By Susan Sliwicki

Some folks like to follow specific themes when building their vinyl record collections, such as collecting by a specific genre, format, label or even artist. Well, here’s a new way to define your collection: Rock and Roll Hall of Fame membership.

Since the articles in this Spring 2011 special issue of Goldmine all focused on inductees to The Rock and Roll Hall of Fame, we wondered just which of the subjects of our articles would be at the head of the class for collectibility, at least in terms of online auctions.

The answer most folks would guess right off the bat is, of course, is The Beatles, who are featured in a roundabout way in our article about Bruce Spizer’s latest must-have book about collecting Beatles records.

But if you take Butcher Covers and other Fab Four rarities that tend to show up in auction houses (and bring tens of thousands of dollars apiece) out of the picture and look simply at results of collector-to-collector-style online auctions that occur on eBay, the answer is a bit different. Copies of The Fab Four’s “Please Please Me” are the most popular of the group’s recordings listed on Popsike, and they sell for $5,000 and up. But, there are a few other students who — gasp! — easily beat out The Beatles in year’s edition of Collecting The Rock Hall, based on auction results listed at Popsike.com.

(What are your records worth? Check out our guides!)

Valedictorian

The Sex Pistols (Class of 2006): While the Pistols have always happily thumbed their noses at the establishment, we’re betting they’re secretly pleased — well, the ones that are still alive, that is —  that collectors are really into their records. The Pistols hold the honor of topping our countdown of Popsike-recorded auction results with copies of “God Save The Queen,” which brought a high of $22,227.50 at auction in 2006. Copies also sold twice in 2009 for $13,073.40 each time and sold twice more in 2006 for $18,879.80 and $17,536.50.

Salutatorian

Robert Johnson (Class of 1986): When you’re the stuff of legends, it seems only reasonable that your records command legendary prices, and that’s just what Robert Johnson’s do. The most recent example? A NM copy of Vocalion 4108 featuring “Me And The Devil Blues” b/w “Little Queen of Spades” sold for $12,100 in fall 2010. (It also brought $3,304 in February 2011). Four-figure sales tend to be the rule, and it’s for all manner of Johnson’s songs, including “I’m A Steady Rollin’ Man” b/w “Stones in My Passway ($9,782.80 and $4,529); “Dead Shrimp Blues” b/w “I Believe I’ll Dust My Broom” ($5,100); “Kind Hearted Woman Blues” / “Terraplane Blues” ($4,330, $3,506.58 and $2,711);  “Honeymoon Blues,” “Sweet Home Chicago” / “Walkin’ Blues” ($3,575); “Me And The Devil Blues,” “Malted Milk” b/w “Milkcow’s Calf Blues” ($4,350 and $2,717); and “Come On In My Kitchen” / “They’re Red Hot” ($4,000).

This is especially impressive if you consider that these prices are coming for the equivalent of a week’s studio work. All of Johnson’s issued recordings were cut from three days’ worth of sessions in November 1936 and two days in June 1937. He recorded 29 songs in his all-too-brief career, which came to a painful halt Aug. 13, 1938, when Johnson died of suspected poisoning.

 Honor Students

Elvis Presley (Class of 1986): They don’t call Elvis “The King” for nothing. His records regularly command royal prices at online auctions, including his top-performer to date on popsike.com, a Mint, unplayed copy of Sun 209, “That’s All Right” / “Blue Moon of Kentucky,” which pulled in a hefty price of $11,400. (A similar copy of Sun 209 sold for $10,000 in March 2010).  In fact, every single Sun 45 and 78 Elvis ever made shows up somewhere in the list, and all of them command four figures and more. He’s got plenty of other strong draws, too, including $5,000 paid for an unopened copy of “Speedway” sold in 2007.

Buddy Holly (Class of 1986): Another artist gone far too soon, Buddy Holly left behind a distinct musical legacy that collectors are happy to pay nice prices to own. Among the top examples: A complete set of Holly’s U.S. EPs that sold for $1,782 in 2007; an acetate of Holly’s “I WantTo Play House With You,” which brought $1,725 in 2009; a 3-EP collector’s pack that sold for $1,488.81 in 2005; and some promo pressings, including a pink-label copy of Holly’s “That’ll Be The Day”  ($1,211) and a yellow-label Brunswick pressing of Holly and “The ‘Chirping’ Crickets” ($1,250).

