Top 100 Rock Hall Prospects Project: #50-41
This group includes trendsetters and visionaries of progressive rock, pop, hip-hop, funk, hardcore punk, new wave, R&B and alternative rock. Three previously-nominated artists appear in this installment.
#50: King Crimson
Eligible Since 1995
Never Nominated
Essential Songs: “21st Century Schizoid Man” (1969), “Epitaph” (1969), “The Court of the Crimson King” (1969), “Larks’ Tongues in Aspic, Part One” (1973), “Red” (1974), “Starless” (1974)
Their records might have never been played on the radio and they found little success here in America, but King Crimson is one of the definitive progressive rock bands. Rejecting the psychedelia and pop sensibilities at the tailspin of the 1960s, King Crimson took cue from non-rock genres such as avant-garde, jazz and classical to form their distinct and utterly original sound. Their experimental approach to the genre inspired countless bands, many of whom are Rock Hall inductees such as Genesis and Yes. In the Court of the Crimson King (1969) is not only one of the greatest progressive rock albums, but one of the greatest debut albums ever made. Their music often divided critics, hence why none of their albums appear on any Rolling Stone Top 500 lists, and commercial success rarely came their way. But King Crimson didn’t make music for the critics or even for a mass audience. Rather, they made music on their terms and their brand of experimentation put them at the forefront of popular music. Robert Fripp, the great lead guitarist who was the band’s only consistent member throughout the band’s history, once famously said “King Crimson is a way of doing things” and he’s absolutely correct. King Crimson’s music is adventurous and pretentious, bold and challenging. But their music is never boring. King Crimson were famously one of the last artists who refused to allow their music to stream on streaming services and platforms for many years. Just last year, they caved in and their entire discography is available to stream on Spotify and Apple Music. This is important as new generations of music listeners can finally hear their music. Does that help their Rock Hall chances….who knows. The Rock Hall has slowly embraced progressive rock in the last decade, but almost all those artists had pop hits. King Crimson never had a pop hit and many of their songs average at about 8-10 minutes each (exaggerating of course but not far off). This does hurt them in the eyes of some, but King Crimson is one of the foundational progressive rock artists who should be inducted into the Rock Hall. They influenced bands in genres as diverse as metal, hard rock, jazz and krautrock. If they are ever inducted, except Tool’s Maynard James Keenan to be their inductor as he is quoted as saying “Now you know who we ripped. Just don’t tell anyone, especially King Crimson.” Reflecting on his 2017 induction with Yes, ex-King Crimson drummer Bill Bruford doesn’t believe they’ll get a Rock Hall induction but stranger things have happened. If the Rock Hall is seriously trying to tell the story of progressive rock and its importance to rock history, then King Crimson must be inducted as one of the most forward-thinking bands of the late 20th century.
#49: Dick Dale
Eligible Since 1988
Never Nominated
Essential Songs: “Let’s Go Trippin’” (1961), “Misirlou” (1962), “Surf Beat” (1962), “King of the Surf Guitar” (1963), “The Wedge” (1963), “Mr. Eliminator” (1964)
Dick Dale is one of rock’s earliest guitar heroes who mastered his instrument and pioneered the surf rock genre in the early 60s. Taking inspiration from Eastern European and Middle Eastern musical traditions, Dale’s virtuoso guitar-playing skills demanded the listeners’ attention with his high-energy style and dubbed him the “King of the Surf Guitar” (which also served as an album title during his prime). And he lived up to that honorific title when he cranked his Fender guitars and amplifiers up to an 11 and pioneered the use of those equipments and instruments in both his studio recordings and live sets. Dale’s guitar sonically created visual imagery of surfing on Southern California beaches. His constant experimentation served as a huge influence on many latter-day hard rock and metal guitarists including Jimi Hendrix, Jeff Beck and the recently-deceased Eddie Van Halen. If you inspired these three all-time guitar greats, then you should probably be inducted into the Rock Hall. Yet somehow Dale never even got a nomination in three-plus decades of eligibility. It’s shocking Dale wasn’t inducted in the 90s when Quentin Tarantino selected “Misirlou” to play over the opening credits of Pulp Fiction (1994). The film, a huge hit in its own right, gave Dale—and surf rock as a genre—a resurgence in popularity and resurrected his career as a touring musician. Dale, unfortunately, dealt with lingering health issues for decades and was often forced to play live shows to pay off medical bills. It’s a sad reality when performers must continue to perform not for the love of their craft, but out of necessity and survival. When Dale died in March 2019, many news sites mentioned Dale’s Rock Hall snub including NBC News and the L.A. Times. Besides “Let’s Go Trippin’” appearing on the Rock Hall’s “Songs That Shaped Rock and Roll” list years ago, Dale has zero items on display in their museum and it’s hard-pressed to find his name mentioned anywhere in the museum or on the pages of Rolling Stone. Perhaps surf rock is considered a novelty fad and happened during rock’s “dark period” (1960-63) after the initial first wave of rock and roll ended and right before Beatlemania. At least the Rock Hall hasn’t, yet at least, induct one of Dale’s songs into the singles category which is usually the kiss-of-death for an artist’s chances to get inducted into the performers category. It seems the nominating committee has moved past the 60s on the most recent ballots but, as this list demonstrates, there’s probably of worthy artists from that decade still missing and Dale is one of them. The Rock Hall must be trippin’ for not already inducting Dick Dale.
