Performers from the country, funk, rock, pop, metal and punk genres are represented. Three previously-nominated artists are included in this installment.
#40: Sheryl Crow
Eligible Since 2019
Never Nominated
Essential Songs: “All I Wanna Do” (1993), “Strong Enough” (1993), “Everyday is a Winding Road” (1996), “If It Makes You Happy” (1996), “My Favorite Mistake” (1998), “Soak Up the Sun” (2002)
It’s shocking Sheryl Crow’s name rarely gets mentioned in conversations about the Rock Hall. She is unquestionably the most commercially-successful female rock star of the 1990s with a catalog of terrific music. Her backstory as a backup singer for Michael Jackson and Don Henley who became a solo superstar is usually the kind of story the Rock Hall loves to put in their video packages at the ceremony. Inspired largely by the classic rock artists she heard in her youth, Crow added elements of blues, country and pop that accompanied her self-reflexive and adept songwriting skills. She may not be the most innovative or original female singer-songwriter from the 1990s, but she was the one with the most mainstream appeal and probably the most awarded from that era. Taking the reins from Stevie Nicks, Heart’s Wilson sisters among others, Crow carried the torch as the premier mainstream female rocker well into the new millennium. She’s also well-liked by critics and won a slew of industry awards including 9 Grammy wins (out of 32 nominations!). But Crow has the necessary industry respect that often propels artists into the Rock Hall. It helps that she’s universally well-liked and I’d be hard-pressed to find anyone who dislikes Crow or her music. Crow has worked with so many musicians over the years, many of whom are already inducted into the Rock Hall. Take a quick look at Crow’s latest—and apparently final—album Threads (2019) and you’ll see the likes of Eric Clapton, Neil Young, Mavis Staples, Keith Richards and Stevie Nicks listed as collaborators. There’s little doubt those performers, along with another half-dozen Hall of Famers not mentioned on Threads, wouldn’t cast a vote for Crow. If these greats want to collaborate with her, then Crow must be doing something right. Crow also worked with younger contemporary musicians including the likes of Jason Isbell, Chris Stapleton and St. Vincent. Crow might be working on singles, as opposed to albums, going forward so she is definitely winding down as an active artist and there’s no doubt she’ll get inducted into the Rock Hall in the next few years. And here’s something totally relevant: Crow has constantly appeared at Rock Hall events and ceremonies for decades. She has performed and inducted artists (e.g., Fleetwood Mac, Linda Ronstadt) over the years and that definitely matters. She was sitting in the audience at Stevie Nicks’ solo induction two years ago and her face was constantly shown during the HBO telecast. Given their close friendship and collaborations, perhaps Nicks would serve as Crow’s inductor. In the current HBO era of Rock Hall telecasts, name recognition matters and Crow is arguably one of the biggest rock stars of the last three decades. She has all the makings of an artist getting inducted the first year she’s nominated and it’s likely to happen sooner than later.
