Last week, the Rock and Roll Hall of Fame announced the winning inductees this year from a 15-name strong ballot. So congratulations are in order for rock icons Guns N’ Roses (a major band, if overrated), Red Hot Chili Peppers (quite underrated, given its accomplishments), Beastie Boys (the Hall never followed the strictest definition for the rock genre, but it’s a bit late to backtrack now and the Beasties are certainly musical heavyweights who have stronger rock credentials than most hip-hop acts), Donovan (ok, we’ll mark this as a pass for a few cracking singles), Laura Nyro (uh . . . really?), and the Small Faces/the Faces (these aren’t the same band, people . . .). Just as notable are the names that weren’t voted in, which include Heart, War, Donna Summer (whom you’ll hear about in detail tomorrow here at Sound Affects), and the most important proper rock band that didn’t make the cut in 2011: the Cure.
Why is the fact that the Cure only made the ballot this year after years of eligibility an egregious snub to be filed among the baffling ranks of current Hall non-inductees that range from Kiss to Donna Summer to the Smiths? Ok, the long-running British group (led by Robert Smith, its only consistent member) was by no means the first post-punk band or even the most influential, and Bauhaus created and defined goth, the genre the Cure is most associated with. What makes the Cure worthy enough to belong to alongside the ranks of the Beatles, Led Zeppelin, David Bowie, and U2 is a combination of trailblazing inroads into the musical mainstream, an extensive influence over later musicians, and a diverse body of songs that could’ve formed the basis of the careers of four or five lesser groups.