#48: War
Eligible Since 1997
Nominated in 2009, 2012, 2015
Essential Songs: “Spill the Wine” (1970), “Slippin’ Into Darkness” (1971), “The Cisco Kid” (1972), “The World is a Ghetto” (1972), “Low Rider” (1975), “Why Can’t We Be Friends?” (1975)
There’s a famous album cover with the caption “Eric Burdon Declares War” with the image of two arms—half white, half black—holding up three fingers apiece. Whether they’re holding up three fingers as representing of the “w” in the band’s name or a symbolic of the peace sign, the cover might as well serve as War’s mission statement: to promote racial harmony during tumultuous times. Eric Burdon, the former lead vocalist for the Animals, fronted the already-existing War, based out of southern California, and scored a smash hit with “Spill the Wine” out of the gate. Thanks in large part to their multiracial lineup (inclusive of white, black and Latin musicians), War can be best described as a musical melting pot with elements of African and Latin beats within the Rock, R&B and Funk genres. They famously played with Jimi Hendrix on the night he died in 1970, an event that would eventually cause Burdon to leave War the following year. At a crossroads moment, the other members decided to soldier on and obtain even greater commercial successful after his departure. They certainly have the hits necessary for induction into the Rock Hall: “Low Rider,” “Why Can’t We Be Friends?,” “The Cisco Kid,” “Summer” and “Slippin’ into Darkness.” The World is a Ghetto was the best-selling album of 1973, arguably one of the most competitive years in rock history and also appeared on one of the Rolling Stone’s 500 Greatest Albums lists. The socially-conscious lyrics with the innovative arrangements and instrumentations make it just as revenant and urgent today as Marvin Gaye’s What’s Going On and Curtis Mayfield’s Superfly, just to name a few. So after three nominations (which oddly enough occurred in three-year intervals when the ceremonies took place in Cleveland), why is War having such a difficult time getting inducted into the Rock Hall? Perhaps some of the aforementioned songs border on novelty songs and some might write War off as a 2-3 hit band. But looking at their entire discography, War’s strongest efforts are their deeper album cuts. They got commercial success and radio play, that can even be heard on classic rock stations, on their side and those things keep them in the conversation of overlooked 70s bands not yet in the Hall. And the very thought of Burdon becoming part of the prestigious Clyde McPhatter Club is enough to make the Hall salivate, especially since he hasn’t performed with War in so many years. The lawsuits and inner turmoil within the band over the last few decades certainly makes a potential induction more complicated. Given Questlove’s support and that the Rock Hall nowhere near done inducting pre-MTV era artists, there’s a strong possibility War returns to the ballot—even if it’s been 6 years since their last nomination.
