This group includes trendsetters and visionaries from alternative, pop, rock, new wave, metal, electronic and hip-hop. Seven previously-nominated artists appear in this installment.
#10: Carole King
Eligible Since 1986
Nominated in 1989
Essential Songs: “I Feel the Earth Move” (1971), “It’s Too Late” (1971), “So Far Away” (1971), “You’ve Got a Friend” (1971), “Sweet Seasons” (1972), “Jazzman” (1974)
Yes, Carole King is already inducted into the Rock & Roll Hall of Fame in the Non-Performers category for her songwriting partnership with ex-husband Gerry Goffin and rightfully so. But that doesn’t take into consideration her career as a performer. When she divorced Coffin in 1968, she moved her two daughters from New York City to Los Angeles where she settled in the Laurel Canyon area—where many musicians worked and lived at the time—to jumpstart her career as a recording artist. She had recorded songs earlier in the decade, but definitely put her songwriting career first. After a few misfires, she met the likes of James Taylor and Joni Mitchell and she shifted her style to a more stripped-down, acoustic style accompanied by introspective lyricwriting. It wasn’t until her sophomore effort Tapestry (1971) that King achieved superstardom. Just for Tapestry alone, she deserves a second induction. Not only is Tapestry one of the exemplary singer-songwriter albums of the 1970s, but it’s also among the most influential in rock history. Thanks to its stripped-down acoustics and confessional lyrics, the album particularly created the blueprint for virtually every singer-songwriter who followed her. Tapestry’s success laid the groundwork for a generation of Lilith Fair performers who are forever indebted to her accomplishments. Selling over 25 million copies worldwide, it’s one of the best-selling and most acclaimed albums of all time. Among the first hundred recordings selected for preservation by the Library of Congress’ National Recording Registry in 2003, Tapestry is also inducted into the Grammy Hall of Fame in 1998. Rolling Stone ranked it #25 on their 500 Greatest Albums list, making King the highest-ranked currently-eligible artist not inducted into the Rock Hall. Literally, everyone I knew growing up had a copy of Tapestry in their house—it’s that biggest of a cultural milestone for the baby boomer generation. Even thou Tapestry towers over anything else she recorded as a performer, she created a catalogue of timeless music. She’s an amazingly talented legend who overcame so many obstacles to achieve stardom on her own terms. She’s been awarded virtually every honor imaginable, everything from the Kennedy Center Honors (2015) to Library of Congress’ Gershwin Prize for Popular Song (2013). The recent success of her Broadway musical Beautiful (2013) should serve as a reminder to the nominating committee that audiences still embrace and love her songs after all these years. To add insult to injury, SiriusXM’s Rock & Roll Hall of Fame Radio station often plays King’s songs, mostly from Tapestry, on their channel. There’s even a bumper that says, something along the lines of, “She’s not inducted as a performer….” which feels wrong on many levels. It’s not too late to induct her as a performer, especially considering her work as a performer is so distinctively different than her solo career. Ann Powers calls King’s omission “the most egregious” and it’s hard to argue against that.
#9: Joy Division /
New Order
Eligible Since 2004 / 2007
Never Nominated
Essential Songs (JD): “Shadowplay” (1979), “She’s Lost Control” (1979), “Transmission” (1979), “Atmosphere” (1980), “Love Will Tear Us Apart” (1980), “Twenty-Four Hours” (1980)
Essential Songs (NO): “Age of Consent” (1983), “Blue Monday” (1983), “The Perfect Kiss” (1985), “Bizarre Love Triangle” (1986), “True Faith” (1987), “Regret” (1993)
This might be a controversial move for some, but I decided to combine the candidacies of Joy Division and New Order for this project. It makes sense on a few fronts, but New Order is essentially a continuation of Joy Division and they would’ve likely headed in the same musical direction regardless of the circumstances that followed. Both bands’ impact on rock is vastly different, but they each became a pivotal and essential component of the post-punk scene. And given the band’s minimal success here in the U.S., merging their candidacies—a la Parliament/Funkadelic—only strengthens their Rock Hall case and saves a lot of time and energy to honor them together. Even though Joy Division was only around for 3 years (just 2 studio albums and an EP), their legacy on the landscape of alternative music is undeniable. They arrived in the midst of punk’s initial wave in the U.K. and took inspiration from its energy but they weren’t punk rockers by any means. They instead created an atmospheric sound emphasizing a melancholic state-of-being and/or mood. Curtis, the band’s primary songwriter, wrote dark and introspective lyrics that perfectly accompanied the band’s disconsolate sounds. They sought inspiration from avant-garde and experimental rock that that propelled them to the forefront of the post-punk scene by the end of the 1970s. Curtis’ baritone vocals and the ambient sounds from the other members made them a winning combustion. Shortly before their first U.S. tour, Curtis tragically committed suicide and died at age 23. The remaining members kept the band’s promise—even before Curtis’ death— that they would break up if any member left for any reason. They reformed, added keyboardist Gillian Gilbert to the lineup and renamed themselves New Order. Taking inspiration from the underground 80s dance club scene and using synthesizers and other electronic-based technologies, it took a while for them to escape the looming shadow of Curtis’ death. But New Order successfully bridged the gap between post-punk, synth pop and rock that made them one of the most popular and innovative bands of the 80s. They continued with a string of international hits, “Blue Monday” is still the best-selling 12” single in history, and become an entity in their own right. Even though both bands’ influence cannot be understated, they achieved minimal success in the U.S. and—let’s face it—that hurts their Rock Hall chances. It makes sense the Hall would give priority to bands such as The Cure and Depeche Mode as they’re more household names, even if those bands were supremely influenced by Joy Division and New Order. Their more commercially-successful contemporaries (e.g., Duran Duran, Eurythmics) will likely receive more pressing consideration, but they have one thing most those bands don’t have: massive critical acclaim. Critics love their music and they have three albums featured on Rolling Stone’s 500 Greatest Albums list: Unknown Pleasures (#211), Closer (#309) and Power, Corruption & Lies (#262). That’s impressive for a band who obtained a cult following on their pathway to become post-punk legends. U2’s Bono, in particular, is a noted fan of both bands and would serve as an excellent inductor for their joint induction. He apparently told a record executive years ago that U2 “would take over from where Ian left off.” Maybe Bono could heal the famously fractured relationship between bassist Peter Hook and the rest of New Order to show up, but even it’s doubtful that’d happen given their past legal issues and drama. But a failed reunion at a ceremony would be filled with lots of regret.
#8: Rage Against the Machine
Eligible Since 2018
Nominated in 2018, 2019
Essential Songs: “Bombtrack” (1992), “Killing in the Name” (1992), “Bulls on Parade” (1996), “Guerrilla Radio” (1999), “Sleep Now in the Fire” (1999), “Testify” (1999)
One of the most revolutionary and bombastic bands in modern rock history, Rage Against the Machine never shied away from their pollical beliefs. Their band name speaks for itself. They were defiant political rebels who challenged the status quo and believed their music—and their brand of grassroots activism—could lead to social change. There’s a line in their breakthrough hit “Killing in the Name” that essentially sums up their mentality: “Fuck you, I won’t do what you tell me”—and this is repeated 16 (!) times to ensure their message is said loud and clear. This Los Angeles-based quartet began after the demise of their other bands in 1991. They took cue from a number of genres including hard rock, metal, funk and hip-hop to create an undeniably original sound. Spearheaded by Tom Morello’s epic guitar-playing and Zack de La Rocha’s rapid-fire rap delivery, they wrote songs centering on controversial topics such as police brutality, systematic racism, income equality and corporate greed—all of which is still timely. They became unlikely mainstream stars, despite their overt Marxist leanings, and headlined major festivals alongside other top-tier alternative rock acts of the time. They were routinely criticized as hypocrites and sellouts, but how else were they to get their message to a mass audience? Sometimes you have to sacrifice for the greater good and somehow their popularity only grew as the decade progressed. They broke up in 2000—4 studio albums in all—amidst tension in the band and they each ventured off into different projects. They received two nominations in their first two years of eligibility but failed to get enough votes both times. Morello sits on the nominating committee and he’s considered a modern guitar god who revolutionized the sonic possibilities of the guitar. Morello used trick techniques such as scratching his guitar wires that sounded like sampling. The result was a very bombastic sound that sounded like nothing before or since. He is, in fact, ranked #40 on Rolling Stone’s list of the 100 Greatest Guitars and one of the highest-ranked non-Rock Hall inductees. His presence alone on the nominating committee should guarantee them another nomination. I’ve also noticed a trend that worked in the few years (e.g., Janet Jackson, Depeche Mode) where the committee nominates an artist two years in a row, holds them off a year and nominates them again on their third try and they get inducted that time. Given Rage’s praise from critics and peer recognition (mainly for Morello), it’s only a matter of time before they receive induction. Given the political and social turmoil of the past year or so, their music became part of the soundtrack for the Black Lives Matter movement and their streaming numbers and sales dramatically increased as a result. They were scheduled to go on a massive reunion tour last year but it’s delayed due to the ongoing pandemic. With sold-out shows booked, it would’ve been huge to build momentum to reappear on this year’s ballot. Given everything going on in the world right now, Rage Against the Machine’s music is more relevant now than ever before and it’ll be a bold statement the day they enter the Rock Hall.