Alice Cooper Band (Class of 2011): Alice Cooper may be the new kid on the Rock Hall block, but records related to its early days  — particularly the 45 “Lay Down and Die, Goodbye” b/w “Wonder Who’s Loving Her Now”  on the Very Record label recorded when the band still called itself Nazz, have brought a pretty penny at auction, selling for up to $3,050. The band’s incarnation as Spiders for “Don’t Blow Your Mind” b/w “No Price Tag” on the Santa Cruz label ($788 to $1,525) has also done nicely.

Tom Waits (Class of 2011): The eclectic singer-songwriter may not be all that much to look at, but his records draw some nice attention, particularly a promo test of 1983’s “Swordfishtrombones,” which sold for $1,090.59 in a 2008 online auction. Also of interest is the diverse pool of records toward the top of Waits’ popsike list, including a red/blue vinyl recording of “I Sing You Under The Table” ($607.09); a 3-LP box set of “Ended up in Edinburgh” ($563.66) and a 3-LP copy of “Make It Rain” ($562.) Also interesting? Many of these sales were originating in Britain and Germany, which makes us ponder Waits’ collectibility overseas vs. in the U.S.

Jerry Lee Lewis (Class of 1986): A 78 RPM Sun Records acetate of Lewis’ “It’ll Be Me” takes top honors for the outspoken artist also known as The Killer. It sold for $1,561 in 2008. Also on the list? A South African 10-inch pressing of London 5520 that sold for $826 in 2006.

Bob Marley (Class of 1994): Bob Marley’s recordings consistently draw $500 and up, topping out at $3,075 on the popsike list for “Diamond Baby” b/w “Where’s The Girl For Me” on the CoxSone label; other copies of that record brought $1,225 in 2010, $1,401 in 2005, $1,650 in 2008 and $2,850 in 2009.

Donovan (Class of … Not Yet): OK, OK, we know The Sunshine Superman isn’t in the Rock Hall … Yet. But he’s already there in Goldmine readers’ hearts (which is why he was featured in our Rock Hall issue as our fan pick). So how does he stack up with collectors? Surprisingly, better than several members of the 2011 class. A two-sided, 12-track acetate Donovan cut at The Beatles’ Apple studios in 1969 or 1970 sold for $1018.41. Also of interest? A cool blue vinyl, 10-inch U.K. acetate, also cut on the Apple label, that sold for $578 in 2009.

The Allman Brothers Band (Class of 1995): When it comes to collecting big-ticket Allman Brothers Band records, there are two titles that dominate popsike: so-called holy grail mono copies of “The Allman Brothers Band At Fillmore East” and the Mobile Fidelity Sound Labs pressing of “Eat A Peach. “Fillmore” has sold for $600 and up in online auctions conducted since 2004, while “Eat A Peach” has brought between $385 and $910, depending upon condition.

The Rest of the Graduates

Chuck Berry (Class of 1986): Chuck Berry’s a rock and roll legend. Unfortunately, his records haven’t quite hit legendary status among collectors. A first-pressing Mint mono LP of Chuck Berry “After School Session” has honors for the biggest auction price tag of $980. A mono copy of his “Rocking At the Hops” on Chess sold for $970 in January 2011, and a NM U.K pressing of his “One Dozen Berries” brought a handsome $837.51 at auction in February 2011.

Hank Ballard (Class of 1990): Alas, Hank Ballard, either with or without The Midnighters, is not a super-hot artist to collect compared with other Rock Hall alumni. His top-performing records at auction include a NM Hank Ballard and The Midnighters “Singing and Swinging” on King ($396); a still-sealed copy of Hank Ballard’s Biggest Hits on King ($257); and a VG+ copy of “The Midnighters: Their Greatest Hits” on Federal ($244.)

James Brown (Class of 1986): Record prices don’t exactly reflect Brown’s stature as the hardest-working man in show business. His top auction result was for an unissued LP on the People label that Brown completed with Fred Wesley, which sold for $1,600 in 2004; it included the tracks “Watermelon Man” and “Everybody Plays The Fool.” His other top offerings were an unissued 3-LP set on the King Label ($1,260 in 2004) and a trio of records — “Please Please Please,” “Try Me” and “Think!” — that sold for $1,082 in 2007.

Ray Charles (Class of 1986): It’s a crying shame that, for a man of his musical talent Ray Charles isn’t a hot-ticket artist with collectors. His top draw? A VG++ copy of “What’d I Say” on Atlantic 2031, issued in 1959, that sold for $315 in 2006. For folks who just love good music, seems like collecting Ray Charles is a relative bargain compared to other Hall of Famers.

Sam Cooke (Class of 1986): Sam Cooke was shot to death in December 1964 altercation, but even death couldn’t stop his hits from rising up the charts. But unlike fine art, the value of a musician’s work doesn’t necessarily appreciate with his death. Cooke is just such an example: His top entry on Popsike.com was $986 for a mono Mint-condition copy of his second album, “Encore” followed by $836 paid for a Mint copy of “I Thank God.”

