This group includes artists from the pop, alternative, new wave, funk, hip-hop, disco and progressive rock genres. Four previously-nominated artists and one prior Rock Hall Contender appear in this installment.
#20: Cher
Eligible Since 1991
Never Nominated
Essential Songs: “Bang Bang (My Baby Shot Me Down)” (1966), “Gypsys, Tramps & Thieves” (1971), “Half-Breed” (1973), “If I Could Turn Back Time” (1989), “Just Like Jesse James” (1989), “Believe” (1998)
There are few people with a mononymous name as famous as Cher. For more than half-century, she has entertained audiences with her multi-talented skills as an actress in film, television and theatre productions and, of course, as a singer. She started as a protégé for Sonny Bono and formed a highly-successful husband-and-wife duo performing folk-rock and pop classics such as “I Got You Babe” and “The Beat Goes On.” Around this time, Cher also branched out as a solo artist, with Bono as her producer, that led to several top-40 hits. Perceived as uncool even during the peak of their popularity, they would create and star in a highly-successful television variety special. She divorced Bono in 1975, but Cher refused to stay in his shadow and took ownership of her career. It’s unfair to critique Cher when she didn’t always have creative control over music and sometimes she didn’t even like the songs she sang. She had many ups and downs but she somehow remains relevant. She reinvented her image and sound so much that she was able to adapt to whatever style, genre or era needed to survive. She’s truly one of rock and roll’s great chameleons. She’s the only artist to have a number-one single in six consecutive decades on a Billboard chart. This is an amazing feat that shows her resilience as a performer. It’s no fluke she became an icon and such longevity requires a high level of talent and intelligence and Cher definitely has that in spades. Cher’s detractors often accuse her of being more a follower than an influencer and perhaps there’s some truth to that. But Cher is an iconoclastic who challenged the status quo in an industry that wanted to keep her down. Her flamboyant outfits, tough persona and big hair made her one of the biggest gay icons in history and inspired countless drag queens. Cher simply transcends time and has audiences from all walk of time across different generations. One of the world’s biggest touring attractions, Cher has electrified audiences for decades and sold over 100 million records worldwide. She’s won virtually every award imaginable and she’s only a Tony away from becoming a member of the prestigious EGOT recipients. She did remarkably well on the Rock Hall’s museum kiosk fan vote in 2019, the only woman in the top eight that year, and that alone should be a sign for a long overdue Rock Hall nomination. She has been critical of the Hall in the past and probably rightfully so. Honestly, how do you forget someone as important and iconic as Cher? It’s ridiculous she’s still not inducted. Nile Rodgers, who knows a thing or two about Rock Hall exclusions, said this in a 2019 interview: “But in our business, you can perform at Cher’s level and not get in the Hall of Fame. It doesn’t make any sense!” Indeed Nile, it sure doesn’t. But to paraphrase a line from Cher’s hit “Believe,” maybe she’s too good for the Rock Hall.
#19: Beck
Eligible Since 2019
Never Nominated
Essential Songs: “Loser” (1993), “Devils Haircut” (1996), “The New Pollution” (1996), “Where It’s At” (1996), “Lost Cause” (2002), “Blue Moon” (2014)
Beck is one of modern alternative rock’s greatest talents who is irrefutably creative and uniquely brilliant. Given both his parents were involved in the art world (his father was an artist and his mother was a regular at Andy Warhol’s factory), Beck’s restless artistic vision was present long before he pursued a musical career. Debuting at the height of the alternative rock boom in the early 1990s, Beck drew inspiration from wide-ranging genres including folk, rock, rap, country and electronica. When “Loser” became a top-ten pop smash and an MTV staple in 1994, he was considered one of the forefront Generation X figures who wrote the definitive “slacker” anthem for the decade. But Beck worked hard to shed that image and prove he was no one-hit wonder. But the release of Odelay (1996) proved Beck was not flash in the pan as it proved to be a critical and commercial smash (going double-platinum). He would continue to create eclectic and experimental music while maintaining a mainstream audience. There are a few things in Beck’s favor to receive a Rock Hall nomination in the near future. He’s loved by the critics and he’s held in the same echelon as any major alternative rock artist of his time. David Fricke, who sits on the