#39: Link Wray
Eligible Since 1986
Nominated in 2014, 2018
Essential Songs: “Rumble” (1958), “Raw-Hide” (1959), “Jack the Ripper” (1961), “Ace of Spades” (1965), “Fallin’ Rain” (1971), “Fire and Brimstone” (1971)
In the documentary It Might Get Loud (2008), there’s a moment when Jimmy Page discusses the impact of Link Wray’s music on the Led Zeppelin guitarist’s career. When Page is shown putting Wray’s “Rumble” on the record player, he plays air guitar and it immediately brought him back to his youth. If any record has the power to get a guitar hero like Page excited, then they should probably be inducted into the Rock Hall. Along with other rock legends such as Pete Townshend, Bob Dylan, and Iggy Pop singing Wray’s praises, Wray’s exclusion from the Rock Hall is just puzzling. “Rumble” is ground zero for the usage of distortion and the power cord in rock and roll. There’s nothing that sounds like it and the record was the first instrumental ever banned for fear it would incite violence. But more importantly the song has an attitude that is aggressive, bold, short and nasty. Along with 1994 inductee Duane Eddy, Wray brought rock instrumentals to the forefront of rock and roll in the late 1950s and inspired so many guitarists and genres in its wake. Aesthetically, Wray defined the rock image as he donned a black leather jacket and sunglasses to emphasize his no nonsense persona. This was not a man you wanna see in a dark alley or mess with. Wray was also the first indigenous rock star and his career was highlighted in the excellent documentary Rumble (2017) covering the impact of Native American musicians on popular music. On the cover of his self-titled 1971 album, Wray is shown wearing indigenous garb which was a bold statement at the time of its release. But Wray refused to compromise his artistic vision for a mainstream audience which is partly why he worked for various record labels throughout his legendary career. Nothing embodies the spirit of rock and roll more than following one’s path and embracing one’s identity. Wray did receive two Rock Hall nominations and got passed over both times. “Rumble” was, however, inducted into the ill-conceived singles category in 2018 and Wray’s name hasn’t appeared on a ballot since. This is usually the sign of death for an artist’s Rock Hall chances which is so unfortunate. Sure, “Rumble” eclipsed almost anything Wray recorded afterwards but no one’s career and legacy should be reduced to a single song. But that doesn’t dilute Wray’s status as not only one of rock’s first guitar gods, but he’s unquestionably the most influential guitarist still missing from the Rock Hall.
#38: Dolly Parton
Eligible Since 1989
Never Nominated
Essential Songs: “Coat of Many Colors” (1971), “Jolene” (1973), “I Will Always Love You” (1974), “Here You Come Again” (1977), “9 to 5” (1980), “Islands in the Stream” (1982)
Country music isn’t well-represented at the Rock Hall. Sure, the likes of Hank Williams and Johnny Cash are inductees, but there’s several musicians from the genre who warrant serious consideration. The problem is that many country performers dominated their respective genre but very few obtained a mass audience and became household names. But if the Rock Hall wants to honor country artists who deeply impacted pop music, then look no further than Dolly Parton who is one of the most trailblazing and beloved musicians of the last half-century. She is a full-fledged country legend, but Parton’s music crossed over to the pop charts in the mid 1970s and became an international superstar. Parton’s larger-than-life persona and image definitely stood out: she embraced the glamorous side of country music with rhinestones, heavy layers of makeup and flamboyantly colorful outfits. She’s definitely the antithesis of the rough and tough look of most country performers but Parton always did things her way and always succeeded. She, eventually, became a beloved pop-culture icon that served as country music’s worldwide ambassador. Parton’s mainstream success paved the way for the likes of Shania Twain, Taylor Swift, Garth Brooks and Miley Cyrus (Parton’s goddaughter) to orbit around the country and pop charts so effortlessly. But Parton kept true to her country roots, even if some of her hits such as “Here You Come Again” and “9 to 5” sound too poppy for traditional country fans. Parton is also an artist who emphasizes inclusivity, a tenet of rock and roll that cannot be understated, and welcomes fans—from all walks of life—with open arms. Mark Lempke, at our first annual Mock Nom Com Project meeting back in May, accurately captured her broad appeal: “she’s equally beloved by drag queens and conservative folks.” Very few artists have fan bases as widespread and rabid as Parton. Having penned over 3,000 songs, Parton’s songs have been widely covered by artists from all genres and styles. 2020 Rock Hall inductee Whitney Houston turned Parton’s “I Will Always Love You” into a pop masterpiece and it’s still one of the best-selling singles of the rock era. And let’s not understate her importance as a businesswoman who built her own empire and on her own terms. There’s a legendary story where Elvis wanted to cover Parton’s “I Will Always Love You” but wanted to half the publishing rights and Parton declined. There’s nothing more rock and roll than telling off Elvis and Colonel Tom Parker. And when President Obama public states one of his biggest regrets was not giving Parton the Presidential Medal of Freedom (the highest civilian award someone can receive), a Rock Hall induction is not out of the question. She’s already won virtually every award imaginable (read Michelle Bourg’s piece as proof). But I mean, Parton’s saving the world with her philanthropic efforts such funding the COVID vaccine and building libraries. The Rock Hall would be lucky to have her on their stage.