#7: Kate Bush
Eligible Since 2004
Nominated in 2018
Essential Songs: “The Man with the Child in His Eyes” (1978), “Wuthering Heights” (1978). “Babooshka” (1980), “Sat in Your Lap” (1981), “Running Up That Hill” (1985), “This Woman’s Work” (1989)
Kate Bush is one of pop music’s most inventive trailblazers who forged her pathway to stardom without compromising her artistic vision. She’s a singularly unique talent whose flare for the theatrics and experimentalism proved highly influential on sequential generations across popular music. A child prodigy with undeniable musical talent (she started writing songs at age 10!), she was discovered by Pink Floyd’s David Gilmour at age 16 and he gave her demo to an EMI executive who immediately signed her. Bush was unlike anything in English pop music at the time. She took commanding control over her music and oversaw every aspect of the production to ensure it met her insanely high standards. She also relied heavily on sophisticated and complex production arrangements that sounded unworldly and beautiful. But at her very core, Bush is a masterful storyteller who penned highly mature lyrics even when she was a teenager. Off the bat, her debut single “Wuthering Heights” (1978), inspired by Emile Bronte’s classic novel, topped the U.K. pop charts and she became a star in her native country overnight. Bush’s imaginative artistry could not be contained and made a fantastic streak of albums throughout the next decade. Her commercial and critical peak occurred with Hounds of Love (1985), an album ranked #68 on Rolling Stone’s 500 Greatest Albums list, and her song “Running Up That Hill” became her sole U.S. top 40 hit. She rarely made a splash stateside (always much bigger in England and the rest of Europe), but Bush’s impact on pop music is immeasurable. She redefined the singer-songwriter archetype trading acoustics for lush-sounding arrangements and writing introspective lyrics filled with emotion, beauty and warmth. She took pop music in different and more interesting directions that supremely influenced so many latter-day artists such as Tori Amos, Bjork, Lady Gaga, Lorde and even Big Boi of OutKast. She was also an early advocate for creating cinematic music videos to accompany her melodramatic and orchestral-sounding music. To call them epic is an understatement and she was one of many artists who transformed the music video into an art form. Bush is also notoriously reclusive and went 35 years (1979-2014) without performing in front of a live audience and rarely grants interviews. But she doesn’t have to: the music speaks for itself. She’s an artist’s artist in that she creates the music she wants on her own terms. That’s why she often goes years in-between releasing albums. She’s not in it for the money but rather to challenge and develop as an artist. She was nominated for the Rock Hall for the class of 2018 and did surprisingly well on the fan vote, even ahead of “bigger” names such as Radiohead, and was a welcoming and inspiring choice. She wasn’t selected and hasn’t returned since. But she is an essential component to the development of art-based alternative rock and never settled for complacency as she continually experimented. She has spellbound audiences for decades with her brilliance and her influence only continues to grow.
