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OVERVIEW |
The sideman category was created in 2000 to fill a void that the other areas of the voting had left open, as these musicians were vital in the creation and popularization of rock 'n' roll music but were rarely the featured performer and often not known by name to the general public. At first the category took care of some long-troubling oversights, such as legendary saxophonist King Curtis, Motown's rhythm section of James Jamerson and Benny Benjamin, Elvis Presley's guitarist Scotty Moore and two of the greatest session drummers who ever lived, Earl Palmer and Hal Blaine. But the inductees in the Sidemen category slowed after its initial flurry and there hasn't been a new entry since 2004. Considering the backlog of immortal musicians still waiting to be voted on the neglect shown here recently is puzzling and indefensible.
Musicians who are members of groups credited on recordings themselves are not listed here unless only the frontman of that group was already inducted into the Hall without his backing musicians. Musicians from groups who have no representation in the Hall to this point are presumed to still be candidates within their group itself and thus are also not listed here.
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Sidemen Candidates
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Lee Allen |
One of the most prolific saxophonists of the 50's, featured prominently on hit records for Little Richard, Fats Domino, Lloyd Price and a host of others, and in the 80's was still recording with the Blasters. He defined the New Orleans carnival sax sound that dominated the era and even cut instrumental hits on his own ("Walkin' With Mr. Lee"). It is almost incomprehensible how Allen wasn't one of the first inductees in this category.
Qualifications: 10
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Jerry Allison |
Somehow the Hall neglected to include the Crickets when inducting Buddy Holly in their inaugural class which means Allison, who was the first drummer of note in a self-contained rock band and who was as influential as any of his day, is a mandatory sideman inductee. His rolling tom-toms on "Peggy Sue" are one of the most recognizable drum patterns of the entire 50's and in addition to his work with Holly he also backed the Everly Brothers on their hit "Til I Kissed You" and had his own vocal hit with "Wild One" in 1958.
Qualifications: 9
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Jack Ashford |
Had the Hall of Fame done the smart thing from the beginning of this category and inducted the entire Funk Brothers as an ensemble, rather than just singling out its two most notable players in the first year, then a separate induction for Ashford, who helped define the label's sound with his tambourine and vibes work, wouldn't be necessary.
Qualifications: 6
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Bob Babbitt |
Motown bassist following the legendary James Jamerson tends to get overshadowed by Jamerson's daunting reputation but Babbitt was a substantial session ace in his own right and remains as respected as any on the instrument. His work on Dennis Coffey's "Scorpio" is considered by many to be the greatest bass line in rock history.
Qualifications: 6
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Mickey "Guitar" Baker |
Half of 50's rock duo Mickey & Sylvia who had the huge hit with "Love Is Strange", but even more crucial in Baker's career was his immense sessionwork that literally helped create the rock guitar style as we know it. At a time when rock was saxophone and piano driven Baker was the guitarist who changed that even before Berry, Moore and Diddley came along. Without question the first rock guitar king who's influence down through the years is incalculable. A mandatory inductee who should've been in from year one.
Qualifications: 10
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"Daddy" Gene Barge |
Prolific saxophonist best remembered for his work with Gary "U.S." Bonds which helped to kick-off the wild frat-house record craze of the 60's. But Barge cut on his own as well as the leader of the Church Street Five and was prominent on sessions from the mid-50's onward behind such stars as Chuck Willis and LaVern Baker right up to Public Enemy this past year.
Qualifications: 8
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Aston "Family Man" Barrett |
Had the Wailers been inducted rightfully along with Bob Marley, Barrett would've been in, but since they chose instead to honor only Marley then it will be up to the sidemen category to see that the Wailers great bassist gets in too.
Qualifications: 7
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Gil Bernal |
Prominent Los Angeles area saxophonist who recorded extensively for Leiber & Stoller artists as well as adding the distinctive hook to Duane Eddy's instrumental classic "Rebel Rouser". Not as well known as many of his contemporaries the Mexican born Bernal was vital in making the west coast sound of the 50's.
Qualifications: 5
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Michael Bloomfield |
One of the few white guitarists of the 60's to be fully accepted by black blues legends, Bloomfield got his start with Paul Butterfield's Blues Band before backing Bob Dylan and then forming the short lived Electric Flag. His death in the 70's robbed rock 'n' roll of one of its greatest musicians. Since none of the groups he played in will ever likely be inducted the sideman category seems made for him.