#37: The Commodores
Eligible Since 2000
Never Nominated
Essential Songs: “Brick House” (1977), “Easy” (1977), "Too Hot Ta Trot” (1977), “Three Times a Lady” (1978), “Lady (You Bring Me Up)” (1981), “Nightshift” (1985)
One of the most successful artists in Motown history, The Commodores are one of a handful of artists who kept the iconic label alive in the 1970s and 1980s. The members of the Commodores first met when they were students at the Alabama-based Tuskegee University in the late 1960s. They combined two existing bands—The Mystics and The Jays—and quickly became a local live smash. Even when they were still students, they frequently traveled to make a living as aspiring musicians. They, literally, made round trips from Alabama to New York every weekend over several years—which, in hindsight, is an insane schedule to upkeep. But their sacrifices ultimately paid off when they caught the eyes of a Motown executive, opened for The Jackson 5 in 1971 and signed with the label the following year. The Commodores were different from most Motown artists: they fought hard to write their own songs and not rely on songwriters. The Commodores also shared songwriting credits amongst each other—both the hits and deep cuts. Their first hit was the funky instrumental “Machine Gun” (#24, Pop) and their debut album went gold. They appeared in the Donna Summer-starring disco flick Thank God It’s Friday (1978) where they performed a few of their biggest hits. While they were making funk masterpieces such as “Brick House” and “Too Hot Ta Trot,” The Commodores also embraced other genres and styles including rock, pop and adult contemporary. Ironically, their pop breakthrough came with the softer ballads penned by band member Lionel Richie. The Commodores is also ground zero for Richie who would embark on a solo career and become one of the biggest superstars of the 80s. Richie would leave his band in 1982 and they soldiered on without him—initially struggling to match the success they had years prior. But they scored one more hit sans Richie: the Grammy-winning “Nightshift” (1985). It’s impressive they had success without Richie and became a staple on the touring circuit over the last three decades (granted, only a trio of Commodores still tour). If for anything else, The Commodores should be inducted into the Rock Hall to honor the accomplishments of Lionel Richie. Given his status as one of the best-selling artists of the last half-century, it’s shocking he’s still not in the Rock Hall. What’s even odder is the Rock Hall used to frequently induct soul and funk artists, especially those from the Motown label. He was given lifetime achievement awards from both the Songwriters Hall of Fame (2016) and Kennedy Center Honors (2017). And he has a truckload of Grammys (including one for Album of the Year) and even an Oscar. He was even a judge on the latest season of American Idol. I really wanted to include Richie’s solo career in this project but it’s hard to justify that when his former band is still not induced. The Commodores are the missing puzzle piece of 70s-era Motown artists that are still not inducted and they’re one of the few funk and soul bands that could seriously waltz into the Rock Hall on their first nomination.
