes his covers became even more popular than the originals. Most of his hits were covers, but that doesn’t matter. Many Rock Hall inductees (e.g., Elvis, Linda Ronstadt, Supremes) either covered songs or given songs to perform by songwriters, so a different standard shouldn’t be applied to Cocker. And he maintained chart success in several decades and longevity is definitely a positive mark on Cocker’s Rock Hall prospects. But beyond that, he is simply one of the greatest singers in rock history and there’s no mistaking his voice for anyone else’s. His songs can still be heard on classic rock radio stations and he’s frankly one of the few classic rock-era artists worth inducting. He’s a once-in-a-generation talent that would probably do extremely well on the fan vote and probably receive induction as soon as he appears on a ballot. Even the notoriously boorish Dave Marsh, who served on the nominating committee for decades, wants him in. Cocker would likely have the support of nominating committee member Steven Van Zandt once said Cocker’s version of “With a Little Help from My Friends” was the greatest cover ever made. Praise aside, it takes an advocate in the room and Cocker has yet to receive a nomination. Even Billy Joel, who wrote a letter to the Hall shortly before Cocker’s 2014 death, couldn’t get him on the following year’s ballot. Given Joel’s superstar status and the strong likelihood he’d serve as the inductor for a potential Cocker induction, it’s shocking not to see Cocker’s name on a ballot and his snub becomes more puzzling with each passing year.
For more information on Joe Cocker, check out this piece from the Rock Hall Contenders series.
#55: New York Dolls
Eligible Since 1999
Nominated in 2001
Essential Songs: “Jet Boy” (1973), “Looking for a Kiss” (1973), “Personality Crisis” (1973), “Trash” (1973), “Babylon” (1974), “Who Are the Mystery Girls?” (1974)
New York Dolls were a hot mess in every sense of the word. They divided both critics and audiences who couldn’t decide whether they were brilliant trendsetters or wannabe musicians. Their live shows are the stuff of legends, sometimes in the worst ways imaginable as their sound was often distorted, played their instruments sloppily and wore the most outrageously flamboyant outfits. But somehow they made it work, even for a very short window of time, and developed a huge cult following. On the heels of the English glam rock scene in the early 70s (T. Rex, Roxy Music, etc.), New York Dolls brought a punk sensibility to the subgenre and that was before punk was even a proper term. Pronto-punk bands certainly existed before their arrival, The Stooges and MC5 as prime examples, but New York Dolls brought their unique brand of brashness and androgyny to the forefront of American hard rock. Their music is heavily inspired by the Rolling Stones’ brand of raw sexuality, taboo lyrics and electric live shows. It’s no wonder frontman David Johansen looks and sounds an awful lot like Mick Jagger. Johansen wore way more lipstick, high heels and skirts than Jagger ever would. But New York Dolls’ influence is so multifaceted that they inspired latter-day hard rock, metal and punk artists. Many Rock Hall inductees took cue from them including Aerosmith, Sex Pistols, Kiss, Guns N’ Roses and Blondie. Morrissey, in particular, is a huge fan of the Dolls and he served as an unofficial president of their fan club at one point. He even organized a 2004 reunion show with the living members of the band, which led to the creation of three albums starting in 2006. New York Dolls were nominated once all the way back in 2001 and showed no signs of ever coming back to the ballot. But there might be something working in their favor: Martin Scorsese is producing and directing a documentary on the life of lead singer David Johansen that will be released on Showtime sometime next year. Thinking of some of the big names Scorsese has covered in past music documentaries (e.g., Dylan, The Rolling Stones, The Band), this documentary will definitely boost their Rock Hall chances. Sure, they’re more of a cult band who fizzled out after two albums in their prime. Has there ever been a more appropriately-titled album than their sophomore effort “Too Much Too Soon”? Probably not, but the New York Dolls are one of the most revolutionary bands of the last half-century and whose influence can still be heard and seen today. To put it another way, the history of rock music in New York City in the early 1970s—sandwiched between the folk rock scene of the 1960s and the punk explosion in the mid-to-late 70s—cannot be fully told without them. A Rock Hall induction would probably make the notoriously grumpy Robert Christgau smile, a band he lists among his five all-time favorite artists, but I doubt that’d happen.
