You can always judge an extraordinary bass player by the esteemed company they keep. As such, I refer to the artistry of session ace Donnie Nossov, who enhanced some of the most significant works by renowned artists including Pat Benatar (“We Belong,” “Sex as a Weapon,” “La Bel Age”), Lita Ford (“Close My Eyes Forever” “Kiss Me Deadly”), John Waite (“Missing You”), Tom Verlaine, and Genya Ravan, among many others. In the recordings featuring Nossov which I am familiar with, Donnie excelled at rendering harmonically clever bass motifs which surfaced amid the barrage of guitars, layers of synthesizers, and enhanced drum mixes which were vogue in the heyday of the former Ms. Andrezjewski – an exemplary achievement as many bass players of that era will attest to. Mr. Nossov additionally distinguished himself on Tom Verlaine’s Dreamtime (1981) collection wherein he bolstered the ex-Television leader’s watershed guitar artistry with in-the-pocket passages built on his intuitive use of rhythm and space. My favorite recording from Donnie’s career (that I am aware of ) is Ms. Raven’s under-appreciated masterpiece Urban Desire (1978) wherein Nossov grooves mightily throughout the album in support of his legendary bandleader – who somehow convinced Lou Reed to duet with her for the cut “Aye Co’lorado.” Benatar, Ravan, Ford, and Verlaine are all deserving of Rock ‘n’ Roll Hall of Fame honors as influencers and, in Benatar’s case, as an influencer and a hit-maker. And once again, this so-called Hall must officially cite the contributions of the studio musicians and band members who were essential to the artistic and commercial success of the inductees – and that includes bassist Donnie Nossov.