Fats Domino (Class of 1986): Of course, living a long life doesn’t mean your records will cruise to the top of collectors’ lists, either, as Antoine “Fats” Domino can attest. But he does have one very beautiful auction entry for a mono, splash-color vinyl pressing of  “Just Domino” on the Imperial label (LP 9208), which sold for $1,190 in September 2010. The record was a one-of-a-kind pressing made at the Imperial plant.

The Everly Brothers (Class of 1986): Goldmine readers love their music, but The Everly Brothers aren’t necessarily heating up a lot of high-end collectors’ want lists. Their top-selling record to date on popsike is a 78 RPM pressing of “Keep A’Lovin’ Me” / “The Sun Keeps Shining” on Columbia 21496, which sold for $356 in 2007, followed closely by the 1960 Apex 78 “Let It Be Me,” which sold for $354 in 2008.

Little Richard (Class of 1986): Whop bop-a-lu-a, a whop bam boo! You’d think the artist who could string together such a catchy clutch of scat would rank higher on collectors’ lists, but alas, there are really only two Little Richard records that regularly see higher-end action on the auction circuit. Interestingly enough, they’re both on the Specialty label, which was founded by 2011 Rock Hall inductee Art Rupe. In the past four years, “Little Richard” has brought between $262 and $866 at auction, while “Here’s Little Richard” has drawn between $242 and $510.

Darlene Love (Class of 2011): Perhaps this fierce songbird’s induction to the Rock Hall will boost collectibility of her records. Her best performer so far on Popsike.com has been a VG+ copy of “Christmas (Baby Please Come Home)” b/w “Winter Blues” on Philles X125, which brought $610 at auction. For the most part, though, her records are selling in the $150 and under range.

Neil Diamond (Class of 2011): He is, he said. But what he isn’t is particularly collectible, at least so far. The most desirable item shown in Popsike.com is a deejay copy 45 of Neil & Jack on Duel 517, “Till You’ve Tried Love,” which is Diamond’s first recording, and which sold for $532.

Dr. John (Class of 2011): Alas, Dr. John is in the same general boat as Darlene Love and Neil Diamond when it comes to collectibility. There are a few nice pieces that have sold in the $400 to $500 range, including a  promo copy of “Zu Zu Man” by the Zu Zu Blues Band on the A&M Records.

Leon Russell (Class of 2011): Elton John loves Leon Russell’s work. Now that Russell’s in the rock hall, maybe the rest of the world will discover his treasures. But to date, his big-ticket records are topping out less than $300. At the top of his Popsike list? A Mint, limited-edition, unplayed copy of his duet with Elton John, “If It Wasn’t For Bad” on Mercury, which sold for $242.97 in October 2010.

Paul Anka was one of Rock & Roll’s first teen idols

(No. 41 in a continuing series on artists who should be in the Rock & Roll Hall of Fame, but are not)

By Phill Marder

This week, two artists – Paul Anka and Bobby Vee – who became teen idols at the age of 15 in spite of their talent.

The suggestion that Anka should be inducted into the Rock & Roll Hall of Fame is certain to draw scoffs from many. But those who were there when Rock & Roll started and those who have studied the facts and not revisionist fiction are aware that Anka was a major player in the early success of Rock.

Just 15 when his first hit record, “Diana,” was working its way to the No. 1 position, the Canadian was riding the tour busses with a lot of other Rock troopers traveling from town to town. He also toured the United Kingdom at age 16, thanks to “Diana” hitting No. 1 there also, becoming one of the biggest selling 45s ever. The terrific flip-side ballad “Don’t Gamble With Love” didn’t hurt sales, either, and helped establish Anka as one of the biggest and youngest teen idols.

At 16, Anka toured Australia with Buddy Holly and Jerry Lee Lewis as his second major hit, the power ballad “You Are My Destiny,” was heading for No. 7 in the US and No. 6 in the UK. Ironically, Anka’s follow-up to “Diana,” “I Love You Baby” backed with “Tell Me That You Love Me” bombed in the States, but both sides were hits in the UK, “I Love You Baby” soaring to No. 3.

The double-sided hit “Crazy Love” and “Let The Bells Keep Ringing” connected in the States in 1958 as Anka toured with the Everly Brothers, Sam Cooke and others. On all these tours, these youngsters were not wearing tuxedos and singing at supper clubs, you can be sure.