#54: PJ Harvey
Eligible Since 2017
Never Nominated
Essential Songs: “Dress” (1991), “Rid of Me” (1993), “Down By the Water” (1995), “A Perfect Day Elise” (1998), “The Mess We’re In” (2000), “This is Love” (2000)
At the height of the singer-songwriter revival in the early 1990s, PJ Harvey stood out from the others thanks to her dark and brutally-honest lyrics. She also combined a sense of shock and theatricality in her music videos and live shows. She quickly established herself as one of the era’s most distinctive and influential performers at the height of the alt rock boom. She is also widely adored by critics, most of whom showered her with acclaim from the moment she released her debut single “Dress” in 1991. Rolling Stone has sung her praises: Best New Artist (1992), Best Songwriter (1992) and Artist of the Year (1995). Two of her albums appear on their 500 Greatest Albums list (2020 edition): Rid of Me (#153) and Stories from the City, Stories from the Sea (#313). To Bring You My Love, an album appearing at the top of many publications’ lists as the best album of 1995 (e.g., Rolling Stone, Village Voice, New York Times), was on the original list back in 2003 (#435), but hasn’t re-appeared in the last two updates. She is the only artist to win the prestigious Mercury Prize twice, which honors the best album from a British-born artist by the British Phonographic Industry (BPI), in 2001 and 2011. Rock Hall inductees U2, Van Morrison, Radiohead and David Bowie have been nominated for this award and none of them have won it. Harvey’s many list of accomplishments and achievements even includes her appointment as a Member of the Order of the British Empire (MBE) by Queen Elizabeth II in 2013. When planning the Nirvana all-star tribute performance with several iconic female rockers, Dave Grohl apparently contacted Harvey to perform a song. Kurt Cobain was a big fan of Harvey’s music and even listed Dry as one of his 50 favorite records. The plan was for Harvey to perform “Milk It,” a song from In Utero she heavily inspired, but she couldn’t attend the ceremony. Maybe this appearance would’ve put her more at the forefront for Rock Hall consideration, who knows really given Sonic Youth’s Kim Gordon performed and her band has yet to be nominated, but it could’ve been an amazing tribute performance. When a fan asked Tom Morello on Twitter who are his favorite female artists in 2017, he listed PJ Harvey first. He often plays her records on his “One Man Revolution” show on SiriusXM’s Lithium and it wouldn’t be stretch if he supported her Rock Hall candidacy in the not-so-distant future. But despite all this, Morrissey feels he should be an inductee before PJ Harvey, which might be the random diss of an artist’s Rock Hall credentials in recent memory. Despite Morrissey’s objections, Harvey’s name will surely be brought up as the nominating committee explores great artists from the 90s.
#53: Jane’s Addiction
Eligible Since 2013
Nominated in 2017
Essential Songs: “Jane Says” (1988), “Mountain Song” (1988), Been Caught Stealing” (1990), “Classic Girl” (1990), “Stop!” (1990), “Just Because” (2003)
The rock music scene of L.A. in the late 80s saw a surge in hair metal bands who often cared more about their fashion choices than the actual music. Jane’s Addiction, on the other hand, craved their own path to fame and success that completely separated themselves from other bands at that time. Taking cue from both hard rock and punk influences, Jane’s Addiction became one of the many bands to kickstart the alternative rock music scene that would dominate the preceding decade. They only made two studio albums in their prime and an additional two albums in the 21st Century. A rather slim discography, but their impact is undeniable. They excelled fusing different genres and styles to create a unique sound. More importantly, they set the blueprint for latter-day alternative rock bands to follow and 90s grunge and hard rock bands (e.g., Rage Against the Machine, Nirvana, Smashing Pumpkins, Pearl Jam) owe a debt of gratitude to Jane’s Addiction’s DIY approach. Farrell created Lollapalooza in 1991 as a way to bid farewell to Jane’s Addiction, but it quickly took on a life of its own and became an annual tradition (1991-97; 2003-present) featuring the likes of Green Day, Red Hot Chili Peppers, Beastie Boys and Nine Inch Nails as headliners. Loolapoalozza not only became the ultimate alternative music festival of the decade, but more importantly inspired other festivals such as Coachella and Bonnaroo. Jane’s Addiction has also two vocal and famous supporters advocating for their induction. Dave Grohl apparently tipped off their 2017 nomination to Farrell shortly before the official announcement. Tom Morello even wrote an op-ed on them in Billboard shortly after they were announced as nominees in November 2016 and labels them the “punk rock Led Zeppelin” in the landscape of late 80s rock scene in Los Angeles. He claims to be “their number one fan” and “can’t think of a more deserving candidate for the Rock and Roll Hall of Fame.” Given the support of two heavyweights on the nominating committee, it’s a matter of time before they receive their next nomination.