#36: Dionne Warwick
Eligible Since 1989
Never Nominated
Essential Songs: “Don’t Make Me Over” (1962), “Walk on By” (1964), “I Say A Little Prayer” (1967), “Do You Know the Way to San Jose” (1968), “I’ll Never Fall in Love Again” (1969), “Then Came You” (1973)
Dionne Warwick is often excluded from narratives on the history of rock and roll. Thanks in large part to her association with songwriters Burt Bacharach and Hal David, her music is often considered easy listening due to her sophisticated vocal style and elegant fashion senses. But labeling Warwick an easy listening artist not only does her legacy a great disservice, but ignores the important barriers she shattered as arguably the first important black female pop star of the rock and roll era. Her voice, a combination of pop, soul and gospel influences, transcended genre classification and allowed her to effortlessly orbit around several styles and genres. She is second only to Aretha Franklin as the woman with the most charted songs on the Billboard charts in the 20th century. It’s also odd to think Dusty Springfield, a contemporary of Warwick who often performed the same Bacharach and David songs, has been inducted for over two decades and Warwick’s name has never appeared on a Rock Hall ballot. If you listen to Springfield’s version of “Wishin’ and Hopin’,” it’s literally a note-for-note cover of Warwick’s earlier version and it became a huge hit for the former. Nothing against Springfield (rightfully a Rock Hall inductee) but Warwick had far more hits and sold way more records over a longer period of time. Something else that’s equally puzzling is that all of Dionne’s friends are Rock Hall inductees expect for Dionne herself. That really needs to change and it’s equally shocking none of them have publicly voiced support for her induction. Now thinking, Bacharach and David aren’t Rock Hall inductees themselves and Warwick is so closely associated with them. That could explain it, but she’s an essential and missing component in the history of rock and roll and should’ve been inducted many years ago. Warwick’s cousin Whitney Houston was posthumously inducted last year and maybe that could make some on the nominating committee wonder how the former is still not an inductee. Houston has said how she idolized her cousin and wanted to follow in Warwick’s footsteps. Warwick has stated she’s “proud” of her cousin’s induction and that shows a lot of class and dignity on Warwick’s part. Warwick’s recent fame as the new “queen” of Twitter, one of her tweets literally became a New York City billboard recently, might be enough for one of the nominating committee members to throw her name at the next meeting. She did, after all, tag Questlove in a post so maybe that’s a sign of things to come. And after her interaction with Chance the Rapper, please have him induct her and they can share that collaboration that’s apparently in the works at the ceremony.
#35: The Monkees
Eligible Since 1992
Never Nominated
Essential Songs: “I’m a Believer” (1966), “Last Train to Clarksville” (1966), “(I’m Not Your) Steppin’ Stone” (1966), “A Little Bit Me, A Little Bit You” (1967), “Daydream Believer” (1967), “Pleasant Valley Sunday” (1967)
The Monkees are arguably the most commercially-successful pop band still missing from the Rock & Roll Hall of Fame. But the Monkees are also a band who’s exclusion from the Rock Hall is among the most controversial and polarizing. Their detractors label them as a manufactured band who was a corporate creation to sell a television program as “America’s answer to the Beatles.” And, at first, this is true as The Monkees were thrown together and weren’t even allowed to play their own instruments on their first two albums. They didn’t need to when they worked with the best musicians and songwriters. But The Monkees were frustrated and fought hard for creative control and ultimately won. They began playing their own instruments and writing their own songs, ultimately becoming a legitimate rock band. At the height of psychedelia, the Monkees embraced its excesses and did just about anything to shed their teeny-bopper image. But, unlike most of their contemporaries, they didn’t take themselves too seriously. In the song “Ditty Diego,” the opening lyrics mash the lyrics of a prior Monkees hit with some self-reflexive humor: “Hey, hey we are The Monkees / You know we love to please / A manufactured band with no philosophies.” They destroyed the Monkees’ mythology in the surrealist cinematic masterpiece Head (1968) that essentially sealed their fate as mainstream pop stars. It took decades until The Monkees started getting some respect but their music has stood the test of time. They have at least half-dozen songs everybody knows and loves. Their songs can still be heard everywhere and that absolutely matters. Heck, most people can name all four Monkees without any hesitation (how many bands can claim that?). But let’s face it: The Monkees were never cool or hip—even at the height of their popularity. They became a punchline for every musician or music snob who wanted to undersell their importance or relevance. Yes, The Monkees were handed everything on a silver plate by television and music executives. But that doesn’t mean they didn’t pay their dues as Peter Tork and Michael Nesmith were successful studio musicians and songwriters before they joined The Monkees. When there are less Baby-Boomer-born nominating committee members in the coming years, I bet The Monkees will get a nomination in the foreseeable future. Remember John Sykes co-founded MTV and they revitalized their popularity in the mid-80s thanks to repeated showings of their iconic television show. In terms of a potential inductor for The Monkees, look at the musicians who contributed to 2016’s Good Times! as a clue and Weezer’s Rivers Cuoco stands out. He wrote the album’s lead single “She Makes Me Laugh” and has mentioned them as an influence in several interviews. With only two surviving members left (Tork died in 2019 and Jones died in 2012), I hope Nesmith and Dolenz live to see their inductions into the Rock Hall.