#47: Black Flag
Eligible Since 2004
Never Nominated
Essential Songs: “Nervous Breakdown” (1979), “Damaged’ (1981), “Rise Above” (1981), “TV Party” (1981), “Black Coffee” (1984), “My War” (1984)
They might have lacked the critical acclaim and accolades of their LA punk contemporaries (e.g., X, The Go-Go’s), but Black Flag embodied the spirit of the scene more than any other band. Black Flag were urgent, in-your-face and unapologetically fierce. Their live shows are the stuff of legends as seen, pre-Henry Rollins era, in the classic documentary The Decline of Western Civilization (1980). One can say Black Flag’s music wasn’t meant for dancing but rather fighting. Their fans’ were so violent and chaotic that many nightclubs and venues banned Black Flag from playing at their establishments and police intervention was often needed. Lead guitarist Greg Ginn founded SST Records in 1978 which would become one of the most influential independent labels in the 80s. Acts such as Husker Du, Sonic Youth, Bad Brains and Minutemen (among many others) released groundbreaking albums on SST. Their DYI-approach to music—and perhaps life in general—certainly inspired countless bands to take a similar path. So many of the Seattle grunge bands list Black Flag as an influence including Nirvana’s Kurt Cobain who listed both Damaged (1981) and My War (1984) on his Top 50 favorite albums list. The former is ranked at #487 on Rolling Stone’s recently-updated list of the 500 Greatest Albums. Musically, Black Flag were more experimental than most hardcore punk bands of their time as they incorporated elements of metal, jazz and the blues. They were all over the place, but it perfectly captured their nonconformist mentality. Black Flag also possesses one of the most visually recognizable band logos in all of music: four black bars. Red Hot Chili Peppers bassist and Rock Hall inductee Flea remarked, “Before I knew what Black Flag was, I remember walking around Hollywood and seeing Raymond's flyers and being like, 'What the f--- is that? That is heavy.” Their logo is as recognizable as the band itself. But perhaps the most important reason to put Black Flag into the Rock Hall is they introduced the world to Henry Rollins. He would sorta become a household name as a writer, radio host and actor after he left Black Flag. Now if Cyndi Lauper joins Rollins onstage for another rendition of “Rise Above” at a future ceremony, now that’d be a show I would love to see. Given all the lawsuits and public spats over the years, I wonder if most (or any) of the band’s members show up or who would even get selected as inductees. Given all the lineup changes, a Black Flag induction might be more of a headache to the Hall. Despite that, these legendary punk rockers are one of punk’s foundational bands that warrants more serious consideration.
#46: The Shangri-Las
Eligible Since 1991
Never Nominated
Essential Songs: “Give Him a Great Big Kiss” (1964), “Leader of the Pack” (1964), “Remember (Walking in the Sand)” (1964), “Give Us Your Blessings” (1965), “I Can Never Go Home Alone” (1965), “Out in the Streets” (1965)
Hailing from Queens, New York, The Shangri-Las were unlike any other girl group from the 1960s. A quartet made up of two sets of sisters, The Shangri-Las sounded sweet and innocent but they were also streetwise and tough young women who urgently pleaded listeners to hear the plights of teenage life. Their melodramatic songs are the equivalent of mini-Greek tragedies sung in an almost operatic fashion. The songs covered dark themes such as alienation, heartbreak, depression and death. They wore black leather jackets, tight pants and knee-high boots, giving them a no-nonsense style that matched their bold attitudes. The publicity photos and cover albums featuring The Shangri-Las alongside motorcycles (which can be heard in “Leader of the Pack”) screams danger and excitement, which is one of the tenets of any great rock and roll artist. Judging from any of the stories during their prime, these are not girls you wanna mess with and they certainly lived up to their reputation. Thanks to their spoken-word vocals and innovative production techniques from their producer George “Shadow” Morton, The Shangri-Las were supremely influential to the development of punk. Everyone from The Ramones, Blondie, New York Dolls, Joan Jett and so many others took inspiration from The Shangri-Las, both sonically and aesthetically. The Shangri-Las’ rebellious swagger and dangerous fashion choices made them pronto-punk rockers just as important as The Stooges, MC5 and New York Dolls. Although they broke up by 1968 and lawsuits prevented them from playing together for nearly a decade, they did play a reunion show at the legendary CBGB’s in 1977 which allowed them to see first-hand how their music inspired punk rockers of that era. Even contemporary artists like Belle & Sebastian, Amy Winehouse and Lana Del Rey all took inspiration from the music of the Shangri-Las, which definitely makes them topical to modern audiences. Their reign at the top is relatively short with just two albums both released in 1965 and they are primarily known for two songs: “Remember (Walkin’ in the Sand)” and “Leader of the Pack,” both of which appears on Rolling Stone’s 500 Greatest Songs list. They also appear on the publication’s list of “Classic Artists” not in the Rock Hall in 2014, which I thought would’ve been a great sign for their Rock Hall chances. But then “Leader of the Pack” was inducted into the god-awful singles category last year and that virtually killed any momentum for a Shangri-Las nomination. But that doesn’t take away that they are one of the most influential and acclaimed girl groups of all time. Robert Christgau, Dave Marsh and Lester Bangs all sung their praises while The Shangri-Las songs are still widely covered from artists of all genres. The universality of their music transcends time and will hopefully keep them in contention for a Rock Hall nomination. For more information on The Shangri-Las’ career and legacy, check out this excellent episode from my friends at Hall Watchers.