nominating committee, wrote a glowing 5-star review for Sea Change (2002), often considered Beck’s best album, and those are rarely handed out during an album’s initial release. Both Odeley (1996) and Sea Change have appeared on Rolling Stone’s 500 Greatest Albums list (only the former has appeared in all 3 versions). Beck has won 7 Grammys including an Album of the Year win for Morning Phase in 2015 (where he (in)famously defeated Beyoncé). He’s still relevant and making groundbreaking music almost three decades into his legendary career. He, honestly, should’ve been nominated in his year of eligibility two years ago but was passed over. Something that’s often looked over is that he’s very well-connected in the music industry as he has collaborated and/or produced with several high-profile musicians (e.g., Lady Gaga, White Stripes, Childish Gambino). He appeared at the 2015 ceremony where he performed a terrific rendition of Lou Reed’s “Satellite of Love,” so he should be on their radar. Amanda Petrusich, another nominating committee member, recently wrote a lengthy retrospective of Beck’s career that could easily be used to use as the bio sent to the voting body in any given year. Given how selective the nominating committee has been honoring 90s-era artists, it’s hard to know when Beck appears on a ballot but he should be a top priority. Few artists have been as acclaimed, prolific and adventurous as Beck.
#18: The Spinners
Eligible Since 1987
Nominated in 2012, 2015, 2016
Essential Songs: “It’s a Shame” (1970), “Could It Be I’m Falling in Love” (1972), “I’ll Be Around” (1972), “One of a Kind (Love Affair)” (1973), “Games People Play” (1975), “The Rubberband Man” (1976)
The Spinners are one of the greatest and most popular soul artists of the 1970s who still needs to be inducted into the Rock & Roll Hall of Fame. They initially started at Motown where they experienced limited commercial success, scoring only two top-40 hits, and working more behind-the-scenes for the pioneering Detroit label. They were never a priority for Motown as they kept changing their group name (sometimes referred to as The Detroit Spinners and Motown Spinners) and the competition amongst labelmates was stiff. Stevie Wonder even wrote songs for them but nothing ever prospered for them. Aretha Franklin, a friend of the group, suggested they finish their time at Motown and they signed with her label Atlantic Records in 1972. With the legendary songwriter-producer Thom Bell, The Spinners became broke through with the iconic hit “I’ll Be Around” (1972). It took over a decade for The Spinners but they became one of the most reliable hitmakers on both the pop and soul charts. Their partnership with Bell remains one of the greatest artist-producer relationships in the history of rock and roll. With so many classics under their belt, they one of the top black vocal groups of the 1970s. Always known as an electrifying live act, The Spinners remained a staple on the touring circuit for decades. Henry Fambrough, the group’s only surviving member, still toured at the age of 82. Given everything mentioned above, The Spinners should’ve been a shoo-in for induction years ago. The Rock Hall used to regularly induct soul acts left and right, but that has largely stopped in the last decade or so for some reason. Perhaps shifting demographics amongst the voting body has played a big factor but it’s puzzling nevertheless. As this project demonstrates, there’s plenty of worthy Rock Hall candidates from the R&B/Soul genre still missing and The Spinners are certainty at the top of the most inexcusable omissions. Along with 2005 inductees The O’Jays, The Spinners exemplified the Philadelphia Sound thanks to their smooth vocals, socially-conscious lyrics and luscious (almost orchestral) instrumentations. If The O’Jays are in, then there’s definitely room for The Spinners. When Cliff Burnstein, Rush and Metallica’s manager, first joined the Rock Hall’s nominating committee in 2011, the first artist he put forth was The Spinners and they swiftly got their first nomination that year. Although they received two additional nominees years later, they are still not selected as inductees. As long as allies such as Burnstein sit on the committee, The Spinners have a decent shot to receive another nomination. Elton John, Elvis Costello, David Bowie and Steve Miller have all sung the praises of The Spinners over the years and those alone should be endorsements that only strengthens their Rock Hall candidacy. It’s a shame someone like Steven Van Zandt thinks of their music as “mindless, emotionless, meaningless crap.” Don’t worry, Miami Steve: The Spinners will be around for another opportunity for induction into the Rock Hall whether you like it or not.
