ROCK AND ROLL HALL OF FAME CLASS OF 2021
ROCK & ROLL HALL OF FAME ANNOUNCES 2021 INDUCTEES
36th Annual Rock & Roll Hall of Fame Induction Ceremony to take
Place October 30 in Cleveland, Ohio; Tickets on sale in July
CLEVELAND, OH (May 2021) – The Rock & Roll Hall of Fame reveals its 2021 Inductees, celebrating the most diverse list of Inductees in the history of the organization. They are:
- Tina Turner
- Carole King
- The Go-Go’s
- Foo Fighters
- Todd Rundgren
Early Influence Award:
- Charley Patton
- Gil Scott Heron
Musical Excellence Award:
- LL Cool J
- Billy Preston
- Randy Rhoads
Ahmet Ertegun Award:
- Clarence Avant
“This diverse class of talented Inductees reflects the Rock Hall’s ongoing commitment to honor artists whose music created the sound of youth culture”, said John Sykes, Chairman of the Rock & Roll Hall of Fame Foundation. “It will make for an unforgettable live celebration of music in October at this year’s Induction Ceremony in Cleveland.”
To be eligible, artists are required to have released their first record 25 years prior to induction. The Foo Fighters, The Go-Go’s, and JAY-Z were on the ballot for the first time. Dave Grohl (Foo Fighters) will become a two-time Inductee having previously been Inducted with Nirvana in 2014. Other two-time inductees include Carole King, previously inducted with Gerry Goffin in 1990, and Tina Turner, previously inducted with Ike and Tina Turner in 1991.
The 36th Annual Rock & Roll Hall of Fame Induction Ceremony will take place on Saturday, October 30, 2021 at 8 p.m. ET at Rocket Mortgage Fieldhouse in Cleveland, Ohio with a radio simulcast on SiriusXM’s Rock & Roll Hall of Fame Radio channel 310. The Induction Ceremony will air on HBO and be available to stream on HBO Max at a later date.
The Induction categories and criteria for selection:
- Performers: honoring bands and solo artists who, in their careers, have created music whose originality, impact and influence has changed the course of rock & roll.
- Ahmet Ertegun Award : given to non performing industry professionals who, through their dedicated belief and support of artists and their music have had a major influence on the creative development and growth of rock & roll and music that has impacted youth culture.
- Musical Excellence Award : given to artists, musicians, songwriters and producers whose originality and influence creating music have had a dramatic impact on music.
- Early Influence Award : given to a performing artist or group whose music and performance style have directly influenced and helped inspire and evolve rock & roll and music that has impacted youth culture.
To learn more about past recipients, click here.
Ballots were sent to an international voting body of more than 1,200 artists, including current living Inductees, historians and members of the music industry. Factors such as an artist’s musical influence on other artists, length and depth of career and the body of work, innovation and superiority in style and technique are taken into consideration.
Three out of the top five on the “Fans’ Ballot” are being Inducted, including Tina Turner (winning the fan vote), The Go-Go’s, and Foo Fighters. 5 million votes were cast.
The Inductees were announced on Rock Hall’s social channels and live on SiriusXM’s Volume channel and the morning show “Feedback,” hosted by Nik Carter and Lori Majewski, featuring special guest, Joel Peresman, CEO, Rock & Roll Hall of Fame Foundation.
Tickets go on sale to the public and members in July at ticketmaster.com.
Select Rock Hall donors and members get exclusive Induction ticket opportunities. Donate or join by June 30, 2021 to be eligible. Visit rockhall.com/join to learn more.
The Rock & Roll Hall of Fame’s 2021 Inductee exhibit celebrating this year’s class opens at the Museum in Cleveland on July 1. The Museum is open daily with advance tickets required at rockhall.com.
Press can access hi-resolution images, bios for Inductees and submit Media Credential Applications at rockhall.com/press-room.
Rock & Roll Hall of Fame 2021 Inductee Bios
Clarence Avant, the Godfather of Black Music, is cool, savvy, confident, and fearless – someone who makes the impossible possible. He’s served a variety of roles during his illustrious career, including manager, label owner, concert organizer, event producer, political fundraiser, and mentor. Avant is the quintessential impresario, with an uncanny ability to connect people, open doors, and provide opportunities to countless musicians, actors, and politicians. Bill Withers summed up his impact by declaring, “He puts people together.”
Avant’s career began in the 1950s when he served as the manager for Little Willie John and jazz organist Jimmy Smith. In late 1969, he launched Sussex Records, a label that soon achieved a Top Ten hit with Dennis Coffey’s “Scorpio.” The most notable artist on Sussex was Bill Withers, who released his first three records for the label, featuring the hits “Ain’t No Sunshine,” “Lean on Me,” and “Use Me.” In 1971, Avant launched Avant Garde Broadcasting, one of the first Black-owned radio stations in the country.
