Yes and the Rock 'n' Roll Hall of Fame

This year, The Beastie Boys were inducted into the Rock ‘n’ Roll Hall of Fame. The Beastie Boys have probably sold a zillion records, but you probably need to have Van Gogh’s ear for music to appreciate their “artistry.” Personally, I think their “music” is the sonic equivalent of a root canal procedure. However, there is no denying that The Beastie Boys are proof positive that you don’t necessarily need musical talent to succeed in the music business.

Musical talent, of course, is not always a hindrance when it comes to success in the music business. Groups like Yes, The Moody Blues, and Jethro Tull have each sold in the neighborhood of 40 - 60 million records while carving out successful careers that have endured for five decades and counting. All three of these progressive dinosaurs are still touring. Indeed, Yes is not only still touring, but they also recently released a studio effort, Fly From Here, which is their most successful and rewarding album in decades.

Yes, Tull, and The Moody Blues share a number of things in common. They are bands with a fine sense of melody, they are renowned for their instrumental excellence, each group has a dedicated fan base, and each group has produced ground-breaking classic albums. Put simply, The Moody Blues’ Day of Future Passed, Tull’s Aqualung, and Yes’ Close to the Edge are highly regarded and highly influential milestones in rock music.

Yes, Tull, and The Moody Blues share another feature in common; they have been repeatedly snubbed by The Rock ‘n’ Roll Hall of Fame. The Hall of Fame’s criteria seems objective: “We shall consider factors such as an artist's musical influence on other artists, length and depth of career and the body of work, innovation and superiority in style and technique, but musical excellence shall be the essential qualification of induction.”

Can anyone doubt that Yes’ monster hit Roundabout raised the bar to a whole new level for rock musicians? Similarly, The Moody Blues’ The Nights in White Satin, was a pioneering effort in fusing a rock band with an orchestra. Indeed, Days of Future Passed is arguable the first true concept album in rock, at least in so far as the Beatles Sgt. Peppers was always something of a faux concept. Additionally, Ian Anderson was not only the first flutist in rock he was also one of first true virtuoso musicians in rock.

By any standard – sales, influence, innovation, body of work, musical excellence – Yes, Tull, and The Moody Blues deserve recognition as the epitome of excellence in rock music. These are groups that pushed the envelope in so many ways. Yes, Tull, and The Moody Blues included classical-caliber musicians like Steve Howe, Ian Anderson, and Patrick Moraz. When you talk about “superiority in style and technique” you are talking about musicians like these.

Yes, Tull, and The Moody Blues have demonstrated their musical excellence over five decades. Each of these groups as produced several albums that can be classified as iconic or classic. If future generations are listening to and studying popular music from the late 20th century it will likely include music from To Our Children’s Children, Tales from Topographic Oceans, and Thick as a Brick. Each of these albums is bold, experimental, and aesthetically rewarding.

The judges who have snubbed Yes, Tull, and The Moody Blues may think these groups are pretentious. In truth, it is the judges who are pompous and hypocritical in so far as they’d establish criteria for musical excellence and then induct groups like The Beastie Boys over Yes, Tull, and the Moody Blues. Of course, getting into the hall of fame would be a career boost to Yes, Tull, and The Moody Blues. But having the Hall’s selection committee judge Yes, Tull and The Moody Blues makes about as much sense as asking the “chefs” at McDonald’s to judge a five star restaurant in Paris, or a panel of colorblind individuals to weigh in the works of Monet, Matisse, and Van Gogh.