#17: Sonic Youth
Eligible Since 2008
Never Nominated
Essential Songs: “Schizophrenia” (1987), “’Cross the Breeze” (1988), “Teen Age Riot” (1988), “Dirty Boots” (1990), “Kool Thing” (1990), “Bull in the Heather” (1994)
The first time I heard of Sonic Youth was when they appeared on the “Homerpalooza” episode of The Simpsons. Stealing watermelon from Peter Frampton’s cooler at a Lollapalooza concert, Sonic Youth hilariously satirized the greed of the music industry when Kim Gordon quipped “it’s not about freaks, it’s about music and advertising and youth-oriented product positioning.” They even played a noise-filled rendition of the show’s closing credits. It proved they didn’t take themselves too seriously despite their status as one of the coolest bands of their time. But as admired and acclaimed as Sonic Youth were in their prime, they never really broke out into the mainstream—nor did they want that to happen. Emerging from the New York underground scene after punk fizzled in the late 1970s, Sonic Youth became one of alternative rock’s forefathers whose experimental tendencies led to them influencing so many bands and genres in its wake. They were inspired by the city’s “no wave” movement that borrowed heavily from its avant-garde and experimental sounds and its spoken-word poetics. Led by the then husband-and-wife Kim Gordon and Thurston Moore, they essentially stripped away the traditional elements of rock and roll through innovations in dissonance, alternative tunings and feedback. Sonic Youth redefined noise in rock and their DIY experiments proved to be revolutionary. They cast a large shadow on the alternative rock scene that resulted in some of the era’s most important records. They maintained a large cult following, became wildly prolific and basically followed their pathway to superstar. Heck, they even enjoyed some success alongside bands they influenced (e.g., Nirvana, Beck, My Bloody Valentine) without comprising their artistic vision. They’re the epitome of hipster chic and remained stalwartly independent in their legendary three-decade career. Daydream Nation (1988), often considered their magnum opus, was added to the Library of Congress’ National Recording Registry in 2005—one of the first 100 or so recordings selected for preservation in its existence. The album is also ranked #171 on Rolling Stone’s 500 Greatest Albums list (2020) and has appeared on all three versions of the list. Their major label debut Goo (1990) (#358) is also ranked #358 on the latest update. Kim Gordon served as one of the singers for the female-fronted Nirvana tribute at the 2014 ceremony and the late Kurt Cobain was a huge fan of Sonic Youth (even listing Daydream Nation as one of his 50 favorite albums). When asked in an interview, Gordon doesn’t believe they’ll get inducted due to “not selling a ton of records.” But their vital importance to the Indie and alternative rock scenes is undeniable. They followed their path to stardom in the punkiest way imaginable and their terms and there’s something admirable about that. It’s also easy to trace Gordon’s influence on the riot grrrl movement on artists such as Sleater-Kinney and Bikini Kill. One of the two frontwomen of those bands would be excellent choices to induct Sonic Youth. And remember that Questlove wants them inducted, so expect a nomination down the line.