Always recognizing the power of music, Avant served as executive producer for the 1973 concert film Save the Children. This historic concert was filmed at Rev. Jesse Jackson’s PUSH (People United to Save Humanity) Black Expo and was notably one of the few festivals to feature artists from Motown, Stax, and Atlantic Records. Avant spent much of the 1970s serving as a consultant to major record labels, fighting for more equitable and lucrative deals for their roster of Black artists. Beginning in the 1980s, he became a mentor to the song writing/production teams of Jimmy Jam and Terry Lewis and L.A. Reid and Babyface. He served in a key promotional role for Michael Jackson’s 1987 Bad world tour and eventually became chairman of the board of Motown Records. In a business historically fraught with distrust, Avant has been trusted and respected by all. He has spent a lifetime helping artists understand – and earn – their true value.
Inductee: Clarence Avant
Influences: Joe Glaser, Nat “King” Cole, Quincy Jones
Legacies: Berry Gordy, Don Cornelius, Sean “Diddy” Combs
Foo Fighters carry the torch of rock authenticity with infectious hooks, in-your-face guitar riffs, monster drums, and boundless energy. When Nirvana disbanded in 1994, Dave Grohl had years of original songs ready to go and recorded the self-titled Foo Fighters debut album in one week. Few artists in rock history have recorded every track on an album, from drums to vocals (save for one guitar track), and few drummers have stepped down from the throne into the role of singer-songwriter-bandleader.
Foo Fighters churn pop, prog, metal, punk, and hard rock into a polished – but still raw – version of modern rock. Some consider Foo Fighters a “guitar” band, because over time, they have expanded into a thick wall of guitar sounds, with Grohl playing straightforward chords, Pat Smear adding large atmospheric sounds, and Chris Shiflett crafting melodies that complement the vocals. Others consider them a “drums” band – after all, they do have Dave Grohl and Taylor Hawkins, two hard-hitting monster drummers with a keen sense of musicality and ability to construct the perfect drumbeat for each song’s needs.
Foo Fighters continually reshape their production techniques. They recorded There Is Nothing Left to Lose (1999) as a trio in the basement of Grohl’s Virginia home with no record company to oversee the process or inhibit the flow of creativity. 2005’s In Your Honour became a double album – one filled with the classic, heavy Foo Fighters sound, and one that showed the band’s softer, acoustic, introspective side. They recorded Wasting Light (2011) on analog tape to recapture the feel and sound of tiny imperfections and to track everything “live” – without the slickness of computer-based production. Through these studio innovations, they updated the classic rock values of authenticity and rawness for modern ears.
Foo Fighters have become the go-to rock band of the 21st century, performing two sold-out, back-to-back nights at London’s Wembley Stadium, multiple Grammy award ceremonies, David Letterman’s final Late Show episode, and President Joe Biden’s 2021 inauguration celebration.
“This Is a Call,” Foo Fighters (1995) • “Everlong,” “Enough Space,” The Colour and the Shape (1997) • “Learn to Fly,” There Is Nothing Left to Lose (1999) • “All My Life,” “Times Like These,” One by One (2002) • “Best of You,” “Miracle,” In Your Honor (2005) • “Walk,” Wasting Light (2011) • “Something From Nothing,” Sonic Highways (2014)
Inductees: Dave Grohl, Taylor Hawkins, Rami Jaffee, Nate Mendel, Chris Shiflett, Pat Smear
Influences: Rush, Pixies, Ian McKaye
Legacies: Billie Eilish, Against the Current, Miley Cyrus
As the most successful all-woman rock band of all time, the Go-Go’s performed catchy, well-crafted songs that formed a bridge between the brash urgency of L.A. punk and the dark melodies of new wave pop.
Formed out of the diverse and egalitarian punk scene in Los Angeles in 1978 with Belinda Carlisle on lead vocals and Jane Wiedlin on rhythm guitar and vocals, the core lineup of the band solidified over the next few years with the additions of lead guitarist and keyboardist Charlotte Caffey, drummer Gina Schock, and bassist Kathy Valentine. Known for their raw and energetic live shows, the Go-Go’s circumvented record label sexism and signed with IRS Records in 1981. Their debut album Beauty and the Beat was released later that year and became the first (and, to date, only) album by an all-woman band that played its own instruments and wrote its own songs to top the Billboard albums chart.
Despite a shift toward a more melodic new wave sound, the band’s D.I.Y. punk roots remain evident in hits like “We Got the Beat” and “Our Lips Are Sealed.” The group’s second and third studio albums, Vacation (1982) and Talk Show (1984), furthered their success with the singles “Vacation” and “Head Over Heels.” In heavy rotation on MTV, their songs (primarily composed by Caffey, Wiedlin, and Valentine) had weighty lyrics belied by their sunny melodies and a timelessness that set the band apart from many of their 1980s counterparts.
