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Harold Melvin And The Bluenotes |
One of the longest lasting groups out there, they began way back in 1954 and had only one very minor hit (in 1960) until the seventies when they exploded with the aptly titled smash "If You Don't Know Me By Now". Their rise coincided with the arrival of new lead singer Teddy Pendergrass, one of the 70s most distinctive voices, and while their fortunes faded after Pendergrass went solo in 1977, the group with him were solid performers and notched four hits that topped the R&B Charts.
Qualifications: 6
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The Meters |
The pre-eminent New Orleans funk band of all-time while serving as an in-demand self-contained studio backing unit for countless artists that kept them behind the scenes at their peak, much like Booker T. & The MG's had been in the 60's soul movement. Few groups were as respected for their skills as the Meters, they churned out some seminal instrumental hits and were as influential to their era and style as any group could be. At some point the voters have to realize this and admit them, the question is when.
Qualifications: 7
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The Steve Miller Band |
Consistently popular throughout the 70's with radio friendly staples, Miller was also a fine guitarist and had more renowned early work that flew under the mainstream radar before breaking through with his space cowboy persona. A rock 'n' roll survivor on par with recent inductee Bob Seger, but with three #1 hits to Seger's one. The odds say he's got to be voted in at some point, but the unfair perception of him selling out for success hurts him in the minds of many.
Qualifications: 7
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The Monkees |
Don't laugh, the Monkees have more than enough success and plenty of influence in the rise of the video to be considered strong contenders under normal circumstances. The problem is their image, beginning with how they were formed for a TV show and the nagging belief that they were never authentic artists. Though accepted by the music community at the time (Hendrix opened for them, Neil Young and Steven Stills played with them, Lennon was a huge fan) their credibility today is non-existent. Probably have no chance with voters despite their actual credentials.
Qualifications: 7
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The Moody Blues |
Long lasting career with some fairly high peaks along the way, from their first Top Ten hit in 1965, through their strongest stretch in the early 70's when they scored consistently with singles and albums, and then another run in the 80's that saw them land some fairly big hits, the fact that they didn't dominate any era outright probably causes them to be slightly forgotten. They seem to epitomize the type of solid, but never spectacular, artists that the Hall will never even think of.
Qualifications: 5
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Motorhead |
Pioneers of speed metal which became a dominant form of the style following the heavier incarnations of the early 70's, gives them a large amount of influence. But relatively little commercial success to speak of and influence in a rock sub genre that is still widely ignored by the Hall voters doesn't make it likely they'll ever be considered let alone inducted, but they would be a daring choice from an establishment not known for making many of them.
Qualifications: 6
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New York Dolls |
A very long shot with only influence as their hole card but if the history of 70's rock is accurately written then the Dolls will have to be mentioned early and often making their exclusion from even outside consideration for the Rock Hall seem strange. They're just the type of band that could find a surge of support in future years because of their uniqueness, but more of the earlier pioneering punk bands would have to get in first.
Qualifications: 5
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Ted Nugent |
Nugent's credentials are mostly in the realm of guitar-god idolatry, breaking through with the much admired Amboy Dukes in the late 60's. They didn't last long though so Nugent's subsequent solo career will probably give him his only shot at recognition, as he's one of the first heavy-metal guitarists of note which should mean something. But considering the Hall's omission of many bigger metal acts, along with Nugent's outspoken politics that probably run counter to most voters views, it doesn't look good for the Motor City Madman.
Qualifications: 5
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The Ohio Players |
If the sampling of their work can keep their name alive the Ohio Players might eventually get looked at. That it hasn't happened yet though isn't a good omen. One of the premiere 70's funk bands with some notoriously steamy album covers to boot, they began way back in the early 60's backing the Falcons and they managed to thrive well into the disco era, scoring two #1 hits, but in the years since they've had little mainstream recognition for their accomplishments.
Qualifications: 5
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"Little Esther" Phillips |
From her start as the front-woman for Johnny Otis on three huge #1 R&B hits when she was still just 14 in 1950 to her first comeback in 1962 with the country-soul weeper "Release Me", and finally to her widely acclaimed jazzy blues albums in the 70's Phillips was the ultimate survivor and a great vocal interpreter. Probably has a slightly greater chance as an Early Influence, since it has less competition, but worth a look either way. She had a few early nominations (1986 & 1987), but hasn't gotten mentioned since.
Qualifications: 6
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The Pointer Sisters |
As singles artists the Pointer Sisters are massively successful, while stylistically they covered as much ground as any female vocal group you can name over multiple decades. Considering the Hall seems to seek out viable female candidates to balance the scales in the always male-dominated rock scene, the fact that Pointer Sisters haven't gotten considered yet is stunning. Now that the early 80's are becoming eligible the group, which had its peak years during that era, should be strongly considered in the near future.
Qualifications: 7
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Procol Harum |
Considered by many to be the first progressive rock artists, the lack of inductees in that area doesn't bode well for their chances as the innovators of the style. However, with "A Whiter Shade of Pale" they do have that one monumental mainstream radio hit single that often makes the difference, something many prog stars lack, though past that their catalog remains unfamiliar to most. Guitarist Robin Trower's reputation is their ace in the hole maybe but they're still a long shot.
Qualifications: 5
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Paul Revere & The Raiders |
A prolific 60's group that hasn't been elevated to immortal status is a rare find but here's one that has been wrongly ignored. Maybe it was their silly Revolutionary War-era costumes that has people passing them off as irrelevant but the Raiders were both popular and groundbreaking (the first band to have a hit with an openly anti-drug song for instance). Their stuff is hardly heard anymore, their image seems to run against the perceived grain of the 60's, but their career was far deeper than many of their more praised contemporaries.