Later in the year Holly asked Anka, still just 17, to write him a song. The result was “It Doesn’t Matter Anymore,” which became Holly’s last hit. Anka said, “It Doesn’t Matter Anymore” has a tragic irony about it now, but at least it will help look after Buddy Holly’s family. I’m giving my composer’s royalty to his widow (Maria Elena Santiago) – it’s the least I can do.”

After combining with George Hamilton IV and Johnny Nash for “The Teen Commandments,” Anka gave his first indication of his future direction with two ballads, “(All Of A Sudden) My Heart Sings,” from 1945 and “I Miss You So” from 1940, his first Las Vegas appearance and a starring movie role in Girls Town. But, he was not finished rocking…not just yet.

From the movie came one of his biggest smashes, the driving ballad “Lonely Boy,” which sat four weeks at No. 1. Then came another early Rock classic, “Put Your Head On My Shoulder,” which sat three weeks at No. 2, blocked by Bobby Darin’s “Mack The Knife.” The No. 4 “It’s Time To Cry,” another strong ballad, followed. All three were major hits across Europe and even reached the upper echelon of the US Rhythm & Blues charts.

“Puppy Love,” supposedly written about Annette Funicello, reached No. 2 in early 1960 and “My Home Town” got to No. 8 later that year. But it proved a long wait for his next top 10 entry. However, he continued having hits and became the youngest star at New York’s Copacabana, wrote the theme song for “The Tonight Show,” wrote the English lyrics to the French standard “My Way,” and penned “She’s A Lady,” a mammoth hit for Tom Jones.

While producing “Oh Happy Day” for the Edwin Hawkins Singers, Anka and his protégé, Odia Coates, recorded the controversial “(You’re) Having My Baby,” which, in spite of female ire from many quarters, sat at No. 1 for three weeks. To placate the upset feminists, Anka later sang “our baby” when performing the song live. Coates and Anka followed with three more hits and he added a solo top 10 entry, “Times Of Our Life,” to close out 1975. But, by this time, his Rock & Roll past was well behind him.

Still, in 1990, it was Anka inducting Darin into the Rock & Roll Hall of Fame, though Darin, from the outset of his career, had made no secret of his ambition to develop into the next Frank Sinatra. Anka didn’t start out with that in mind. He was just a real young kid with tremendous talent. He paid his dues as a teenage Rock & Roll idol and deserves recognition for the contributions he made.

I don’t ever remember seeing Vee in a tuxedo, at least not in concert. Of course, I never was invited to any of his family functions, either.

Yes, his records were not the heaviest, but he did cut many great sides, beginning with his 1959 chart debut, “Suzie Baby” after starting his career in the worst way possible, filling in for Holly after the plane crash that claimed Holly’s life. In the liner notes to his 1963 album, “I Remember Buddy Holly,” Vee wrote, “The local radio station broadcast a plea for local talent to entertain at the scheduled dance. About a week before this, I had just organized a vocal and instrumental group of five guys. Our style was modeled after Buddy’s approach and we had been rehearsing with Buddy’s hits in mind. When we heard the radio plea for talent, we went in and volunteered. We hadn’t even named the group up to that time, so we gave ourselves a name on the spot, calling ourselves ‘The Shadows’.”

Eventually, Vee recorded an LP with The Crickets.

“I have never forgotten Buddy Holly and his influence on my singing style and my career,” Vee noted.

Vee turned out to be much more than a Holly clone. He became a major star, posting six top 10 records in a long and fruitful career.

The first breakthrough came with his 1960 remake of the Clovers’ 1956 hit, “Devil Or Angel,” which Vee carried to No. 6. He followed with another No. 6, the bubblegum classic “Rubber Ball.” The follow-up, “Stayin’ In,” which describes Vee sitting in detention for punching his friend in the nose, didn’t do much to dispel Vee’s sugary reputation, but the flip, “More Than I Can Say,” later remade by Leo Sayer, was a gem, reaching No. 4 in the United Kingdom, and the follow, the solid rocker “How Many Tears,” also hit the UK top 10.

Vee’s records sparkled with pristine production that helped carry “Take Good Care Of My Baby” to No. 1 in 1961 and “The Night Has A Thousand Eyes” to No. 3 in 1963. Meanwhile, “Run To Him,” a wall of sound ballad, reached No. 2 backed by a solid rocker, “Walkin’ With My Angel,” and two more ballads, “Please Don’t Ask About Barbara” and “Sharing You” each peaked at No. 15.