Though the band broke up in 1985, the Go-Go’s have reunited periodically since 1990 to record and tour. In recent years, the band’s music has been celebrated with the Broadway musical Head Over Heels and chronicled in the Showtime documentary The Go-Go’s (2020). For the documentary’s soundtrack, the band reconvened virtually to record their first new song in 19 years, “Club Zero.” The Go-Go’s influence is seen in countless artists, including Bikini Kill, Green Day, and Nirvana.
“Screaming” (Live, 1979) • “Blades” (Live, 1980) • “We Got the Beat” (Stiff Records single version, 1980) • “Our Lips Are Sealed,” Beauty and the Beat (1981) • “Vacation,” Vacation (1982) • “Head Over Heels,” Talk Show (1984) • “The Whole World Lost Its Head,” Return to the Valley of the Go-Go’s (1994) • “Unforgiven,” God Bless the Go-Go’s (2001) • “Club Zero,” Beatnik Beach Summer (2020)
Inductees: Charlotte Caffey, Belinda Carlisle, Gina Schock, Kathy Valentine, Jane Wiedlin
Influences: Beach Boys, Germs, Buzzcocks
Legacies: Green Day, Nirvana, Bikini Kill
JAY-Z is considered by many to be the greatest rapper alive. His accolades include 14 number one albums (most ever by a solo artist), 22 Grammys (most in hip-hop history), and first rapper inducted into the Songwriters Hall of Fame (2017).
Born Shawn Carter in Brooklyn, JAY-Z’s autobiographical approach to song writing – a balance of braggadocious confidence and comfortable vulnerability – propelled his popularity. His earliest recordings date back to 1986, but it was his ground breaking debut album Reasonable Doubt (1996) that turned heads when it was released on his independent label Roc-A-Fella Records. 2001’s The Blueprint earned the coveted Five-Mic review from The Source, as well as his first Top 10 single “Izzo (H.O.V.A.).” JAY-Z announced a short-lived retirement following the release of The Black Album (2003), which included the Rick Rubin-produced “99 Problems.” In 2004, he became president of Def Jam Records, where he signed Rihanna, Kanye West, and J. Cole. JAY-Z’s next few years included a mash-up album with Linkin Park, the Grammy-winning ode to New York City “Empire State of Mind,” and a chart-topping album with Kanye West. He proved that hip-hop could pack stadiums when his Magna Carta tour sold out in minutes. In 2018, he released a joint album with his wife and fellow megastar Beyoncé, Everything Is Love.
As JAY-Z puts it, “I’m not a businessman, I’m a business, man.” His profound impact extends well beyond music, including fashion, sports ownership, and music streaming, and in 2019, he became hip-hop’s first billionaire. He’s hosted political fundraisers, performed at presidential inaugurations, and has been an outspoken advocate for civil rights. His 2017 song “The Story of O.J.” shined a spotlight on systemic racism and was nominated for three Grammys, including Record of the Year. Throughout it all, JAY-Z has maintained authenticity with hip-hop purists while still achieving incomparable commercial success. Many have tried, but no one has come close to knocking him off his throne.
“Can’t Knock the Hustle,” Reasonable Doubt (1996) • “Where I’m From,” In My Lifetime, Vol. 1 (1997) • “Hard Knock Life,” Vol. 2… Hard Knock Life (1998) • “Big Pimpin’,” Vol 3… Life and Times of S. Carter (1999) • “I Just Wanna Love U (Give It 2 Me)” (with Pharrell Williams), The Dynasty: Roc La Familia (2000) • “Takeover,” “Izzo (H.O.V.A.),” The Blueprint (2001) • “99 Problems,” The Black Album (2003) • “Roc Boys,” American Gangster (2007) • “Empire State of Mind,” The Blueprint 3 (2009) • “Ni**as in Paris” (with Kanye West), Watch the Throne (2011) • “The Story of O.J.,” 4:44 (2017)
Influences: Curtis Mayfield, Queen Latifah, The Notorious B.I.G.
Legacies: Kanye West, J Balvin, Justin Timberlake
After writing the soundtrack of the 1960s, Carole King wove a tapestry of emotion and introspection as a singer-songwriter in the 1970s. Her solo work was a clarion call to generations of female artists and millions of fans – giving them voice and confidence. King has too many accolades to list – six Grammys, the 2013 Library of Congress Gershwin Prize, a 2015 Kennedy Center Honor, and beyond. She is already a one-time Inductee with former husband and songwriting partner Gerry Goffin, with whom she co-wrote numerous iconic songs. Many, like the Shirelles’ “Will You Love Me Tomorrow” – for the first time ever in the music industry – spoke to, and for, young women.