#34: The Go-Go’s
Eligible Since 2006
Never Nominated
Essential Songs: “We Got the Beat” (1980), “This Town” (1981), “Our Lips Are Sealed” (1981), “Vacation” (1982), “Head Over Heels” (1984), “You Thought” (1984)
In recent years, The Go-Go’s have been the most outspoken band on their Rock Hall snub and their recent Showtime documentary is essentially an infomercial to make a case for their induction. In a weird way, they needed to make the film because they rarely got the critical acclaim or respect they always deserved. A Rock Hall induction, among other things, validates their legacy as one of the most pioneering and important bands of the 1980s. Their debut album Beauty and the Beat (1981) is the first album by an all-female band to write and perform their own songs reach #1 on the Billboard charts. Yes, it took until 1981 (!) until this feat was accomplished and so far they’re the only ones to do this. They broke down barriers for women in the music industry by boldly and bravely defying the odds in a male-dominated industry. They’re feminists who gave a middle finger to the patriarchy and unapologetically lived the rock star lifestyle—sex, drugs, rock and roll, and then some—just as hard as any of their contemporaries. They paid their dues on the L.A. punk rock scene in the late 1970s and often played to unruly and highly misogynistic audiences that didn’t always appreciate their talents as musicians. But The Go-Go’s had the last laugh as they defied the odds and became one of the biggest bands of the early 80s. Their iconic music videos became mainstays on MTV and emerged as one of the definitive new wave bands. They have many characteristics of any great rock artist: fearless, brave, non-conformist and confident and The Go-Go’s have those in spades. The film makes multiple mentions of their Rock Hall snub and even ends with several musicians and critics perplexed they’re still missing from the Rock Hall. The Police’s Stewart Copeland perhaps says it best: “What the fuck? They’re not?” The Go-Go’s are indeed one of the most egregious exclusions from the Rock Hall and that should be corrected. To the nominating committee’s credit, The Go-Go’s names were mentioned as potential nominees a few years ago so at least they are on their radar. Given the Rock Hall has just started embracing new wave-era acts in recent years, The Go-Go’s’ names will surely be in the conversation soon enough. There are two things that will be in The Go-Go’s’ favor. First, Beauty and the Beat has appeared on every update of Rolling Stone’s 500 Greatest Albums list. As The Go-Go’s know all too well, Rolling Stone is closely linked to the Rock Hall and this is usually a good sign for an artist’s Rock Hall prospects. Second, The Go-Go’s were scheduled, pre-COVID-era, to perform at a 4th of July concert honoring the 25th anniversary of The Foo Fighters’ debut album. This is huge for for their prospective chances given Dave Grohl sits on the nominating committee. History is on the Go-Go’s’ side and it’s time they earn their rightful place at the Rock Hall.