#16: Eurythmics
Eligible Since 2007
Nominated in 2018
Essential Songs: “Love is a Stranger” (1982), “Sweet Dreams (Are Made of This)” (1983), “Here Comes the Rain Again” (1984), “Sisters Are Doin’ It for Themselves” (1985), “Would I Lie to You?” (1985), “Missionary Man” (1987)
The Eurythmics challenged and redefined the conventions of 80s pop music thanks to their provocative gender-bending visual components and catchy hook-driven lyrics played over synthesized beats. They became not only one of the definitive artists of the new wave era, but also sustained commercial success much longer than most of their contemporaries. After the breakup of the post-punk band The Tourists in 1980, Annie Lennox and Dave Stewart—who were a couple at the time—formed a duo and became increasingly mystified by the synthesizer which became their primary instrument. While their debut album In the Garden (1981) flopped, their sophomore effort Sweet Dreams (Are Made of This) (1983) and its title track became their commercial breakthrough. Thanks in large to the song’s unforgettable music video featuring an orange-haired Lennox in all her androgynous glory, they exploded on the charts, dominated MTV and Lennox quickly became a pop culture icon. Their gender-bending lyrics perfectly captured their envelope-pushing music videos (watch “Who’s That Girl? as a prime example). Lennox’s soulful voice is both recognizable and distinctive. She even collaborated with the Aretha Franklin on the hit “Sisters Are Doin’ It for Themselves,” a passing of the torch moment from the “Queen of Soul” herself,” and it cemented Lennox’s status as a feminist icon. Experimenters in every sense of the word, they continued to evolve their sound even if that meant their popularity slightly declined in the U.S. by the end of the decade. When they split in 1990, Lennox embarked on a successful solo career and Stewart continued working as a highly sought-after producer and songwriter. They reunited a decade later to create one more studio album and performed at a few gigs since then. The Eurythmics are essential to the story of rock music in the 1980s and will likely receive a Rock Hall induction in the next few years. They were inducted into the Songwriters Hall of Fame last year, so they have a bit of momentum to return back to the ballot. Next time they appear on a ballot, it’s likely they’ll get inducted. They are so well-connected and well-respected in the music industry and have worked with so many musicians. Even on a classic rock-heavy ballot back in 2017, they finished in seventh place which was a very impressive showing. They constantly promoted their nomination on social media and even created videos thanking their fans for their support. Now that their contemporaries The Cure and Depeche Mode are now in, that clears the path for their inevitable return and likely induction in the next few years. Something worth mentioning is Rolling Stone’s Andy Greene believes “this gross injustice needs to be addressed very soon” and that’s a ringing endorsement that almost guarantees their return given the Hall’s association with the publication. And judging by their enthusiastic reaction to their nomination, they’ll show up and perform their hits—much to the delight of HBO executives.
#15: Jethro Tull
Eligible Since 1994
Never Nominated
Essential Songs: “Living in the Past” (1969), “Aqualung” (1971), “Cross Eyed Mary” (1971), “Locomotive Breath” (1971), “Thick as a Brick” (1972), “Bungle in the Jungle” (1974)
There’s never been a rock band quite like Jethro Tull. They are one of the definitive progressive rock bands who helped popularize the genre to a worldwide audience and captivated audiences for over half-century with their highly-literate lyrics, top-notch musicianship and over-the-top live performances. Named after the 18th century agriculturist who invented the seeder, the band took its name after their history-obsessed manager gave it to them and it stuck for whatever reason. They were initially more of a blues-rock band but sought inspiration from non-rock genres such as classical, jazz and folk to develop their unique and totally original sound. Ian Anderson, the singer-songwriter at the helm, continuously experimented and decided to make one of the most bizarre decisions in rock history when he traded in his guitar for a flute. Claiming he’d never be “as good as Clapton,” Anderson kept the guitar but incorporated the unconventional rock instrument into their music and really helped them stand out from their contemporaries. The flute is as important as the guitar in Jethro Tull’s universe and Anderson is unquestionably rock’s greatest flutist. Akin to their namesake, they planted the seeds for progressive rock in the late 1960s and became one of the first to achieve substantial commercial success in the U.S. Aqualung (1971) and Thick as a Brick (1972) are among the best-selling albums of the early 1970s, arguably one of the most competitive in rock history, and became definitive progressive rock masterworks. They continued to release new music and restlessly experimented with new sounds and styles with varying degrees of success. They have over a dozen gold and platinum albums in the U.S. alone and sales of over 60 million worldwide. That’s astonishingly consistent for a band that writes highly-convoluted lyrics with frequent references to medieval history and break out into endless instrumental solos. But they were rarely liked by mainstream critics who often downplayed their importance. But their naysayers are still living in the past as Jethro Tull has been hugely influential to many latter-day hard rock, metal and progressive rock artists. It’s no wonder they’ve never received a Rock Hall nomination despite nearly three decades of eligibility. The Rock Hall was reluctant to induct prog rockers for the longest time but they have been kind to the genre in the last decade Genesis, Rush, Yes and Moody Blues all prospered with voters, most of them even getting elected the first time nominated, and there’s little doubt Jethro Tull wouldn’t get the same treatment. Getting them on the ballot is the tricky part. Their most popular album Aqualung turns 50 this year and it might be the necessary reminder that Jethro Tull still isn’t in the Rock Hall. I believe that’s what sealed the deal for The Moody Blues, whose magnum opus Days of Future Passed also turned 50 the same year they were nominated, and Jethro Tull is honestly one of the few classic rock-era acts that needs to be inducted. On top of that, Anderson’s recent health issues should make Jethro Tull an urgent matter for the nominating committee.