King’s time as a Brill Building-style pop songwriter would be enough to make her a legend, but she was just getting started. With the launch of her solo career, she emerged as a strong, pensive singer-songwriter and Laurel Canyon star. Her sophomore release Tapestry (1971) swept the Grammys. On the Tapestry version of “Will You Love Me Tomorrow,” the danceable rhythms and full production of the girl group sound is replaced by aching piano chords, subdued tempo, and sparse instrumentation. Above this texture, her voice – honest and earthy, simple and beautiful – calls out from the place of a grown woman. The personal style of King’s performance on that track, on new songs such as “Beautiful,” and on subsequent albums like Fantasy (1973) and City Streets (1989), has connected with listeners – particularly women – because it came from a place of unabashed vulnerability.
Carole King’s life is a testament to perseverance and creativity, so much so that Beautiful: The Carole King Musical ran for five years on Broadway, scoring its own Grammy and two Tony awards. Everyone from the Beatles to Lady Gaga has covered her songs, and she defined what a singer-songwriter is for all who followed. King spent her career taking the concerns of women and girls seriously. By singing about her personal desires, heartaches, triumphs, and failures, Carole King gave women a voice and the confidence to change their own lives – and to collectively change our entire world.
“It’s Too Late,” “Beautiful,” “You’ve Got a Friend,” “Will You Love Me Tomorrow,” “(You Make Me Feel Like) A Natural Woman,” Tapestry (1971) • “Sweet Seasons,” Music (1971) • “Corazón,” Fantasy (1973) • “Chains,” Pearls: Songs of Goffin and King (1980) • “City Streets,” City Streets (1989) • “Now and Forever,” Colour of Your Dreams (1993)
Inductee: Carole King
Influences: Rodgers and Hammerstein, The Penguins, Laura Nyro
Legacies: Beatles, Mary J. Blige, Celine Dion
Kraftwerk are the foundation upon which all synthesizer-based rock and electronic dance music is built. Founded in Düsseldorf in 1970 by the band’s two core members, Ralf Hütter and Florian Schneider, the group was part of a new wave of musicians in Germany collectively referred to as “Kosmische Musik” (cosmic music), exploring the intersection of rock & roll and the avant-garde. Their first three albums capture the sound of an experimental proto-punk jam band riffing on Hawkwind and the Velvet Underground, but their fourth album Autobahn (1974) – created with producer Konrad “Conny” Plank – established the beginning of something new. The 22-minute title track combined the influences of the Beach Boys and Karlheinz Stockhausen into an electronic musical odyssey. It also represented a miraculous use of technology through the amalgamation of Moog synthesizers, multitrack recording, and traditional instrumentation. Kraftwerk’s 1977 album Trans-Europe Express completed their transformation into a synthesized quartet, featuring some of the funkiest grooves and vocoder melodies ever put on wax. New York City’s burgeoning hip-hop community quickly latched on to the album, and DJ Afrika Bambaataa based his track “Planet Rock” (1982) on Kraftwerk’s beats.
The following years secured Kraftwerk’s place as both musical innovators and master songwriters. The albums The Man-Machine (1978), Computer World (1981) and Electric Café (1986) established the blueprint for modern electronic music – without them it simply would not exist. Kraftwerk have been sampled widely, from New Order’s use of “Uranium” in their masterpiece “Blue Monday,” to artists as varied as Jay-Z, Sunshine, and Coldplay. The band’s influence can be heard in the synth-pop of Depeche Mode, the electronic-rock integration of U2, the production techniques of Kanye West, and in countless EDM and dubstep artists. Kraftwerk are entirely unique – they have produced Number One chart success with their song “The Model” and were invited to perform at MOMA and the Tate Modern for their contributions to avant-garde art. Kraftwerk have been, and will always be, “Music Non-Stop.”
“Ruckzuck,” Kraftwerk (1970) • “Tanzmusik,” Ralf und Florian (1973) • “Autobahn,” Autobahn (1974) • “Showroom Dummies,” “Trans-Europe Express,” Trans-Europe Express (1977) • “The Robots,” “Neon Lights,” The Man-Machine (1978) • “Pocket Calculator,” “Computer Love,” Computer World (1981) • “Techno Pop,” “Musique Non-Stop,” Electric Café (1986) • “Radioactivity,” The Mix (1991) • “Aéro Dynamik,” “Tour de France,” Tour de France Soundtracks (2003)
Inductees: Karl Bartos, Wolfgang Flür, Ralf Hütter, Florian Schneider
Influences: The Beach Boys, The Velvet Underground, Karlheinz Stockhausen
Legacies: David Bowie, Depeche Mode, Daft Punk
LL COOL J
LL Cool J has been called the Little Richard of hip-hop. Both artists combined youthful exuberance, massive charisma, and incredible musical talent to launch their respective genres of rock & roll to fans around the world. LL was still a teenager when he became the face of Def Jam records – his 1985 Radio was the label’s first album. He ushered in hip-hop’s second wave with hard-hitting singles like “I Need a Beat,” “I Can’t Live Without My Radio,” and “Rock the Bells.” LL’s work with Def Jam paved the way for future label mates Public Enemy, Beastie Boys, and Slick Rick.