Qualifications: 8
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Terry Bozzio |
Drummer extraordinaire for Frank Zappa's Mothers Of Invention where he made his name in the early 70's. After parting with Zappa he worked behind such other major artists as Stevie Ray Vaughan, Robbie Robertson, Herbie Hancock and Jeff Beck. Though never became widely known in the mainstream, within drumming circles he is revered.
Qualifications: 7
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Bobby Byrd |
The longstanding associate of James Brown as de facto leader of the backing vocal group The Famous Flames as well as on-stage pianist of the JB's. He would be an unusual selection, as he was not a virtuoso musician, but Byrd's contributions to Brown over the years are deserving of some kind of credit from the Hall and he was in his own way the definitive sideman - always present but never in the spotlight.
Qualifications: 6
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Al Casey |
Unlikely looking guitar hero, the bespectacled Casey was nonetheless one of the 50's prime guitar session aces, most notably on Lee Hazlewood's innovative productions, and was the featured guitarist on a number of hits, including the influential rockabilly single, Sanford Clark's "The Fool" as well as cutting some killer guitar instrumentals along the way.
Qualifications: 6
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Clarence Clemons |
Another example of the Hall overlooking the group in favor of inducting the frontman/focal point, in this case Bruce Springsteen. Though Bruce invited the E-Street Band on stage to share the honor they were not officially inducted with him, making the top-notch players in the group all sidemen eligible. Of all the E Streeters it is the Big Man who was the primary counterpoint to Bruce and is most deserving of induction.
Qualifications: 8
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Tommy Cogbill |
The legendary bassist for the Muscle Shoals sound, Cogbill began as a guitarist on sessions before it was discovered he was an even better bass player. Once installed on that instrument he locked down the sound for countless southern soul artists, from Wilson Pickett to Aretha Franklin. The deep bottoms those records were known for stems entirely from Cogbill.
Qualifications: 8
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Cornell Dupree |
One of the great session guitarists of the late 60's and early 70's, Dupree brought a jazz-based style to funky rock tracks. Immensely talented he recorded his most notable rock sides with Aretha Franklin, Brook Benton, King Curtis, Paul Simon and Joe Cocker, but also was a member of the studio group Stuff that released jazz-fusion albums on their own.
Qualifications: 6
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Panama Francis |
Studio drummer extraordinare throughout the 50's and 60's, Francis had a jazz background which helped lead to more subtle sophistication in rock drumming away from simply pushing a 4/4 beat.
Qualifications: 6
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Cliff Gallup |
Among the first rock guitar gods, his separate induction wouldn't be necessary had the Hall rightfully inducted The Blue Caps with frontman Gene Vincent. The biggest influence on Jeff Beck and many others with his wild soloing techniques, easily the most revolutionary of the 50's.
Qualifications: 9
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Jim Gordon |
Popular session drummer in the 70's was a member of Eric Clapton's Derek & The Dominos with whom he wrote "Layla". His work with George Harrison, Frank Zappa and many other luminaries made him the most in-demand sessionist in rock for awhile before his longtime mental instablities resulted in him murdering his mother, for which he was sentenced to prison.
Qualifications: 7
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Jerome Green |
Maracas player who put the drive behind the Bo Diddley beat and played comic foil to Bo on numerous recordings. One of the most distinctive sounds in rock history are Green's omnipresent counter-rhythms. Essentially if the maracas are played on a rock record since, and they have been on many classic records, then they are based on what Green laid out first.
Qualifications: 8
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Mick Green |
England's first guitar hero playing with Johnny Kidd's Pirates. Though his credits don't amount to much in terms of hits or even truly epic sides, save "Shakin' All Over", his mere presence gave hope to every Brit with a guitar and in turn spawned the massive influx of British guitar gods from the mid-60's forward.
Qualifications: 5
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Peter Green |
Guitarist who played with the Bluesbreakers and was a founding member and focal point of the original blues version of Fleetwood Mac. Among Britain's most revered guitar legends who's credit among the mainstream has never been properly afforded.
Qualifications: 6
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Herb Hardesty |
Fats Domino's longtime sax player who's work with him included the carnival-like instrumental breaks on classics such as "Blue Monday" and "I'm Walkin" that helped define those immortal records and Domino's live gigs for decades. A giant on the instrument that was the cornerstone of 50's rock 'n' roll.