For more information on Jethro Tull, please check out this episode of Hall Watchers discussing this legendary prog rock band’s legacy.
#14: Chic
Eligible Since 2003
Nominated in 2003, 2006, 2007, 2008, 2009, 2011, 2013, 2014, 2015, 2016, 2017
Essential Songs: “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)” (1977), “Everybody Dance” (1977), “I Want Your Love” (1978), “Le Freak” (1978), “Good Times” (1979), “Rebels We Are” (1980)
The brainchild of musical geniuses Bernard Edwards and Nile Rodgers, Chic is unquestionably the definitive disco band whose songs have transcended time and influenced countless artists from all aspects of rock and roll. Edwards and Rodgers worked together in various musical projects throughout the New York City music scene of the 1970s to minimal success. After seeing a Roxy Music show in 1976, they borrowed the musical and visual components of glam rock and combined those influences into a minimalist funk sound. They recruited a group of friends and collaborators that completed the band’s original lineup. Disco was already firmly established by the time Chic came onto the scene. Chic avoided disco’s excessive tendencies (that often resulted in overproduced messes) and created one of the most accessible and easily recognizable sounds of the late 70s. They were famously turned down by every major label but were signed to Atlantic Records after their demo of “Dance, Dance, Dance” (1977) was constantly played at several New York City nightclubs. The song became an instant top-ten smash and led to a two-year reign at the top for these disco pioneers. Songs like “Le Freak” and “Good Times” became cornerstones not only for the disco era, but defined the decade. Their music is simply impossible to escape and they created some of the most influential and popular records in rock history. “Le Freak” was the best-selling single in Atlantic Record history for decades and later added to the Library of Congress’ National Recording Registry in 2018. The anti-disco attacks essentially stalled Chic’s career at the turn of the 1980s, but Edwards and Rodgers were highly sought after as producers for major artists such as Diana Ross, Madonna, David Bowie and Duran Duran. There’s little denying Chic’s impact on popular music over the last four decades. Just for their disco-defining anthem “Good Times” they deserve induction. The song’s bassline is one of the most sampled in history and gave Rock Hall inductees Queen and Blondie huge hits. It also famously served the basis for the Sugarhill Gang’s iconic hit “Rapper’s Delight,” arguably the first hip-hop song to reach a mass audience. They’ve been nominated a record 11(!) times for the Rock Hall and still cannot get enough votes for induction—apparently sometimes very close some years. If an artist is that close to induction, then the nominating committee should override and allow that artist to be selected and move on to someone else. By not doing this, they’ve created a backlog—especially 70s-era R&B that Chic was a part of—that makes the process so frustrating. They gave Rodgers, sans Edwards, a backdoor induction in the Musical Excellence category for the class of 2017 but even he seemed “ambivalent”—rightfully so—about it. And yes, his legendary career as a producer should be honored but that doesn’t change the fact Chic is still not inducted into the Rock Hall. The clock keeps turning, so please don’t hesitate by putting these disco icons back on the ballot.