#6: Judas Priest
Eligible Since 2000
Nominated in 2018, 2020
Essential Songs: “Breaking the Law” (1980), “Living After Midnight” (1980), “Heading Out to the Highway” (1981), “The Hellion / Electric Eye” (1982), “You’ve Got Another Thing Coming” (1982), “Painkiller” (1990)
Metal is undoubtedly the least represented genre at the Rock & Roll Hall of Fame. There are, in fact, only two pure metal bands inducted: Black Sabbath and Metallica. The nominating committee has dragged their feet to put more metal artists on the ballot and the voting body doesn’t seem interested to vote for them either. Brian Ives rightfully sums it up by saying “it feels like they’re disrespecting an entire culture.” The most glaring omission is Judas Priest, a band so ubiquitous with the genre that they are one of the first names that come to mind whenever I think of metal. No band defined the aesthetics, both sonically and aesthetically, like Judas Priest who became one of the biggest and most imitated bands over the last half-century. They particularly created the fashion template for countless metal bands: sporting black leather outfits and studded leather jackets. Nobody defined metal fashion quite like Judas Priest but there was also substance to their music. Thanks in large part to K.K. Downing and Glenn Tipton’s dual guitar attacks and Rob Halford’s operatic vocals, they were the first metal band to record concise and radio-friendly songs filled with pop hooks and theatrical spectacle. They are second only to Black Sabbath in terms of influence on the metal genre. Judas Priest is also one of the longest tenured metal bands who made consistently great music and maintained a devoted following (ultimately selling 50 million records along the way). When Halford came out as gay in 1998, this was at a time when many entertainers were still reluctant to publicly reveal their sexual orientations. There were signs all along about his sexuality, just take a single look at his S&M gear or read their lyrics that leave little to the imagination (“Eat Me Alive,” “Turbo Lover,” etc.). And given metal is the most masculine genre imaginable, Halford probably thought he’d lose lots of fans but they didn’t care one bit. That shows the loyalty and devotion of Judas Priest’s fans and this, in the process, made Halford a queer musical icon and they probably got an even bigger fan base as a result. When Judas Priest was nominated for induction in the class of 2018, they finished in the top-five of the fan vote but apparently did “horrendously” with the larger voting body. They were nominated again last year but still shut out by the institution. In countless interviews, Halford clearly wants to become an inductee and feels “I’d like to feel that eventually we will get in” despite the bias against metal from the voters. And it’s worth noting that Tom Morello is a big advocate for metal and hard rock artists getting into the Hall and you know he’ll continuously bring up their name until it happens. If the committee puts less classic rock-era and metal/hard-rock acts on the ballot, then Judas Priest would have an infinitely better chance for induction. The Rock Hall has another thing coming if they continue to exclude metal icons such as Judas Priest.
#5: LL Cool J
Eligible Since 2010
Nominated in 2010, 2011, 2014, 2018, 2019
Essential Songs: “I Can’t Live Without My Radio” (1985), “Rock the Bells” (1985), “I’m Bad” (1987), “I Need Love” (1987), “Mama Said Knock You Out” (1990), “Doin’ It” (1995)
LL Cool J is hip-hop’s first solo superstar whose popularity shifted the focus almost entirely on the rapper in the mid-1980s. He’s also one of the first rappers to reach a mainstream audience and become a household name. LL Cool J, aka “Ladies Love Cool James,” signed to Def Jam Records at age 16 (in fact—the first artist signed to the iconic label), worked with the legendary producer Rick Rubin and became the label’s first breakout star. He particularly set the template for future rappers and became one of the genre’s first crossover stars. His music videos were widely played on MTV, something that rare at the time, and the first rapper to perform on American Bandstand. LL’s swagger and attitude allowed him to simultaneously perform both hardcore and ballad-esque rap songs without losing his credibility. His versatility made him one of the most skilled rappers on the planet and influenced countless artists. He’s also one of the few rap stars to sustain substantial commercial success for well over a decade while most of his contemporaries fizzled. His adaptability led some to call him a sellout but he did that to ensure relevancy. It takes talent and more importantly intelligence to pull that off. He ventured into acting and made a successful transition while still pursuing his music career. Given all of his accomplishments to popularizing hip-hop, you’d think LL Cool J would be a lock for the Rock Hall. He was, in fact, nominated in his first year of eligibility and at one point received the highest number of votes to be on the ballot from the nominating committee. But he’s been passed over by the larger voting body five times over the last decade. It’s hard to say why he’s not resonating with the voters but he’s always had a creditability issue especially amongst music critics. Bill Wyman once called him a “hack entertainer” and I think this is how many critics unfairly judge the legendary rapper. Sure, some of his music hasn’t aged well and it borders on schmaltz but LL’s success gave rise to rap’s assimilation onto the pop charts. But more importantly he appealed to both sexes which was something that wasn’t really done before him. In short, he is hip-hop’s first sex symbol and proved hip-hop could be sensuous without losing street cred. But by continuously snubbing LL Cool J, the chronology of the genre is greatly skewed as the nominating committee and its voters are now inducting 90s-era artists. Nothing against 2Pac and The Notorious B.I.G., but LL should’ve gone in first. Even inductee Chuck D compared LL’s place in the genre’s landscape of the mid-80s to the rise of Elvis and Little Richard in the mid-50s. That kind of statement from a peer speaks for itself. It’s also pretty bad when the Kennedy Centers Honors select LL Cool J before the Rock Hall. Apparently, according to Questlove, LL came close some years but his importance to hip-hop is too large to ignore. It’s just an embarrassment someone of LL’s caliber is still not in the Rock Hall.