Through the 1980s, LL blazed a trail from Queens to the nation, becoming one of the best-selling hip-hop artists of the decade. In 1987, he became the first rapper to top the R&B charts with “I Need Love.” His 1991 Grammy-winning anthem “Mama Said Knock You Out” was a KO heard around the world, while singles “Going Back to Cali,” “Around the Way Girl,” “Hey Lover,” and “Doin’ It” became huge radio hits.
LL’s voice is powerful, his flow intimidating, and his swagger mesmerizing. Michael Jackson, inspired by LL’s “I’m Bad,” recorded “Bad” after meeting him in person. LL is equally comfortable with hardcore battle raps (Eminem calls him one of his biggest influences) as he is with sexy love songs (hence the name Ladies Love Cool James). If you didn’t love LL, you wanted to be LL.
LL Cool J epitomizes the entrepreneurial musician. He leveraged his music career into successful ventures in movies, television, fashion, and fitness. The empires run by Beyoncé, JAY-Z, 50 Cent, and Diddy owe him a debt of gratitude. He didn’t open the door – he smashed it wide open, creating opportunities for anyone who picked up a mic.
“I Need a Beat,” (1984) • “Rock the Bells,” Radio (1985) • “I’m Bad,” “I Need Love,” Bigger and Deffer (1987) • “Going Back to Cali,” (1988) Walking With a Panther (1989) • “Mama Said Knock You Out,” “Around the Way Girl,” Mama Said Knock You Out (1990) • “How I’m Comin’,” 14 Shots to the Dome (1993) • “Hey Lover,” “Doin’ It,” Mr. Smith (1996) • Phenomenon (1997) • “Headsprung,” The DEFinition (2004) • Authentic (2013)
Inductee: LL Cool J
Influences: Grandmaster Flash and the Furious Five, Kurtis Blow, Run-DMC
Legacies: Queen Latifah, Eminem, JAY-Z
Before Jimi Hendrix mastered the guitar, before Chuck Berry pioneered rock & roll, and even before Robert Johnson had strummed a single chord – Charley Patton did it all. Without the Father of the Delta Blues, American popular music as we know it would not exist.
Charley Patton picked up his first guitar at age 7, shortly after moving to Dockery Plantation in Mississippi. As an elder statesman of the blues, he mentored a who’s who of Delta musicians including Son House, Robert Johnson, and Howlin’ Wolf. Patton recorded his first session for Paramount Records in 1929, cutting seminal songs like “Pony Blues,” which the Library of Congress later canonized in the National Recording Registry.
Patton crafted such full textures in his music that his recordings can sound as though three guitarists are performing together – but it was all Patton. The virtuosity of his inimitable guitar technique offered a way to convey on record the energy of his live performances. Patton played his guitar between his legs, shouted to reach the back of crowded juke joints, and harshly beat rhythms on his guitar with songs that sometimes stretched to half an hour.
Patton’s story paints a fuller picture of the myriad influences of Delta performers. His songs capture the pain of field hollers (“Oh Death”), the joy of vaudeville (“A Spoonful Blues”), the humor of ragtime (“Shake It and Break It”), and the righteousness of gospel (“I Shall Not Be Moved”). As a symbol of success and professionalism in his community, Patton’s story debunks the often-told myth of the downtrodden-but-mystically-gifted bluesman.
The world will never know how the blues sounded before musicians like Patton, Ma Rainey, and Blind Lemon Jefferson started recording the music in the 1920s. These artists form the nexus between history and mystery. Patton planted the Delta blues seed that sprouted the endless branches of rock & roll from Chicago blues to the British Invasion, from heavy metal to hip-hop. When music fans search for the true origins of rock & roll and its roots, Charley Patton is about as close as it gets.
