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The Stylistics |
Dominant early 70's run including 13 Top Ten R&B hits in 14 tries (including 12 straight with the other missing by just three spots), 5 of which also cracked the Pop Top Ten and two more in the Pop Top Twenty is damn hard to overlook. But chart success alone aren't their only credentials, in Russell Thompkins Jr. they had one of the most distinctive leads of the 1970's and were among the leading proponents of the vaunted Philly-soul sound that ruled the era. Long overdue for at least a nomination.
Qualifications: 7
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Styx |
Arena-rock staples with some progressive rock touches, Styx were consistently successful on both the singles and album charts without ever garnering much critical attention. Both their progressive beginnings and power ballad later years have the misfortune of being from two areas voters have traditionally despised and considering that artists from the same era with equal or better credentials haven't gotten close to induction any chances for Styx to even be nominated seem to be far off.
Qualifications: 5
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Johnnie Taylor |
Few artists can match the sheer breadth of Taylor's career, from his start as Sam Cooke's replacement in the Soul Stirrers to his jump to bluesy secular material with Stax in the mid-60's before landing smack in the middle of the soul revolution at the label where he wracked up enormous hits, including the cheating classic "Who's Makin' Love". Unlike many in that style he made the transition into the disco scene with the first certified platinum single ever given by the RIAA with "Disco Lady", his fourth #1 hit overall. Today his name recognition in the mainstream is fairly low but his accomplishments should be looked at closer.
Qualifications: 6
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Joe Tex |
Of all of the 60's soul kingdom in rock Tex is the one name who was as consistent, popular and innovative as virtually any, yet who's been left behind in recognition ever since. His track record more than holds up against most from that era who are already in, with more than two dozen hits to his name over 15 years, including 6 that went to either #1 or #2 on the R&B Charts, spanning southern soul to pure funk. A prolific writer and extremely influential performer with the oft-imitated microphone trick as his lasting legacy. Despite multiple nominations he's thus far failed to get in and remains one of the Hall's most inexplicable omissions.
Qualifications: 7
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Carla Thomas |
It was a teenage Carla Thomas who first put Stax records in Memphis on the map with her hit "Gee Whiz" in 1960, a song she'd written in high school. Over the next few years, while attending college much of the time no less, she managed to put over 20 songs on the charts both as a solo artist and in duets with her father Rufus (see below), and finally with some scorching duets with label mate Otis Redding. If class counts for something she'd already be in, either way she still deserves another look.
Qualifications: 6
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Irma Thomas |
The Soul Queen Of New Orleans is still going strong but it is her 60's work that she'll remembered for. She never had too much national success but her songs remain the epitome of expert craftsmanship, and her own composition, "Wish Someone Would Care" is considered a classic. Known by many as the originator of "Time Is On My Side" which the Stones took but couldn't beat in execution (though they trounced her in airplay). It'd be a fittingly ironic touch if Irma got in and Mick and Keith inducted her.
Qualifications: 5
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Rufus Thomas |
In a career spanning from rock itself's birth to his own recent death Thomas was a true ambassador of music, both as a DJ on the legendary Memphis radio station, WDIA, and as a performer for over 50 years. In 1953 he had the first ever hit on Sun Records with "Bear Cat" and a decade later he was back in another new Memphis studio, Stax, where he cut his most famous song, "Walking the Dog". He topped the charts again in the 70's with a series of funky records at the age of 53. One of the true patriarchs of rock 'n' roll and among the most engaging live performers ever.
Qualifications: 6
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Three Dog Night |
In the 50's and early 60's vocal harmony groups were a revered part of rock but by the late 60's and 70's they were often pushed to the side as the guitar began to take a more prominent role in rock's image. White vocal groups in particular were seen as too "pop" by many and Three Dog Night was the most popular among them. That they notched over 20 hits, eleven of which made the Top Ten, would usually be enough for consideration at least, but the style in which they are remembered doesn't make it likely they'll ever be nominated.
Qualifications: 5
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Toots & The Maytals |
Apparently helping to actually create an entire sub genre of rock is not important if that sub genre only has sporadic interest in mainstream white American and British locales. Bob Marley cruised into the Hall of Fame as reggae's iconic figure, and rightly so, while Toots Hibbert appears no closer to induction now than he ever was. He may not have reached quite the same level of recognition as Bob but he was the one who built the steps for anyone in reggae to get up that high to begin with. Reggae demands more representation in the Hall starting with this group.
Qualifications: 7
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The Treacherous Three |
One of the more groundbreaking rap groups to emerge at the dawn of hip-hop. "Whip It" brought Kool Moo Dee's speed rapping to the forefront while "The Body Rock" was one of the first lyrically complex rhyme schemes in hip-hop and introduced the so-called "rock guitar" to rap. While they never attained the chart success of others at the time their influence on the emerging style can't be understated or overlooked.
Qualifications: 5
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Tina Turner |
Already in as half of Ike & Tina, it is widely believed that her solo career didn't begin until the mid-80's, making her not quite eligible to be considered for induction on her own yet. But in truth she released her first solo recordings shortly after splitting with Ike in the mid-70's so she's certainly eligible. Considering her legendary status in rock, the respect she gets from all corners (critics, fans, artists) and the Hall's obsession with recognizable names and powerhouse performers to adorn its stage during the ceremonies, it seems odd that Turner hasn't gotten a second well-deserved induction yet.