#4: Mariah Carey
Eligible Since 2016
Never Nominated
Essential Songs: “Vision of Love” (1990), “Hero” (1993), “Always Be My Baby” (1995), “Fantasy” (1995), “Honey” (1997), “We Belong Together” (2005)
It’s impossible to talk about popular music of the 1990s without mentioning Mariah Carey. She not only dominated the charts throughout the decade, but became one of the most popular pop stars of the entire rock and roll era. She’s sold more than 200 million records and remains one of the best-selling artists in history. She’s broken numerous Billboard records including becoming the only artist to have a #1 hit in four consecutive decades. In fact, only the Beatles have more #1 hits than Mariah Carey—and she’s only one away from tying their record. In terms of commercial and chart success, Carey’s in a league of her own. But Carey’s greatest contribution might be “Fantasy” where her collaboration with Ol’ Dirty Bastard and it became one of the first pop-rap songs geared towards a mainstream audience. Not only did “Fantasy” become a smash hit but it paved the way for more pop-rap collaborations and it’s been commonplace ever since. Carey was always a visionary who transgressively pushed the sonic limits of pop music. She also wrote (or co-wrote) most of her biggest hits which is something that’s often downplayed when evaluating her career. She was inducted into the Songwriters Hall of Fame last year which is definitely a milestone in her legendary career. And given all of Carey’s accomplishments and accolades, she should’ve been inducted into the Rock Hall in her first year of eligibility. Yet she hasn’t received a nomination yet and that’s just puzzling. Whitney Houston’s recent induction greatly increases Carey’s chances but it’s hard to envision who the next major pop or soul singer the nominating committee will put forth. But Carey’s certainly near the top of the list. She’s about as big of a name as you can get and expect to see her nominated in any given year going forward. Elysa Gardner, a nominating committee member, wrote in 2002: “However you feel about Carey or her music, it's impossible to deny the impact her vocal style, a florid blend of breathy riffing and resonant belting, has had on today's young pop and R&B stars.” Her influence is everywhere in modern pop. Anytime a singer tries to hold a note for several seconds to showcase their talents as a vocalist (looking directly at Christina Aguilera and Ariana Grande), it’s an imitation of Mariah Carey. She does, after all, have a five-octave voice so powerful that it can break glass…literally. Not many people on Earth can do that and Carey makes it look so easy. She’s simply one of the biggest pop stars on the planet and you know the lambs (the nickname she gave her fans) would flood the online fan vote when she gets nominated. They’re as rabid as any fan base imaginable and you know they’ll want their idol Carey inducted into the Rock Hall. And if you doubt Carey’s “rock” cred, she secretly recorded an alternative rock album that only just discovered last year and only proves her versatility as a performer. She belongs together alongside the greatest vocalists in history.