Qualifications: 9
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Roger Hawkins |
Muscle Shoals drummer considered by some, Jerry Wexler included, to be the best ever on the instrument. Played on hits from Wilson Pickett to Aretha Franklin, Rod Stewart, Paul Simon, Traffic, the Staple Singers and too many more to count. The cornerstone of the Muscle Shoals Rhythm Section which included the almost equally stellar Jimmy Johnson on guitar, David Hood on bass and Barry Beckett on keyboards, but even among those legends, Hawkins' talents stood out.
Qualifications: 9
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The Hi-Rhythm Section |
The session aces on Willie Mitchell's productions for Hi Records throughout the 60's and 70's made up of the Hodges brothers, guitarist Teenie, bassist Leroy, organist Charles, along with Howard Grimes on drums. Only the legendary Booker T. & The MG's defined the Memphis soul sound better and instead of cherry picking the biggest names, as they've done with the Funk Brothers and Wrecking Crew, the Hall should induct all of these guys together.
Qualifications: 8
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Nicky Hopkins |
Widely used keyboardist in the late 60's and early 70's, most notably with the Rolling Stones, but many others as well from Jefferson Airplane to The Who to the Kinks. At a time when the piano had been excised from many rock groups Hopkins was vital in bringing the instrument back to the forefront while remaining largely anonymous in doing so.
Qualifications: 8
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The Jordanaires |
The most famed backing vocal unit in rock thanks to their long association with Elvis Presley, as well their work with Ricky Nelson, Sonny James, and Esquerita among many others. A gospel quartet on their own who nevertheless provided rock 'n' roll with a crucial and immediately identifiable sound.
Qualifications: 7
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Carole Kaye |
One of the greatest bassists to ever play the instrument, the eccentric Kaye was the lone female to crack the famed Wrecking Crew, the top sessionists in L.A. during the 60's. She was a vital presence on Phil Spector, Jan Berry and Brian Wilson productions that shaped the music of the decade.
Qualifications: 7
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Jim Keltner |
The pre-eminent session drummer since the 70's, he first gained attention with Gary Lewis & The Playboys before moving to Delaney & Bonnie. From there he worked behind everyone from Eric Clapton to John Lennon, John Lee Hooker to B.B. King, Bobby Womack to Brian Wilson and on some of Bob Dylan's most acclaimed sides. He was later an unofficial Wilbury in the supergroup Traveling Wilburys.
Qualifications: 8
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Bobby Keys |
One of the few white sax legends in rock history, Keys began playing with Buddy Holly before a long association with the Rolling Stones, for whom he's best known for backing. In addition, his horn has graced work from Eric Clapton, Lynyrd Skynyrd, B.B. King and most of the individual Beatles solo careers.
Qualifications: 6
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Al Kooper |
A name already raised as a possible inductee with Blood, Sweat & Tears, Kooper seems more suited for consideration as a sideman, since he's made his name by playing a wide-range of instrumental roles with a variety of big-name acts starting with Bob Dylan and then after a stint with the aforementioned group he founded, he resumed backing others, including the Rolling Stones and Jimi Hendrix. He later signed and produced R&R HOF'ers Lynyrd Skynyrd, which gives him another aspect that few sessionists could boast, but considering his best contributions have come behind the scenes with other artists he is the ideal sideman inductee.
Qualifications: 8
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The Memphis Horns |
The most indelible horn section in music over multiple decades, sometimes fluctuating personnel but primarily centered around trumpeter Wayne Jackson and saxophonist Andrew Love. Like their Stax studio counter parts, the MG's, the Memphis Horns were an interracial group in the heart of the segregated south, an almost unheard of circumstance at the time in the outside world around them. They've played on more hits than you could possibly count and were vital to the success of all of them.
Qualifications: 9
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David "Fathead" Newman |
Though he preferred jazz, like many saxophonists of the 50's Newman was enticed into performing rock 'n' roll which proved more lucrative for sidemen. Luckily he hooked up with Ray Charles and for a decade together (1954-1964) the two shaped music history. Newman's versatility shows in the baritone solo on "Greenbacks", the tenor solo on "Unchain My Heart" and maybe most famously the alto solo that kicks off "Night Time Is The Right Time".
Qualifications: 6
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