#45: Oasis
Eligible Since 2020
Never Nominated
Essential Songs: “Live Forever” (1994), “Supersonic” (1994), “Champagne Supernova” (1995), “Don’t Look Back in Anger” (1995), “Roll With It” (1995), “Wonderwall” (1995)
Some might say Oasis is ranked way too high on this list, especially considering they became eligible for Rock Hall induction this past year, but it’s easy to forget how popular they were in the mid-to-late 1990s. In the wake of Nirvana’s demise in 1994, many have argued Kurt Cobain is the last rock star but there’s plenty who carried the torch. That same year, Oasis released their debut album Definitely Maybe and the first track is, ironically titled, “Rock ‘n’ Roll Star.” The song serves as Oasis’ mission statement: living life in the moment, chasing your dreams and most importantly not caring what others think. Manchester-born Brothers Liam and Noel Gallagher brought a sense of uncertainty and chaos back to rock and roll which made them all the more exciting. They took musical inspirations from their childhood heroes (e.g., The Beatles, The Jam, The Who) and brought guitar-driven rock songs to resurge in popularity, especially in their native U.K. where they dominated the charts. Their unapologetic attitude, borderline arrogance, polarized audiences but they became global superstars. Unlike other Britpop bands such as Blur and Suede, Oasis knew how to write anthems that resonated with listeners. Put on “Wonderwall,” “Champagne Supernova” or “Look Back in Anger” at any event with a crowd of people and they will provoke a reaction. There’s countless videos of people, across all age groups, singing along to Oasis’ songs at parties, concerts and bars. And no offense to those aforementioned bands, but Oasis will unquestionably be the first Britpop band inducted into the Rock Hall. Oasis, unlike the others, obtained success in the U.S. and in the process became household names. At the height of their popularity, Oasis played to crowds of 100,000+ people which is an amazing accomplishment in its own right. I will say, I want an Oasis Rock Hall induction to happen just to see the reactions of the Gallagher brothers. If you thought the Dire Straits debacle in 2018 was bad, just wait for Oasis who will give the Rock Hall nothing but headaches. These brothers are certifiably insane and they’ve both said many terrible things about other bands and to each other over the years. Sometimes you have to judge the art and not the artist and this is one of those cases. Regardless of their crudish behavior, Oasis is one of the premier bands of the 1990s who will likely get inducted within the next decade. Their first two albums are classics and both appear on Rolling Stone’s 500 Greatest Albums list (both ranked way higher in the revised 2020 list) and they’re well liked by both their peers and critics. Given the Gallagher brothers’ public spats, I doubt Oasis will reunite but stranger things have happened when bands are inducted into the Rock Hall.
#44: A Tribe Called Quest
Eligible Since 2015
Never Nominated
Essential Songs: “I Left My Wallet in El Segundo” (1990), “Can I Kick It?” (1991), “Check the Rhime” (1991), “Scenario” (1992), “Electric Relaxation” (1993), “We the People…” (2016)
In sharp contrast to the hardcore and gangsta styles of the early 1990s, A Tribe Called Quest injected Afrocentric themes of positivity, perseverance and self-expression. Their socially-conscious lyrics tackled everything from religion to race to class inequality, all of which directly affect the African-American community. They also brought more intellectual and philosophical thoughts into hip-hop without ever coming across as preachy. Critics love them, almost to the point I’d label them critical darlings and among the most acclaimed in hip-hop history. The Low-End Theory (1991), in particular, is probably their magnum opus and ranked at #43 on Rolling Stone’s 500 Greatest Albums list, one of the highest rankings of any currently-eligible artist for Rock Hall induction. Michael Rapport’s documentary Beats, Rhymes & Life (2011) focuses on the group’s life and career, but also contains a scene where Q-Tip mentions a potential Rock Hall induction: “If we ever play together again, it’ll be at the Rock & Roll Hall of Fame.” Interestingly Q-Tip said this at least 4-5 years before they were even eligible for the Rock Hall, so the Rock Hall was at least on his radar. A Tribe Called Quest released their final album We Got It From Here…Thank You 4 Your Service (2016) after the death of Phife Dwag earlier that year. The album features guest appearances from Elton John, Kendrick Lamar, Jack White and Kanye West (among many others), which is an all-star lineup to say the least. And their 2016 song “We the People…” might be the most relevant song in the last decade. Despite steady sales throughout their career (all 6 of their albums are certified gold), A Tribe Called Quest lack a crossover hit that most people know which sorta hurts their chances to get a nomination anytime soon. They’re the definition of a critic’s group, someone who will definitely be nominated for the Rock Hall someday. When they’ll get nomination….that’s another story. It seems the nominating committee has been very particular with the hip-hop artists who make it onto the ballots, usually one per year. They’ll likely have to wait a while ago before gaining more momentum but that still doesn’t take away the fact they’re one of the greatest hip-hop groups of all time.