“Pony Blues” (1929) • “Mississippi Boweavil Blues” (1929) • “Screamin’ and Hollerin’ the Blues” (1929) • “Down the Dirt Road Blues” (1929) • “Banty Rooster Blues” (1929) • “Tom Rushen Blues” (1929) • “A Spoonful Blues” (1929) • “Shake It and Break It (But Don’t Let It Fall Mama)” (1929) • “Prayer of Death, Part 1” (1929) • “Prayer of Death, Part 2” (1929) • “I’m Goin’ Home” (1929) • “Jesus Is a Dying Bed Maker” (1929) • “High Water Everywhere, Part 1” (1929) • “High Water Everywhere, Part 2” (1929) • “I Shall Not Be Moved” (1929) • “You’re Gonna Need Somebody When You Die” (1930) • “Bird Nest Bound” (1930) • “Stone Pony Blues” (1934) • “34 Blues” (1934) • “Oh Death” (1934)
Inductee: Charley Patton
Influences: Henry Sloan, Earl Harris, Ma Rainey
Legacies: Robert Johnson, Keith Richards, John Fogerty
Session musician. Singer. Songwriter. Touring musician. The Fifth Beatle. Billy Preston blazed a path through the history of rock & roll with the smoking sounds of his B3 organ, the funky rhythms of his clavinet, and the exciting tones of his gospel-inspired vocals and piano. A child prodigy, Billy played organ with Mahalia Jackson, and in 1957 at the age of 10, he appeared on the Nat King Cole Show, performing a duet with Cole – trading vocal parts and organ licks – Preston’s natural talent shining through.
In 1962, Preston joined Little Richard’s touring band, and a year later he performed on Sam Cooke’s Night Beat album. Cooke signed him to his SAR Records label and released the album 16 Yr. Old Soul, which contained the organ powerhouse instrumental “Greazee.” During the late 1960s, his work with George Harrison and the Beatles elevated Preston to a new level of international recognition. The single “Get Back” b/w “Don’t Let Me Down” was credited to “the Beatles with Billy Preston” – an unprecedented honour. He played on the final two Beatles albums, Let It Be and Abbey Road, and joined the band during their final rooftop performance.
Throughout his solo career, Preston wrote and recorded songs that mixed his gospel and soul roots with rock and funk power. “That’s the Way God Planned It” became an international hit and featured the backing band of Eric Clapton, Keith Richards, Ginger Baker, and George Harrison. Preston’s performance of the song stole the show at the “Concert for Bangladesh” in 1971. Throughout the 1970s, he released innovative instrumentals, playing the clavinet through a wah-wah pedal on “Outa-Space” and creating futuristic synthesizer parts on “Space Race.” His soulful voice was featured on the chart-topping hits “Will It Go Round in Circles” and “Nothing From Nothing.” Preston was always in high demand, performing with Ray Charles, the Everly Brothers, the Rolling Stones, Sly and the Family Stone, Elton John, Joni Mitchell, Red Hot Chili Peppers, and countless others. Billy Preston is an essential part of the fabric of rock & roll, the magic ingredient that could take a song from “good” to “legendary.” Even Little Richard was in awe of Preston’s ability, proclaiming, “There is nobody in this world who could play the piano like Billy Preston.”
“Greazee,” 16 Yr. Old Soul (1963) • “Get Back,” “Don’t Let Me Down” (with the Beatles) (1969) • “That’s the Way God Planned It,” That’s the Way God Planned It (1969) • “Outa-Space,” I Wrote a Simple Song (1971) • “Shine a Light” (with the Rolling Stones), Exile on Main St. (1972) • “Will It Go Round in Circles,” Music Is My Life (1972) • “Space Race,” Everybody Likes Some Kind of Music (1973) • “Nothing From Nothing,” “You Are So Beautiful,” The Kids & Me (1974) • “I’m Really Gonna Miss You,” A Whole New Thing (1977) • “With You I’m Born Again” (duet with Syreeta Wright), Late at Night (1979) • “Show Me Your Soul” (with Red Hot Chili Peppers) (1990).
Inductee: Billy Preston
Influences: Mahalia Jackson, Sam Cooke, Louis Jordan
Legacies: Daryl Hall and John Oates, Red Hot Chili Peppers, John Legend
Widely acknowledged as one of the most important and influential guitarists of all time, Randy Rhoads was a dramatic game changer for heavy metal and for generations of guitar players. As a student of classical guitar, Rhoads embodied musical excellence, with remarkable musicianship and a deep commitment to his instrument virtually unparalleled in rock. Incorporating classical elements into his unique signature style, he pioneered a high-speed, technical style of guitar soloing and popularized techniques like two-handed tapping, whammy bar dive bombs, and complex scale patterns that came to define metal in the 1980s and beyond.
After recording two albums with Quiet Riot (the band he cofounded in 1973), Rhoads joined ex-Black Sabbath vocalist Ozzy Osbourne’s new solo band in 1979. In many ways due to Rhoads’ stunning guitar work, Osbourne’s first solo release, Blizzard of Oz (1980), is recognized as one of heavy metal’s greatest albums, and its biggest single, “Crazy Train,” features one of the most recognizable guitar riffs ever played. Both Blizzard of Oz and its superb follow up, Diary of a Madman (1981) – showcasing Rhoads’ astounding talents – are loaded with songs that became instant metal classics.