#13: The Smashing Pumpkins
Eligible Since 2015
Never Nominated
Essential Songs: “Cherub Rock” (1993), “Disarm” (1993), “Today” (1993), “1979” (1995), “Bullet with Butterfly Wings” (1995), “Tonight, Tonight” (1995)
When I was a film studies instructor years ago, I screened Georges Méliès’ A Trip to the Moon (1902), one of the earliest examples of narrative storytelling in cinema, in my intro to film history class. One of my students thought the film looked awfully familiar to a music video he saw and he was right: it served as the inspiration for the Smashing Pumpkins’ iconic video “Tonight, Tonight” and swept the 1996 MTV Video Music Awards. I showed them this music video and it befuddled my students to think a nearly-century old film would inspire a hugely popular rock band. I mean, they did name their debut album after silent actress Lillian Gish, so it’s not that much of a stretch. But the Smashing Pumpkins are arguably the most popular rock band of the mid-to-late 1990s. Formed in late 80s Chicago, Billy Corgan became the mastermind behind the band and their primary lyricist. He wrote poetic songs full of darkness, angst, and emotions that became arena anthems. He doesn’t get enough credit as one of his generation’s great songwriters who can transport listeners to nightmarish landscapes that are hauntingly beautiful. “The world is a vampire,” the opening line for the Smashing Pumpkins 1995 hit “Bullet with Butterfly Wings,” essentially sums up his bleak worldview. Unlike their contemporaries, the Smashing Pumpkins weren’t really influenced by punk and were instead influenced by progressive rock, dream pop, psychedelia and metal. The Smashing Pumpkins’ melodramatic production techniques added a sense of intrigue to the band’s polished yet hard-rocking sound. Their debut album Gish (1991) was overshadowed by grunge but it was their sophomore follow-up Siamese Dream (1993) that solidified their status as one of the great rock bands of the 1990s. Mellon Collie and the Infinite Sadness (1995), a diamond-certified seller, cemented their legacy but tensions amongst the band made them call it quits in 2000. Corgan explored different projects and still tours as the only original member of the band. They should be shoo-ins for induction into the Rock Hall yet haven’t received a nomination since becoming eligible nearly five years ago. Comedian and fellow Chicagoan John Mulaney has mentioned their absence is “ridiculous” and there’s “an anti-Chicago bias.” Maybe he has a point, look at how long it took the band Chicago to get a nomination. Even Corgan himself said “I don’t envision it happening,” which is shocking given the band’s overwhelming popularity and influence on modern-day bands (e.g., My Chemical Romance, Panic! At the Disco). Critics always were a little reserved to praise them, but they have earned some accolades including Siamese Dream (#341) appearing on Rolling Stone’s latest update of their 500 Greatest Albums list last year. Corgan’s famously fractured relationships with ex-band members will likely result in none of them showing up their ceremony. Corgan inducted Pink Floyd back in 1996, so at least there’s some existing Rock Hall connection despite his reservations about the institution. And Corgan’s polarizing personality is not likely winning him any favors for a nomination. But make no mistake, they will someday get inducted into the Rock Hall and when that happens, that will be the greatest day for this iconic 90s band.
#12: Rufus featuring Chaka Khan
Eligible Since 1999
Nominated in 2012, 2018, 2019, 2020
Essential Songs: “Tell Me Something Good” (1974), “You Got the Love” (1974), “Once You Get Started” (1975), “Sweet Thing” (1975), “Do You Love What You Feel” (1979), “Ain’t Nobody” (1983)
One of the essential funk bands of the 1970s, Rufus served as the starting point for the career of the legendary Chaka Khan. The story of Rufus begins with the demise of the American Breed, a 1960s rock band who scored the top-five pop hit “Bend Me, Shape Me,” in 1970. Some of its members decided to start another band that ultimately became Rufus and played live shows in their native Chicago. One night in 1972, the members saw a then 19-year-old Chaka Khan perform at a venue and quickly became the band’s lead singer. She was the extra ingredient needed to catapult the band to stardom. Rufus’ lineup, consisting of both black and white members, was revolutionary as they were one of the few multiracial rock bands of their time. They signed to ABC Records in 1973 where they released their self-titled debut album. It didn’t make any dents on the charts, but they found a famous fan in Steve Wonder who penned their breakthrough hit “Tell Me Something Good.” The song’s overwhelming success turned Khan into an overnight star and she was officially added to the band’s name. Combining Rufus’ funky instrumentals and Khan’s smooth yet versatile vocals made them a winning combination. The band’s lyrical emphasis on expressing one’s desires and freedoms, especially in the wake of the sexual revolution, is one of the hallmarks of any great rock and roll artist. They would release half-dozen more records by the end of the decade and became mainstays on both the pop and soul charts. Khan also recorded solo material while she was still actively a member of Rufus and became an even bigger household name. They experienced a late career hit with “Ain’t Nobody” (1983) but broke up by the time Khan’s I Feel for You was released the following year. Chaka Khan should already be a Rock Hall inductee and possesses one of the most distinctive and brilliant voices in all of music. Often hailed as the “Queen of Funk,” Khan has been nominated six times over the last nine years: twice solo (2016, 2017) and four times with Rufus. She’s one of the most well-connected people in the music industry to be nominated for the Rock Hall. Collaborating on a ton of projects with several Rock Hall inductees (e.g., Prince, Steve Winwood, Quincy Jones), her omission is shocking with each passing year. Perhaps voters are not as familiar with Rufus’ material, often considered the more critically-acclaimed of her output than her latter solo records that became pop smashes. Either way, she’s the essential missing link between the great soul female soul singers of the 1960s and 1980s already inducted into the Rock Hall. She’s apparently got the support from the majority of the nominating committee but not the voters which is I find so puzzling. Although she’s currently the bridesmaid of Rock Hall nominees, hopefully Khan will receive her flowers and be honored by the institution.