#3: Kraftwerk
Eligible Since 1996
Nominated in 2003, 2013, 2015, 2017, 2019, 2020
Essential Songs: “Autobahn” (1974), “Trans-Europe Express” (1977), “The Model” (1978), “Neon Lights” (1978), “The Robots” (1978), “Computer Love” (1981)
Kraftwerk is arguably the most influential band not already inducted into the Rock & Roll Hall of Fame. In fact, there’s some who argue Kraftwerk is more influential than The Beatles which speaks volumes of the former’s impact on modern music. Formed in Dusseldorf, Germany in 1970 by members Ralf Hutter and Florian Schneider, Kraftwerk pushed the sonic boundaries of rock and roll by incorporating electronic instrumentation to create the robotic sounds they wanted. They, literally, invented and built instruments to accompany their music and particularly created an entire musical vocabulary that was always forward-thinking and futuristic. They were among the first to regularly use electronic instruments such as synthesizers, drum machines and vocoders. Their revolutionary and highly experimental sounds captured the human condition in such a way that it anticipated its assimilation into popular music. And they somehow became international superstars who played to packed houses and sold millions of records. Even beyond their innovations, Kraftwerk also redefined the idea of performance in rock and roll. Often wearing matching outfits onstage and wearing ghostly makeup, they often performed standing in front of their computers and displaying little-to-no movement (sometimes they moved when they performed choreographic dance moves). They were indeed man-made machines who presented a vision for pop music’s future. Kraftwerk have been nominated six times for the Rock Hall and failed each time to receive enough votes. Perhaps voters aren’t as familiar with their name or their body of work, but it’s impossible to deny Kraftwerk’s status as one of the most impactful bands in history. They particularly spearheaded entire musical genres such as new wave, EDM, synth-pop and alternative rock. But perhaps Kraftwerk’s greatest contribution might be to the development of hip-hop in the early 1980s. Afrika Bambaataa famously sampled “Trans-Europe Express” for his iconic smash “Planet Rock” which became a hallmark of early hip-hop. Kraftwerk, as a result, remains one of the most sampled bands and their influence is literally everywhere. Speaking of impact, there’s a moment in the HBO documentary The Defiant Ones where Dr. Dre is shown rocking out to one of his favorite Kraftwerk songs. If that’s not a ringing endorsement from one of modern music’s greatest minds, nothing is. But Kraftwerk clearly has the support of the nominating committee and they must be doing well enough amongst the voting body to justify their repeated nominations. Maybe it’s just me but I see more and more people cast ballots for Kraftwerk each year. Last year, Depeche Mode and Nine Inch Nails were inducted (probably now a dozen more votes in Kraftwerk’s favor next year) and they are both deeply indebted to the groundwork laid by Kraftwerk. When Rolling Stone covered that year’s class on the day the inductees were announced, the article’s title is telling: “Welcome to the Machines.” They noted that for the first in the Hall’s history, the majority of that year’s class “built their careers with synthesizers and drum machines.” This title alone implies Kraftwerk’s looming influence on popular music which honestly can’t be denied much further for the Rock Hall to be taken seriously. And on the heels of Florian Schneider’s death last April, Kraftwerk’s Rock Hall chances are stronger now than ever before.
#2: The Smiths
Eligible Since 2009
Nominated in 2015, 2016
Essential Songs: “This Charming Man” (1983), “Heaven Knows I’m Miserable Now” (1984), “How Soon is Now?” (1984), “What Difference Does It Make?” (1984), “Bigmouth Strikes Again” (1986), “There is a Light That Never Goes Out” (1986)
The Smiths brought guitar-driven rock back to British music and arguably became the seminal Indie rock band of the 80s. Formed in 1982, The Smiths were the antithesis of synth-pop artists of the time, both sonically and aesthetically. The Smiths avoided the excesses of new wave at the time by wearing plain clothes (jeans and shirts) and preferred more of a back-to-basics stylistic approach to rock and roll that was spearheaded by Johnny Marr’s jangly guitar work. But it was the strong songwriting partnership between Marr and singer Morrissey that propelled The Smiths to be one of the most essential bands of the 1980s. Despite often butting heads, they formed one of the greatest partnerships in rock history that rivals the likes of Lennon & McCartney and Jagger & Richards. Marr & Morrissey wrote songs capturing the zeitgeist of teenaged life during the Thatcher era: songs of alienation, romance and angst. But there’s a universality to their songs as they often discussed the plights of everyday life that’s entirely relatable. For many fans, The Smiths became the soundtrack of their lives. There’s plenty of testimonies from fans professing their love for the band and that’s really one of the hallmarks of any great rock band. The Smiths created some of the decade’s greatest music that still sounds as brilliant and timeless nearly four decades later. They broke up in 1987 but their popularity only grew over time. They made 4 excellent studio albums in 5 years, which is amazingly prolific given the band’s short time span. In fact, they probably broke up just when they were on the verge of becoming international stars. They didn’t overstay their welcome, perhaps in hindsight a smart move on their part, and became modern legends. Most mainstream critics adore their catalog and at one point all 4 Smiths albums appeared on Rolling Stone’s 500 Greatest Albums list. That’s an amazing feat for any band and you’d think they would be guaranteed entrance into the Rock Hall by now. They never really made a splash in America on the charts but they were massive in their native England. Yet they were massively influential to the development of modern alternative rock. It’s so substantial that they particularly influenced every Britipop and Indie Rock band that followed them. Based purely on influence and innovation, The Smiths should be a lock. And let’s get the elephant out of the room: yes, Morrissey is a complex and often unpleasant person but likability isn’t a disqualifier for induction into the Rock Hall. If that was the case, 80% of the inductees would be removed. Given all the lawsuits and tensions amongst the band following their breakup, it’s doubtful any of them would show up (can you imagine Morrissey’s demands?), let alone perform. They’ve famously turned down one-and-done reunion shows worth millions and they probably can’t even be in the same room without their lawyers being present. Seymour Stein, who sits on the nominating committee and his label produced all their albums, believes a Smiths reunion is possible but it’s hard to envision at this point. Morrissey’s controversial and polarizing political views aren’t helping their cause to receive another nomination anytime soon and that’s probably why many of their contemporaries will likely get in first. But that shouldn’t downplay their impact on modern alternative rock. Eventually the Rock Hall will have to deal with The Smiths and if they thought Dire Straits gave them a headache, just wait for The Smiths’ induction. Then again, they should probably do it soon before Morrissey’s bigmouth strikes again and causes them to wait even longer.
