Twisted Sister’s Dee Snider has voiced strong disagreement with RockFM’s top 10 greatest singers of all time. He took particular issue with the rankings and the criteria used to compile the list. The list placed Freddie Mercury at number one, followed by Jon Bon Jovi at number two, Brian Johnson at three, Axl Rose at four, and Bruce Springsteen at five. Other notable entries included Robert Plant, James Hetfield, Kurt Cobain, Mick Jagger, and Bono.
Snider’s primary criticism centered on a fundamental misunderstanding of the distinction between great singers and great vocal stylists. “Who the f*ck put that list together? Freddie Mercury, Bon Jovi and Springsteen. The list IS great singers NOT great vocal stylists, right?” Snider questioned, emphasizing that the list conflated two different skill sets. He clarified his position by noting that he doesn’t believe he belongs on such a list either, suggesting his critique comes from a place of principle rather than personal grievance.
The Twisted Sister frontman offered his own assessment of who truly qualifies as great singers in rock. Genuine vocal mastery belongs to artists like Ronnie James Dio, Rob Halford, Robert Plant, Steve Marriott, Bruce Dickinson, Ian Gillan, Geoff Tate, Sebastian Bach, and Miljenko Matijevic. These musicians represent “gifted SINGERS not STYLISTS,” a distinction Snider emphasized repeatedly throughout his critique.
Snider was particularly dismissive of the inclusion of Kurt Cobain, Bruce Springsteen, and Jon Bon Jovi among the greatest singers. While they are “all great vocalists,” they do not belong in the same category as Mercury and the other artists he mentioned. He suggested that Cobain himself would have found the comparison absurd, stating: “Kurt would have laughed to see his name next to Freddie Mercury’s.”
The debate highlights an ongoing tension within rock music criticism regarding how vocal talent should be evaluated and categorized. Snider’s intervention underscores the complexity of ranking singers, particularly when distinguishing between technical vocal ability, distinctive style, and overall artistic impact. His comments reflect a perspective held by many within the metal and rock communities who view vocal technique and range as distinct from the charismatic vocal personality that defines certain iconic performers.
The distinction Snider draws between singers and stylists speaks to a broader conversation about artistic merit in rock music. Throughout rock history, some of the most influential vocalists have been celebrated precisely for their unique stylistic choices rather than traditional vocal training or range. True greatness in singing requires both technical proficiency and the ability to execute complex vocal passages with precision. This perspective aligns with the classical training and technical demands of metal vocalism, where singers like Dio and Halford are renowned for their ability to sustain powerful performances night after night while maintaining vocal control across multiple octaves.
The metal community has long maintained its own hierarchy of vocal excellence, one that often differs significantly from mainstream rock rankings. Artists like Geoff Tate of Queensrÿche and Sebastian Bach of Skid Row have been celebrated within metal circles for their operatic range and technical mastery, qualities that Snider clearly values in his assessment. This insider perspective on vocal ranking reflects the specialized demands of metal performance. Endurance, precision, and range are paramount considerations in this context.
Snider’s critique reflects the evolving nature of rock music criticism and the challenge of creating definitive rankings across different eras and subgenres. The inclusion of artists from diverse backgrounds—from the theatrical rock of Queen to the heartland rock of Springsteen to the glam metal of Bon Jovi—makes any unified ranking inherently subjective. Such lists require clearer criteria and a more nuanced understanding of what “greatest” actually means in the context of vocal performance.