#11: Outkast
Eligible Since 2019
Never Nominated
Essential Songs: “Elevators (Me & You)” (1996), “Da Art of Storytellin’” (1998), “Rosa Parks” (1998), “B.O.B. (Bombs Over Baghdad)” (2000), “Ms. Jackson” (2000), “Hey Ya!” (2003)
Outkast shifted the geographical landscape of hip-hop in the mid-1990s and their hometown Atlanta would become the epicenter for mainstream rap into the new millennium. Big Boi and Andre 3000 met while they were high school students and bonded over their similar music tastes. They pursued a music career as a duo and performed at various venues before signing a deal with the then-new LaFace Records—while they were still teenagers. They worked with producers Organized Noize who relied more on original instrumentations and less on sampling. Influenced heavily by alternative hip-hop artists such as A Tribe Called Quest and De La Soul, Outkast’s lyrics are a mediation on the plights and experiences facing young black men in the modern south. They discussed a hodgepodge of topics ranging from sci-fi fandom to current political and social issues. Up until their arrival, southern rap was rarely given the same respect as their east and west coast contemporaries. When Andre 3000 proclaimed “The south got something to say” at the 1995 Source Awards, it was their battle cry to prove their naysayers wrong and they certainly did. Outkast would become crossover stars and would become one of the most popular and acclaimed artists in music—not just hip-hop. Unlike most of their contemporaries, Outkast’s popularity only grew over time and each of their albums—with the exception of Idlewild (2006)—outsold the next one. That’s over a decade-worth of success that every few artists have achieved regardless of genre. Outkast check every box needed for induction into the Rock Hall and yet they didn’t receive a nomination in their first year of eligibility two years ago. They’re received lots industry recognition over the years including multiple Grammy wins. In fact, they are one of only two hip-hop artists—the other being Lauryn Hill—to win the Grammy for Album of the Year. They recently received a Songwriters Hall of Fame nomination last year. Outkast is also widely respected by critics almost to the point I’d label them critical darlings. Rolling Stone and Pitchfork have sung their praises and they’re one of the most acclaimed artists of the last three decades. Three of their albums appear on the latest update of Rolling Stone’s 500 Greatest Albums list including two placed in the top 100. Now that’s impressive and a good sign for their Rock Hall candidacy. Given how selective the nominating committee has been with hip-hop in recent years (usually only hip-hop nominee per year), this pioneering duo will probably have to wait until Jay-Z and Eminem (both of whom will be newly-eligible in the next two years) are inducted first. That’s a great shame, especially considering Outkast has the necessary critical acclaim and peer recognition to probably get inducted the first time they’re on a ballot. Plus the world needs Outkast to reunite and perform onstage again that leads to more collaborations between the two.
For more information on Outkast, here’s this piece I wrote for the Rock Hall Contenders series last year; in addition, this is the episode where I appeared as a guest discussing Outkast on Hall Watchers.
Who do you think are the final ten artists in this project?
Thoughts? Comments? Let me know in the comments section below and/or on Twitter.
Credit for Photos: Cher, Beck, The Spinners, Sonic Youth, Eurythmics, Jethro Tull, Chic, The Smashing Pumpkins, Rufus featuring Chaka Khan, Outkast