Just as he was beginning to receive major accolades as a distinguished musician (including 1982’s “Best New Guitarist” honour from Guitar Player magazine), 25-year-old Rhoads was tragically killed in a plane crash on March 19, 1982. When the Osbourne/Rhoads live album, Tribute (1987), was later released, it confirmed the astonishing skill and limitless potential of the young guitarist, ensuring that his status in the music world would reach mythic proportions and that rock music and guitar playing were changed forever.
Quiet Riot: Quiet Riot (1977) • Quiet Riot: Quiet Riot II (1978) • Ozzy Osbourne: “I Don’t Know,” “Crazy Train,” “Suicide Solution,” “Mr. Crowley,” “Dee,” Blizzard of Oz (1980) • Ozzy Osbourne: “Over the Mountain,” “Flying High Again,” “Little Dolls,” “Diary of a Madman,” Diary of a Madman (1981) • Ozzy Osbourne: Tribute (1987) • Quiet Riot: “Laughing Gas,” The Randy Rhoads Years (1993)
Inductee: Randy Rhoads
Influences: Glen Buxton, Mick Ronson, Eddie Van Halen
Legacies: Yngwie Malmsteen, Lita Ford, Tom Morello
A wizard, a true star – Todd Rundgren can do it all. He’s a singer, songwriter, multi-instrumentalist, in-demand producer, engineer, audiophile, technophile – all to critical acclaim. Rundgren’s influence can be felt in many pockets of rock & roll: power pop (“Couldn’t I Just Tell You”), lo-fi (A Wizard, a True Star), music video production (“Time Heals”), overdubbing (A Cappella), and experimental music (No World Order). Where most artists strive to build one audience, Rundgren has built several devoted fanbases around the world.
A Philadelphia native, Rundgren was influenced by the sound of soul, British rock, vocal harmony, and 1960s singer-songwriters. In 1967, he formed power pop group Nazz and honed his chops as a songwriter, but his curiosity led to more. He joined Albert Grossman’s Bearsville Records as a producer and engineer, a decision that quickly paid off. Rundgren earned his first top 20 hit with “We Gotta Get You a Woman” as part of his debut solo effort Runt (1970). His ambitious 1972 double album Something/Anything? thrust him in the spotlight with iconic hits like “I Saw the Light” and “Hello It’s Me.” Always prolific, in the 1970s and 1980s he released 12 solo albums, nine albums with his progressive rock outfit Utopia, and produced groundbreaking albums for the Patti Smith Group (Wave), Meat Loaf (Bat Out of Hell), Grand Funk Railroad (We’re an American Band), and the New York Dolls (New York Dolls). At each turn, his sound evolved: “I never felt pressure that I had to come back and top what I might’ve done before.”
We can hear Todd Rundgren’s influence in everyone from Prince and Daryl Hall and John Oates to Björk and Daft Punk. In 2017, Rundgren released White Knight, which includes collaborations with Trent Reznor and Robyn – further demonstrating the wide-reaching impact of one of rock & roll’s truest renaissance men.
“Open My Eyes,” Nazz (1968) • “We Gotta Get You a Woman,” Runt (1970) • “Hello It’s Me,” “I Saw the Light,” Something/Anything? (1972) • “Just One Victory,” A Wizard/A True Star (1973) • “A Dream Goes on Forever,” Todd (1974) • “Love Is the Answer,” Oops! Wrong Planet (1977) • “Can We Still Be Friends,” Hermit of Mink Hollow (1978) • “Bang the Drum All Day,” The Ever Popular Tortured Artist Effect (1983) • “Time Heals,” The Healing (1983) • “Something to Fall Back On,” A Cappella (1985) • White Knight (2017)
Inductee: Todd Rundgren
Influences: The Beach Boys, Pink Floyd, Laura Nyro
Legacies: Prince, Daryl Hall and John Oates, Tame Impala
Poet, novelist, scholar and musician Gil Scott-Heron was many things during his prolific career but above all, in the words of music critic Nelson George, “he was a teller of uncomfortable truths.” Scott-Heron’s career path was unconventional, mirroring his nonconformist approach to music. His debut album, the spoken-word classic Small Talk at 125th and Lenox (1970), celebrated Scott-Heron’s varied influences: from John Coltrane to Langston Hughes, Otis Redding to Malcolm X, Billie Holiday to the Last Poets. Scott-Heron channeled these influences with his fusion of jazz, blues, soul, and funk, challenging the status quo with biting satire, unapologetic social commentary, and confrontational poetry.