#33: Motörhead
Eligible Since 2003
Nominated in 2020
Essential Songs: “Motörhead” (1977), “Bomber” (1979), “Overkill” (1979), “Ace of Spades” (1980), “Love Me Like a Reptile” (1980), “Iron Fist” (1982)
The first time I remember hearing Motörhead was when they performed the theme song “The Game” for wrestler Triple H’s entrance at Wrestlemania 17 in 2001. As a lifelong professional wrestling fan, I remember thinking this was just another rock band selling their latest album but I was totally wrong when I explored their discography years ago. Led by Lemmy Kilmister after his departure from the space rock band Hawkwind in 1975, Motörhead was the first band to incorporate the high energy elements of punk within a metal framework. Their music was an attack on the listeners’ ears and they wrecked havoc wherever they played. Lemmy never felt comfortable being labeled a “metal” band and felt more of a kinship with punk rockers. Nevertheless, he always insisted at every concert, “We are Motörhead and we play rock and roll.” Motörhead’s sound can be best described as fast, loud, vicious, distorted, chaotic and unrelenting. Their brand of punk and metal particularly invented the thrash and speed metal genres with major bands such as Metallica and Slayer owing a lot to Motörhead. Lemmy is also one of the most greatest rock stars ever, so much that sometimes his legendary persona overshadowed the music. He lived the rock and roll lifestyle harder and faster than anyone else. There’s a line in Motörhead’s most iconic song “Ace of Shades” that perfectly captures Lemmy’s outlook on life: “born to lose, live to win.” Lemmy’s excessive tendencies are well-documented (he died in 2015) and he was the sole consistent member in the band’s ever-changing lineup. Despite all this, Motörhead were seriously talented musicians. They’re one of rock’s most underrated and consistently-great bands who are highly respected by their musical peers. Tom Morello and Dave Grohl both publicly supported Motörhead’s Rock Hall candidacy and there’s a good chance they receive a second-consecutive nomination this year. Of all the hard rock and metal acts nominated last year, Motörhead probably has the best chances to score another nomination and, heck, even an induction. Their fans are so widespread across the rock world that I can see the current voting body put them in. Motörhead is probably the one metal band that most non-metal fans even enjoy. Plus, it’s a good sign that the Rock Hall added two additional members from the band’s latter years after Motörhead were announced as nominees. At least they’re listening to their fan bases and learning from past mistakes (e.g., Kiss, Deep Purple). But let’s just forget the Rock Hall’s museum lost Lemmy’s iconic leather jacket from the Ace of Spades album cover several years ago. Lemmy never forgave them and rightfully so. But a way to make up for that catastrophe would be enshrining Motörhead into the Rock Hall. In the truest Lemmy fashion, he probably wouldn’t have given a damn about the honor.
#32: Carly Simon
Eligible Since 1997
Never Nominated
Essential Songs: “Anticipation” (1971), “That’s the Way I’ve Always Heard It Should Be” (1971), “You’re So Vain” (1973), “Haven’t Got Time for the Pain” (1974), “Mockingbird” (1974), “Nobody Does It Better” (1977)
One of the essential singer-songwriters of the 1970s, Carly Simon is one of the most baffling omissions from the Rock & Roll Hall of Fame. She was the epitome of 70s-era feminism in rock music: independent, confident, intelligent, unapologetic and bold. At one point, it seemed the Rock Hall inducted every singer-songwriter on the ballot—even if it took a few nominations—and Simon’s arguably the decade’s most commercially-successful and popular singer-songwriter that’s astonishingly still missing. Born in Bronx, New York, her parents were both musicians: her father was a classical pianist and her mother was a singer. Her father was also a co-founder of the book publishing empire Simon & Schuster. Carly and her two sisters pursued musical careers and even formed a short-lived group in the mid-1960s. At the advice of Bob Dylan’s manager Albert Grossman, Simon went solo in 1966. Although it took nearly 5 years to complete, Simon released her first two studio albums in 1971 and won the Grammy for Best New Artist. It wasn’t until the release of No Secrets (1973) that featured the smash “You’re So Vain” that she became a superstar. With one hit after another, she became one of the most consistent hitmakers of the decade. While her popularity slightly declined in the 1980s, she worked on several non-rock musical projects (e.g., jazz, traditional pop) and began regularly contributing to movie soundtracks. If Kenny Loggins is the unofficial king of 70s and 80s movie soundtracks, then Simon is surely the queen. She penned and/or performed songs for movies such as The Spy Who Loved Me, Heartburn and The Karate Kid Part II. When she wrote “Let the River Run” for Working Girl, Simon became the first artist to win an Oscar, Golden Globe and Grammy for a film song (written and performed by an artist). The only other artist to accomplish this feat is…Bruce Springsteen. When compared to her contemporaries, Simon was rarely held in the same critical esteem as other singer-songwriters. But they’re no denying she became one of the decade’s biggest stars. She was inducted into the Songwriters Hall of Fame back in 1994–ahead of many Rock Hall-inducted singer-songwriters. Simon’s confessional and highly self-aware songwriting style proved highly influential on many latter-day singer-songwriters including Tori Amos, Alanis Morissette and Carly Rae Jepsen. But perhaps no other artist is more indebted to Simon’s influence than Taylor Swift. There’s so many similarities between the two: anonymous male subject(s), themes of heartbreak and betrayal and a knack for writing inspiring songs of female empowerment. Swift has acknowledged Simon as an artist she greatly “admires.” Simon even joined Swift onstage at the latter’s concert for a rendition of Simon’s classic “You’re So Vain” in 2013. These are the kinds of moments that would HBO would love to see at an induction ceremony. Plus, it would be a huge for Swift, one of the biggest stars in the world, to grace their stage. But we’re all waiting in anticipation for that to happen.