#1: Tina Turner
Eligible Since 1999
Never Nominated
Essential Songs: “Let’s Stay Together” (1983), “Better Be Good to Me” (1984), “Private Dancer” (1984), “What’s Love Got to Do with It” (1984), “We Don’t Need Another Hero” (1985), “The Best” (1989)
Often hailed as the “Queen of Rock and Roll,” Tina Turner embarked on the greatest second chapter in rock history. After she ended her marriage and musical partnership with the abusive Ike Turner in 1976, she went solo and only wanted one thing from her divorce: her stage name. While it might’ve seemed foolish at the time, Tina ultimately had the last laugh. She worked hard to rebuild her career and performed at venues beneath her talent. It didn’t come overnight and took a while to regain momentum, but she was in control for the first time in decades. She finally hit her stride with the release of the blockbuster Private Dancer (1984), an album that made her more popular and famous than ever before. Think how radical Turner’s resurgence in the mid-1980s really was: a black woman in her mid-40s who became an unlikely MTV superstar and once again crossed over to the pop charts. She did that by relying not only on her pure talents as a performer but for survival. She had something to prove and she knocked it out of the park. She is rock’s greatest survivor who seamlessly made some of the decade’s most iconic songs. Besides Private Dancer, her songs are everywhere in popular culture including a memorable usage of “The Best” in a pivotal scene on Schitt’s Creek. Just last year, a jukebox musical based on Turner’s life and music became a hit on Broadway and it’s nominated for a truckload of Tonys. She also released a new memoir last winter and Kygo’s remixed version of “What’s Love Got to Do with It” just passed 100 million streams—an amazing feat for a nearly four-decade-old song. These accomplishments have kept Turner’s name alive and well in the public consciousness and few people can do that. She was, of course, inducted in the Rock Hall but her induction is arguably the most complicated in Rock Hall history. She was inducted with her abusive ex-husband Ike (who was in prison at the time) in 1991 and their inductor was the late and equally-despicable Phil Spector, let’s just say…Tina didn’t show up (rightfully so) and hasn’t participated in a single Rock Hall-related event since. But Turner deserves to be inducted for her solo career. Not only is it radically different from her partnership with Ike, but a solo induction would be correcting a major wrong at the Rock Hall. Turner’s restless energy and undeniable stage presence made her one of rock’s essential performers. She broke all kinds of world records and has received virtually every award imaginable. But more importantly, Tina’s comeback proved a woman could escape her abuser and become successful on her own terms. An induction would be symbolic of the wrongful treatment women ensured in the music industry and honor one of its greatest pioneers. She recently turned 81 and has battled multiple health scares in recent years, so there’s a sense of urgency to honor her solo career while she’s still alive. Yeah, she primarily lives in Switzerland nowadays and the likelihood of her attending a ceremony nowadays is slim, but that doesn’t matter. She’s worthy of induction no matter the circumstances of whether she’d show up or not. There is, after all, a global pandemic still happening. She’s simply the best and deserves induction more the rest.
Thank you to everyone who has read and commented on this project over the last two months. It’s been a journey to say the least but we’ve reached the end of the rankings. There will be another blog published sometime next week that will briefly conclude my thoughts on the project, discuss its progression and clarify and/or answer any questions from readers.
Thoughts? Comments? Let me know in the comments section below and/or on Twitter.
Credit for Photos: Carole King, Joy Division / New Order, Rage Against the Machine, Kate Bush, Judas Priest, LL Cool J, Mariah Carey, Kraftwerk, The Smiths, Tina Turner