Qualifications: 6
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Rufus featuring Chaka Khan |
Another group that had both success and critical respect in their day but have been widely ignored or pushed aside in the memory bank since. Khan may still hold some praise for being one of the best singers of her generation, which gives her solo career a shot in the future, but the whole group is deserving. It seems the fractured 70's "demographic" based audience seems to be doing them in, just as its done in many others of that era, all of whom were apparently listening to different stations and none had their ear tuned to it all to offer a consensus opinion.
Qualifications: 7
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Rush |
One of rock's most respected groups instrumentally with a long career that may have resulted in few hits but a ton of albums sold and yet they have flown virtually under the radar of all but the group's legions of hardcore fans. The Hall has shown they despise giving credit to such artists, maybe feeling they'll be admitting they missed something initially by doing so after ignoring them when current, so Rush's chances may not be very good, despite worthy credentials. If the progressive rock arena is going to get an inductee, which it deserves, then Rush is probably its best chance.
Qualifications: 7
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Mitch Ryder & The Detroit Wheels |
Popular mid-60's garage-band styled group, but with a little more skill, who faded fast when Ryder went in a different direction than the one which catapulted them to stardom. Unfortunately their niche of covering past hits in medley fashion rendered them somewhat repetitive and without much innovative musical impact, but the band itself (John Badanjek on drums and Jim McCarty on guitar in particular) were as good as it got in that decade. Others from their era still not in are more deserving, so they're on the outside of the track coming down the turn.
Qualifications: 5
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Sam The Sham & The Pharaohs |
The kings of wild frat rock they've been written off by critics as repetitive party animals with two enduring hits ("Wooly Bully" & "Lil Red Riding Hood") to their credit and nothing more of note, despite a handful of other decent sized hits. In truth they were far more versatile than believed and were the perfect examples of the trashy rock 'n' roll mindset that is celebrated even today. The 60's still hold an allure to voters, something which might boost their chances slightly, but they probably will remain in with the out crowd anyway and not quite cut it.
Qualifications: 5
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Shirley & Lee |
If the New Orleans disaster didn't get them a sympathetic nomination then maybe there's no chance for them, which is a shame. They have one transcendent song in "Let The Good Times Roll" to keep their names out there but the rest of their output was consistently good, popular and innovative, as they were the first artists in rock to have an ongoing story told via subsequent releases - a pre-album era "concept singles/rock opera" evolution. Probably not well known enough today to get much support but definitely deserving of consideration.
Qualifications: 6
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Sonny & Cher |
The perception of them all but assures they'll never even be nominated, for while the Hall voters love wide name recognition for their candidates they are petrified of nominating anyone who could be used to make fun of those voters too. Yet Sonny & Cher were major forces in the mid to late 60's, helping usher in the folk-rock boom with "I Got You Babe", kicking off a string of hits before sliding into television by the 70's. Bono was also a prolific writer/producer stretching back to the late 50's for a wide array of artists. With Sonny's death ending any chance of a memorable induction night speech together they probably have no shot at all.
Qualifications: 5
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The Spinners |
Numerous hits and a position as one of the top groups of the 70's hasn't resulted in much respect from the voters, who view the Gamble-Huff production teams as the real stars without giving credit to the singers who carried it off. Public support among fellow black vocal group artists who faced a similar lack of respect themselves before getting in after multiple tries might get them some attention from the voting body, but it still seems this is an area the Hall is lax in addressing.
Qualifications: 6
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Ringo Starr |
All three other Beatles have made the Hall for their solo careers and so Ringo is the conspicuous absentee in that regard. He actually churned out as many Top Ten hits in the 70's (seven) as Lennon (4) and Harrison (3) combined, two of his which made #1, which is the same amount as John had in his entire solo career, so it's not as if Starr doesn't have some legitimate claim to getting a nod. His goofy image might not help his chances but don't ever underestimate voters love for anything Beatle-related.
Qualifications: 5
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Steppenwolf |
Though relatively short lived with just a few major hits their forays into the emerging harder rock sounds of the late 60's along with the introduction to music of the words "heavy metal thunder" make them outside contenders for induction. Considering the voting body's occasional obsession with one immortal song, the fact that Steppenwolf has that in "Born To Be Wild", along with a near-immortal follow up, "Magic Carpet Ride", might get them more support than their accomplishments warrant.
Qualifications: 5
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Billy Stewart |
Unlike other artists who achieved success and then died far too young there's been no large cult that's grown around Billy Stewart, even though he's deserving of some lasting acknowledgment for his utterly unique singing style, superb voice and beautiful song craftsmanship. His drastic reworking of "Summertime" was as audacious as anything an artist of that time had ever tried, and being discovered by Bo Diddley doesn't exactly hurt his credentials. A lack of modern familiarity, despite two epic soul ballads, probably prevents him from being widely considered.
Qualifications: 5
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The Stray Cats |
Usually revival stylists are never critically respected, even if they briefly recapture the public's imagination by breathing new life into a long forgotten sound, but The Stray Cats were the exception to the rule, bringing back rockabilly to the masses, and in fact scoring bigger with it as a whole than any original rockabilly artist. In Brian Setzer they have one of the most respected guitarists of his era and they manage to appeal to people who remember the original style from the 50's and those who loved the Cats in the 80's. A better bet than might first appear.
Qualifications: 5
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