#31: MC5
Eligible Since 1992
Nominated in 2003, 2017, 2018, 2019, 2020
Essential Songs: “Kick Out the Jams” (1969), “Motor City is Burning” (1969), “Ramblin’ Rose” (1969), “The American Ruse” (1970), “Looking at You” (1970), “Shakin’ Street” (1970)
“Kick out the jams motherfuckers,” the opening lyrics of the MC5’s song off their iconic 1969 live debut of the same name, is both their rallying cry and mission statement. Anti-establishment in every sense of the word, the MC5 were brash, outspoken, revolutionary and polarizing. Combining elements of psychedelia, soul and garage rock, the MC5 became one of the first rock bands to write songs with overt political messages and combine that with hard rock sounds. They had an infinity for early rock guitar riffs which is why many of their songs (sometimes covers of Chuck Berry and Little Richard anthems) are short, simplistic and highly-energetic. They were radical far-left militants who believed a revolution of change was possible and wanted to start one. The poet and founding member of the White Panther Party John Sinclair served as their manager which kinda speaks for itself. They famously played outside the 1968 Democratic National Convention in Chicago that led to one of the most tragic events in recent American history. Even Norman Mailer, an eyewitness, wrote about them which is a testament to the band’s raw power and it doesn’t get more high stakes or iconic than that. MC5 were proto-punk pioneers with the bold attitude, unapologetic loudness and distorted raw production techniques that would later define the genre. MC5 gave a middle finger to the establishment and just didn’t care what others thought. They have a slim output and burned fast—1 live and 2 studio albums—before they broke up in 1972, yet their influence is so widespread on many artists across several genres (e.g., punk, metal, alternative). They were never mainstream stars, barely making a dent on the pop charts, and instead became cautionary tales of the excesses of rock and roll. Jon Landau (the chairman of the Rock Hall’s nominating committee who produced the band’s studio album Back in the USA) Steven Van Zandt and Tom Morello have publicly supported the MC5’s Rock Hall candidacy—even if the proto-punk legends polled the lowest on the fan vote the last two years. Despite that, they will likely receive their 6th nomination this year. If you paid attention during the Landau segment of the 2020 telecast, MC5 were heavily spotlighted and it marked one of Landau’s first efforts as a producer. As long as Landau sits as the chairman, expect their names to stay in the conversation. The recent success of the MC50 reunion tours (with lead guitarist Wayne Kramer joined alongside members of Soundgarden, Fugazi and Kings X) and Kramer’s memoir The Hard Stuff (2018) has kept the MC5’s name relevant in recent years. Even if they’re not household names, there’s no denying the MC5’s status as one of the most influential bands still not inducted into the Rock Hall. Plus I really wanna hear Morello’s speech on them which would be amazing in its own right.
Thoughts? Comments? Let me know in the comments section below and/or on Twitter.
Credit for Photos: Sheryl Crow, Link Wray, Dolly Parton, The Commodores, Dionne Warwick, The Monkees, The Go-Go’s, Motörhead, Carly Simon, MC5