Qualifications: 7
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The Turtles |
One of the 60's stable of popular, though not quite legendary, groups The Turtles had a diverse career starting as the surf-rock instrumental group The Crossfires before finding folk-rock as a the Turtles and then becoming one of the more creative bands around for awhile. Their lack of modern recognition and appreciation for their work is certainly keeping them from getting so much as a nomination, as normally the Hall voters never miss a chance to acknowledge a 60's hit making group.
Qualifications: 5
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Junior Walker & The All-Stars |
The one self-contained band at Motown never were considered by the company to be on the same level as their vocal-only acts, but in spite of that they scored a ton of hits, including one of the most familiar of its day, "Shotgun", and were the one of the pre-eminent dance groove oriented bands of the late 60's. Will likely always be overlooked by those who focus only on the upper echelon at Motown but the junior varsity in those years could kick the ass of most other labels varsity squads of artists.
Qualifications: 6
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War |
One of the 70's top funk groups began as backup musicians for Eric Burdon's post-Animals career before going out on their own and scoring immediately with both singles and albums considered to be among the best the style ever produced. They initially seemed to be one of the 70's groups that would be inducted sooner rather than later but they've been eligible now for a decade and are still no closer to entry, leaving you to wonder what the voting body is thinking or if they're thinking at all.
Qualifications: 7
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Johnny "Guitar" Watson |
The most unclassifiable artist of his time, Watson made his early mark with a mind bending rock instrumental "Space Guitar" in 1954. From there he flirted with blues, soul and jazz, all with success, and finally in the 70's emerged again as a funk star. Despite his ever-changing styles Watson scored hits in every decade from the 50's through the 90's. Few guitarists could equal his skill or influence, particularly on Frank Zappa and all of his disciples, and his vocal style was Etta James template for her own performances. A lack of mainstream recognition seems to be keeping Watson from getting the support he deserves.
Qualifications: 6
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Mary Wells |
Motown's first solo superstar wracking up a dozen hits in four years with the label before leaving on the heels of her biggest smash, "My Guy". Wells was one of the key reasons why Motown was able to break out to a wider audience than most black artist-based labels in the 60's and become the juggernaut of the era. Her early death from throat cancer in the 90's refocused attention on her accomplishments after she got a few nominations early on though it wasn't enough to get her inducted to the Hall Of Fame at the time, a mistake that should be corrected.
Qualifications: 7
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Barry White |
Utterly unique soulful sex-balladeer with a run of enormous success in the 70's, a strong track record as a producer, plus a recent early death makes him an appealing candidate. The excessive style in which he recorded the majority of his hits and his connection to disco are drawbacks in many voters mind no doubt but at some point his success and his larger than life image will get him looked at and quite possibly inducted.
Qualifications: 7
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Larry Williams |
One of rock's first bad boys Williams had a short lived but prolific heyday churning out a number of raucous hits along with many equally impressive non-hits many of which the Beatles and Stones later covered. In the mold of fellow Specialty label mate Little Richard the piano pounding Williams later resurfaced in the mid-60's with pal Johnny "Guitar" Watson for some funky soul material. After a career in which he earned more money as a drug dealer and pimp than as a singer, Williams was murdered in 1980 and his recognition as an artist has climbed slowly but steadily ever since.
Qualifications: 6
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Otis Williams & The Charms |
Among the more consistent hit makers on the mid-50's vocal group scene, but their image among hardcore doo wop fans is that of opportunists as they frequently covered other artists records and got the bigger hits with them. That was indeed the case even with their 1954 smash "Hearts Of Stone", which nevertheless was among the most important records in rock's early history, signaling the divide between black and white audiences was coming to an end. The style itself is among the most lastingly respected in rock's history and if they're in need of a recognizable artist from that era, who were very good no matter who's songs they were cutting, even doing country material well, they might slip in.
Qualifications: 5
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Chuck Willis |
One of the few artists to be successful in the early 50's before rock's crossover into white America and to maintain that popularity into late 50's where he ignited the first rock 'n' roll dance craze when his re-working of the blues "C.C. Rider" led to his title of "King Of The Stroll". Equally known for his prolific songwriting ability, penning hits for multiple artists including more than a dozen R&R HOF'ers who have recorded his compositions. In 1958 bleeding ulcers claimed his life at age 30. One of the most multi-talented stars of his era, Willis got nominated each of the first five years of the Hall's existence without making the cut but hasn't been considered since, which is a crime.
Qualifications: 7
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Link Wray |
As the creator of the power chord he's been credited as the father of heavy metal, hard rock and punk, and so Wray has more than enough influence to make it. His own catalog, while highly admired by fans, had only a handful of hits, the most famous of which, "Rumble", broke tons of ground stylistically in 1958. Support for his candidacy among the many artists who took advantage of his innovations would be widespread but they need to convince voters to get him on the ballot first. His recent death sadly makes any recognition posthumous though.
Qualifications: 6
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Yes |
The most durable figureheads for progressive rock style from their late 60's beginnings that saw them gain a foothold in the British rock empire leading to their ascension to stardom in the 70's based almost entirely on album epics, and then in the 80's re-emerging as more radio friendly singles oriented hit makers. Whether or not that track record, along with their vaunted musicianship, will be enough to get them over the hump with prog-shy voters remains to be seen. It hasn't yet.
Qualifications: 6
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Warren Zevon |
His poignant death a few years back might've been expected to give him a leg up on a nomination, though that didn't happen obviously. Still, as many times as the Hall has missed the opportunity to honor someone while alive, they frequently try making up for it after the fact and Zevon still has a widely respected name, enjoys the adoration of other artists and is far more popular with the public than most artists with a quirky style, so it could add up to a ticket sooner or later.
Qualifications: 7
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