“The Revolution Will Not Be Televised,” Gil Scott-Heron’s debut 1970 single, cautioned listeners to question the power of mass media. The track’s spoken-word storytelling backed with a sparse percussive arrangement drew on jazz, blues, and the poets of the Harlem Renaissance. It has been cited as a foundational influence on contemporary hip-hop culture and remains a call to action for the Black Lives Matter movement. Scott-Heron spent a prolific 1970s releasing one album per year while touring relentlessly. His songs addressed political hypocrisy (“H2Ogate Blues”), addiction (“The Bottle”), Reaganomics (“B-Movie”), and wrongful imprisonment (“Angola, Louisiana”). In 1975, Scott-Heron became the first artist signed to Clive Davis’ newly formed Arista Records. Within the next few years, he would perform at the “No Nukes” benefit concert (1979) and appear on the anti-apartheid album, Sun City (1985). In the early 1980s, he played a key role in making Dr. Martin Luther King, Jr.’s birthday a national holiday.
The critically acclaimed I’m New Here (2010) was Scott-Heron’s first album in 16 years, and a remix version of the album earned rave reviews and was released shortly before his death in 2011. While Scott-Heron rejected the label of “first rapper ever” (he preferred the term “bluesologist”), there’s no denying his role as a key progenitor of hip-hop and neo-soul. Today, his legacy lives on in artists who employ confrontational storytelling (Public Enemy, Rage Against the Machine) and celebrate non-conformity (Patti Smith, MF Doom) and also by the many artists who have sampled his music, including Kanye West, Drake, and Rihanna.
“The Revolution Will Not Be Televised,” “Who’ll Pay Reparations on My Soul?” Small Talk at 125th and Lenox (1970) • “Home Is Where the Hatred Is,” Pieces of a Man (1971) • “Did You Hear What They Said?” Free Will (1972) • “H2Ogate Blues,” “The Bottle,” Winter in America (1974) • “Johannesburg,” From South Africa to South Carolina (1975) • “We Almost Lost Detroit,” Bridges (1977) • “Angel Dust,” Secrets (1978) • “Blue Collar,” Moving Target (1982) • “Message to the Messengers,” Spirits (1994) • “I’ll Take Care of You,” I’m New Here (2010)
Inductee: Gil Scott-Heron
Influences: Nina Simone, John Coltrane, Allen Ginsberg
Legacies: Patti Smith, Public Enemy, Kanye West
Tina Turner is known as the Queen of Rock & Roll, a title she earned not just once but twice. The first time, she rose to fame in the 1960s as part of the duo Ike and Tina Turner, belting out soulful rock songs in a non-stop stage show where she danced the audience into a frenzy. But all of that is backstory to the most successful and triumphant rebirth in the history of rock.
Turner’s early solo work positioned her as a soulful interpreter of country, rock, blues, and disco, but she finally found her voice with 1984’s five-time platinum album Private Dancer, which included seven hit singles. On the haunting title track, Turner croons deep into the microphone, drawing out the words to pull the listener into her story, eventually belting out the final chorus in a dance of emotions. The swinging rhythms of “What’s Love Got to Do With It” won her three Grammy Awards and became a staple on MTV. Her carefully crafted look – leather skirt, jean jacket, and teased hair – connected her more directly to modern rock and the new generation that was watching.
Turner worked hard to reimagine the role of a Black woman in rock & roll – one not relegated to the edges. A string of duets with male artists, including David Bowie and Mick Jagger, positioned her as equal to, and often above, her male counterparts. Turner continued to land hits with “Typical Male,” “The Best,” and “I Don’t Wanna Fight,” and her 1986 autobiography I, Tina – and subsequent biopic – told the story of her career, her past experience with abuse, and her dreams of rock stardom.
Turner continued performing, setting world records for concert attendance and, in 2009, celebrated 50 years in music. Despite retirement, her music and stage performances continue to resonate with countless artists, from Whitney Houston and Beyoncé, to Mariah Carey and Annie Lennox – setting the stage for every strong female performer who followed. Turner embodies the strength that comes from emotional recovery. Her music and life have empowered fans of multiple generations, giving them the courage and spirit to reclaim their own story in their own words. Tina Turner is “simply the best.”
“Bayou Song,” Tina Turns the Country On! (1974) • “Acid Queen,” Acid Queen (1975) • “What’s Love Got to Do With It,” “Private Dancer,” Private Dancer (1984) • “We Don’t Need Another Hero,” Mad Max Beyond Thunder dome soundtrack (1985) • “Typical Male,” “Two People,” Break Every Rule (1986) • “The Best,” Foreign Affair (1989) • What’s Love Got to Do With It (1993) • “GoldenEye,” Wildest Dreams (1996) • Twenty Four Seven (1999)
Inductee: Tina Turner
Influences: Ruth Brown, James Brown, Ray Charles
Legacies: Whitney Houston, Beyonce, Mariah Carey