#43: Devo
Eligible Since 2003
Nominated in 2019
Essential Songs: “(I Can’t Get No) Satisfaction” (1977), “Jocko Homo” (1978), “Uncontrollable Urge” (1978), “Freedom of Choice” (1980), “Girl U Want” (1980), “Whip It” (1980)
Devo became one of the most pioneering and creative punk bands that would lead to the rise of new wave music in the late 1970s. Their vision is so singular that there is no mistaking them for anyone else. Often labeled as one-hit wonders for the hugely popular “Whip It,” Devo is so much more than that one song. Their inventive spirit—both sonically and aesthetically—influenced countless bands and ensured new wave’s lasting popularity. Founding members Mark Mothersbaugh and Gerald Casale, students at the time, were eyewitnesses to the tragic Kent State Shootings in May 1970, forever changing their outlooks on life. They relied heavily on the already-established concept of “de-evolution,” the notion that society (as a whole) is regressing and the world is getting worse with time. They would take those abstract ideas and turn them in a postmodern performance art project that would serve as the earliest formation of the band Devo. Borrowing the synthesizers from electronic pioneers Kraftwerk and the attitude and speed of punk rock, Devo fused them together and created a wildly original vision and sound. They would record short films that would be screened at museums and film festivals, thus serving as a template for the modern music video. David Bowie and Brian Eno famously produced their debut album, widely hailed as one of the best in rock history, and Freedom of Choice (1980) became their commercial breakthrough. Bands with at least two classic albums are usually shoo-ins for Rock Hall induction, but critics have always been divided on Devo’s output. Many claim their disjointed lyrics and minimalist sound borders on novelty music, which is usually music not meant to be taken seriously. To their defense, Devo is very gimmicky with their red energy dome hats and yellow jumpsuits. But such an evaluation misses the mark of Devo’s mission: holding a mirror to modern society and finding the absurdity of the modern world. They took a cynical worldview and brought a bit of oddball humor to understanding the human condition and ultimately developed one of the most devoted cult followings in modern music. Devo has been in the news a lot recently: Mothersbaugh’s positive COVID diagnosis (he nearly died) and his recent art project supporting the U.S. Postal Service. Casale, in an interview with Variety this year, mentions their 2019 nomination and believes current-chairman John Sykes (who co-founded MTV) will support their candidacy. Dave Grohl and Tom Morello have voiced their support for Devo too, so there is definitely momentum on their side. Whenever the ceremonies take place in their native Ohio, expect Devo’s name to come up again.