#52: Warren Zevon
Eligible Since 1995
Never Nominated
Essential Songs: “Frank and Jesse James” (1976), “Mohammed’s Radio” (1976), “Excitable Boy” (1978), “Lawyers, Guns and Money” (1978), “Werewolves of London” (1978), “Keep Me in Your Heart” (2003)
The Rock Hall has inducted plenty of quirky singer-songwriters over the years including Tom Waits, Dr. John and Randy Newman. Of those not inducted yet, Warren Zevon might be the most shocking omission. He is largely known for one hit “Werewolves of London,” which is essentially a novelty record that doesn’t capture his true genius. Zevon’s highly literate, acerbic and darkly humorous approach to songwriting is completely singular. There’s no one who sings or writes like Zevon. He experienced minimal commercial success and seen more as a cult hero. His tendency to focus on bizarre characters in a darkly-twisted world served as an inspiration for many latter-day Indie and Alternative rockers. His friends and collaborators are a who’s-who of rock include Bob Dylan, Bruce Springsteen, Tom Petty, Jackson Browne, R.E.M. and Linda Ronstadt (who scored hits penned by Zevon including “Poor Poor Pitiful Me”). All of these musical titans are Rock Hall inductees which makes Zevon’s absence even more inexplicable. Perhaps that infamous spat with Rolling Stone founder Jann Wenner in the 1970s tainted Zevon’s chances, but several Wenner-dismissed artists would eventually get inducted (Kiss, Chicago and Bon Jovi as prime examples). Plus I don’t exactly buy the notion that Wenner has much say on who gets into the Rock Hall, even when he wielded more power and influence years ago. In 2014, the magazine listed Zevon as one of 16 “Classic Artists Still Not in the Rock Hall,” so there might be hope he scores a nomination soon. Zevon famously appeared as a frequent musical guest on David Letterman’s Late Show many times over the years. When Letterman served as Pearl Jam’s inductor in 2017, the legendary host mentioned Zevon’s snub: “One day I hope to come back here for the induction for my friend Warren Zevon.” I can imagine nominating committee member Paul Shaffer and Letterman inducting Zevon in the not-so-distant future, which is probably something HBO would love to happen. And something unrelated but completely relevant to Zevon’s Rock Hall candidacy: 2020 inductee Irving Azoff served as one of Zevon’s managers later in the singer-songwriter’s life. As seen in recent years, anyone connected to Azoff shows up on a ballot and usually gets inducted pronto (e.g., Journey, Bon Jovi, Stevie Nicks, Doobie Brothers). Zevon seems like one of the few male solo artists who could get inducted into the Hall as soon as he appears on the ballot.
#51: Sade
Eligible Since 2010
Never Nominated
Essential Songs: “Smooth Operator” (1984), “Your Love is King” (1984), “The Sweetest Taboo” (1985), “Paradise” (1988), “No Ordinary Love” (1992), “By Your Side” (2000)
R&B was at a strange crossroads in the mid-1980s: still popular with mainstream audiences but the genre tended to favor over-excessive production techniques that often diluted the music. That’s precisely why many 80s-era R&B singles sound so dated today. When Sade and her band arrived on the music scene with Diamond Life (1984), they were as radical as you can get. They didn’t rely on electronic instrumentation to craft their sound but rather jazz, a genre that wasn’t really in vogue at the time. Their minimalist production work, smooth-sounding arrangements, sensuous lyrics and lead singer Sade’s breathy vocals were a winning combination. Sometimes less is more and that is certainly the case here. While they certainly weren’t the first Quiet Storm artists, they popularized it to a global audience and remain one of the definitive figures of that subgenre. Sade’s impact on contemporary R&B is undeniable, especially on the Neo Soul movement with artists such as Erykah Badu, D’Angelo and Maxwell citing Sade as an influence. Sade’s smooth and often calculated style might be the antithesis to rock purists who prefer their music a bit more rough around the edges. But Sade created their own path to superstardom and on their own terms. They never compromised their artistic vision to industry pressure. That’s why they can go years without making a new album and still maintain a devoted following decades later. A woman taking ownership of her art and career is not only refreshing, but doesn’t get more rock and roll than that. She is one of modern music’s great enigmatic figures who is intensely private and rarely grants interviews. Sade dealing with fame is a fascinating subject in its own right, but she has always maintained a high level of class, beauty and elegance that is highly admirable. But commercial success has always been a constant in their legendary career: all but one of their 6 albums went multi-platinum in the U.S. over a 25-year period. With over 75 million records sold worldwide, Sade is one the most commercially-successful British female singers of all time. When her band releases new music or tours, it’s an event on the level of Beyoncé and Taylor Swift. Critics consistently praised their music and Diamond Life is now ranked at 200 on Rolling Stone’s recently-revised 500 Greatest Albums list. Now that the Rock Hall is focusing more on the 80, Sade’s name should and must be discussed as a viable nominee. There’s a quiet storm approaching the Rock Hall and their name is Sade. It probably won’t happen for a while, but their time is coming soon. And to echo my friends at Hall Watchers, it would be a crime if Drake is the person to induct Sade into the Rock Hall. He wears his love of the singer on his arm, literally, and it would be a crime if he’s not asked to induct her when the time arrives. For more info on Sade, please listen to Hall Watchers’ episode on this legendary band.
Thoughts? Comments? Let me know in the comments section below and/or on Twitter.
Credit for Photos: The Pointer Sisters, Phil Collins, Gloria Estefan & Miami Sound Machine, Eric B. & Rakim, Joe Cocker, New York Dolls, PJ Harvey, Jane’s Addiction, Warren Zevon, Sade