#42: TLC
Eligible Since 2018
Never Nominated
Essential Songs: “What About Your Friends?” (1992), “Creep” (1994), “Red Light Special” (1994), “Waterfalls” (1994), “No Scrubs” (1999), “Unpretty” (1999)
One of the essential groups of the 1990s, TLC combined elements of R&B and Hip-Hop to create some of the most accessible and memorable pop music to come out of the decade. Just as New Jack Swing was fading in popularity in the early 90s, TLC (among other artists) injected rap verses and pop-driven hooks that made them instant hitmakers. They became one of the earliest stars from LaFace Records, L.A. Reid and BabyFace’s label that also made Toni Braxton and OutKast stars. TLC radically redefined the notion of girl groups by adopting masculine clothes (baggy and oversized clothes) and bluntly discussing sex from a woman’s perspective. For their sophomore album CrazySexyCool, TLC abandoned the cartoonish aesthetics and scaled back the heavy rap components that defined their early work. Relying more on smoother production work and adopting more mature lyrical content, the album made TLC crossover superstars. The album was not only certified diamond, but remains the best-selling album by a girl group in American history. They are also one of the decade’s most visual artists and it’s no wonder almost all their music videos became staples on MTV. In fact, their groundbreaking video for “Waterfalls” swept the 1995 VMAs including a win for Video of the Year. Despite their tremendous commercial success, they served as role models to millions of fans and became feminist icons. They tackled controversial topics ranging from HIV/AIDS, domestic violence, drug abuse and adultery. But their songs were never corny or preachy but rather educational and conversational. They told their listeners that it’s okay to embrace their sexuality (they literally wore condoms on their clothes to promote safer sex practices) but to be smart and take ownership of their lives. Having confidence, but self-worth is at the core of their lyrical content. Loving one’s self is someone not spoken enough in pop music and it’s something that could resonate with anyone. Despite their legal and personal problems during the peak of their popularity, TLC obtained lots of critical acclaim and commercial success and remain beloved figures in modern music. Perhaps more than any other R&B act of the 1990s, they redefined the landscape of the genre and influenced countless contemporary artists. Everyone from Destiny’s Child to Rihanna to Nicki Minaj to Fifth Harmony owe a gratitude to TLC’s brand of feminism and positivity. Their life and career will be spotlighted in an upcoming A&E documentary sometime next year, which definitely puts them in the conversation for Rock Hall consideration. Yes, they’ve only been eligible for a few years, but TLC deserves more serious consideration. They are one of the most successful and influential girl groups of all time. And talk about longevity, they were relevant for the entire decade from start to finish. Very few groups can lay claim to that and TLC is one of them.
#41: The Replacements
Eligible Since 2007
Nominated in 2014
Essential Songs: “I Will Dare” (1984), “Unsatisfied” (1984), “Bastards of Young” (1985), “Here Comes a Regular” (1985), “Alex Chilton” (1987), “Can’t Hardly Wait” (1987)
It’s ironic and totally appropriate The Replacements just missed the top 40 of our countdown. Emerging from the Minneapolis underground rock scene in the early 1980s, The Replacements combined their admiration of punk and power pop that would ultimately make them one of the most influential rock bands of the decade. They, along with 2007 inductees R.E.M., became mainstays on college rock radio stations that eventually blossomed into modern alternative rock. The Replacements are the embodiment of rock and roll: young, reckless, rebellious, and totally chaotic. Even after signing to Sire Records and releasing their major label debut, they sabotaged their pathway to stardom thanks to the band members’ constant substance abuse issues that included sloppy alcohol-induced performances. Their disastrous 1986 Saturday Night Live performance resulted in a three-decade ban from NBC and sealed their fate as mainstream rock stars. Despite their self-destructive ways, they were loved by critics who praised their two back-to-back classics Let It Be (1984) and Tim (1985). The audacity to name the former after a Beatles album takes a lot of nerve, but it’s probably The Replacements’ magnum opus. They never scored a mainstream hit, although their lone Hot 100 entry “I’ll Be You” just missed the top-50, but there’s plenty of HOFers who experienced a lack of chart success (e.g., Leonard Cohen, Velvet Underground). Paul Westerberg, their lead singer and primary songwriter, wrote beautifully angsty songs that captured Reagan-era American life. He is probably the poet laureate of the 80s alternative rock scene who wrote terrific songs as if he was on a seesaw of emotions: love and heartbreak, happiness and anxiety, laugher and vulnerability. He’s one of rock’s most underrated songwriters who influenced everyone from Nirvana to They Might Be Giants to The Goo Goo Dolls to The Strokes. Seymour Stein apparently mentions their name every year and they were previously nominated in 2014, so there’s a strong likelihood they’ll get another one sometime soon. But would Westerberg and the Mats really care if they got another nomination? I highly doubt it, but that doesn’t take away their importance as alternative rock pioneers. Plus, I’d love to see if the notoriously rowdy Replacements would be on their best behaviors or revert back to being hot messes. Plenty of books, articles and reissued album releases on The Replacements in recent years has kept them relevant and I’m thinking they’ll reappear soon—even if it’s been 7(!) years since their only nomination.
Thoughts? Comments? Let me know in the comments section below and/or on Twitter.
Credit for Photos: King Crimson, Dick Dale & His Del-Tones, War, Black Flag, The Shangri-Las, Oasis, A Tribe Called Quest, Devo, TLC, The Replacements