As noted previously, Vee was just as popular in England, notching 10 hit singles, including six that reached the Top 10. Five Vee EPs made the UK top 20 between 1961 and 1963, “Just For Fun” by Vee & the Crickets going all the way to No. 1. His albums also sold well there, “Bobby Vee Meets The Crickets” reaching No. 2 in 1962, while seven others climbed into the top 20. For proof of his staying power, “The Very Best Of Bobby Vee” peaked at No. 18 just three years ago, 47 years after his UK debut. But the British Invasion appeared to end Vee’s hit-making run after “Charms” in 1963, though he surprised everyone with a monster smash in 1967, “Come Back When You Grow Up” climbing to No. 3 in the US The follow, “Beautiful People,” also cracked the US top 40, just edging the original version by its composer Kenny O’Dell.

For the most part, Vee’s chart presence ended as the ’70s entered, but he has remained active on the concert circuit. His backing band, which once included a young Bob Dylan, now features two sons, Jeff and Tom.

Vee’s portfolio should get a second look by those involved in the Rock & Roll Hall of Fame. Though some of his recordings were sugary, his quality never was less than excellent and earlier this year, he was most deservedly inducted into The Rockabilly Hall of Fame. The Rock & Roll Hall of Fame should follow suit.

A fixture in the ’60s, Gary U.S. Bonds continues rocking to this day

(No. 36 in a continuing series on artists who should be in the Rock & Roll Hall of Fame, but are not)

By Phill Marder

Revisionists will tell you the period between 1960 and the British Invasion was Rock’s darkest hour, a desolate wasteland where nothing but Frankie Avalon, Fabian and Bobby Rydell existed.

As with most Rock history written by those experiencing it second hand, this is total bs.

First off, many recordings by the three Philadelphia teen idols were good. Sure, Fabian couldn’t sing. But there’s about a dozen current Rock & Roll Hall of Fame inductees who were just as bad…or worse. And at least Fabian had Doc Pomus songs.

Many rock journalists make it sound as if every major star vanished overnight. Not true. Early ’60s radio still had regular Elvis releases, even if he was in Germany. And many – “Stuck On You,” “A Mess Of Blues,” “I Gotta Know,” “I Feel So Bad,” “Marie’s The Name,” “Little Sister,” “(You’re The) Devil In Disguise” and more were solid rockers. Chuck Berry started the decade with the double-sided blast, “Too Pooped To Pop” and “Let It Rock” and added “Nadine,” “No Particular Place To Go,” “You Never Can Tell” and “Promised Land” in 1964.

And while Jerry Lee, Richard and Buddy Holly had all but disappeared from the airwaves, Fats still rocked and Roy Orbison, Ray Charles, the Four Seasons, Del Shannon, Gene Pitney, the Impressions, Dion, Chubby Checker, James Brown and many others were picking up the slack in addition to Motown beginning to fire on all cylinders. By the way, all but Chubby and a few Motown acts have been rightfully inducted into the Rock Hall of Fame.

Does that sound like a musical wasteland to you? On the contrary, Baby Boomers were now teenagers and we had plenty of great stuff to listen to.

Two more who left an indelible mark on Rock in the ‘60s were Gary U.S. Bonds and Freddy Cannon, who should receive serious consideration for induction into the Rock & Roll Hall of Fame.

Bonds started with “New Orleans,” which climbed to No. 6 in 1960. This was not just a hit record, but an anthem of sorts, Bonds breaking in with the chant “I said ahey, heya, hey yeah.” The sound of the record, produced by Bonds’ mentor Frank Guida, was the ultimate in low-fi, filled with doubled (tripled?) vocals, tape hiss, heavy bass drum and Guida’s ripping house band, The Church Street Five, featuring Gene Barge (Daddy G) on sax.

“A rock and roll juggernaut had been launched that would roll on for only two years but leave an indelible mark on a generation of rockers and producers then coming of age at the dawn of The British Invasion,“ David McGee so accurately wrote in “The New Rolling Stone Album Guide.“

But surprisingly, the follow-up, “Not Me,” was a total flop, though it became a #12 hit for The Orlons in 1963. Maybe even the world of Rock was not ready for the line, “You better shut up before I bust you in the lip” in 1961. But shortly after, “Quarter To Three” brought Bonds back to the top – in fact, all the way to the top – becoming one of Rock’s all-time classics, in spite of some x-rated yelps buried in the party atmosphere crowd noise.

Through 1962, Bonds continued to hit the charts with hard-rocking blasts, “School Is Out,” “Dear Lady Twist” and “Twist, Twist Senora” all cracking the top 10.

When the hits stopped coming, Bonds continued making public appearances and co-wrote “She’s All I Got,“ a major country hit for Johnny Paycheck in 1971.

In 1981, Bonds received the considerable support of Bruce Springsteen. “The Boss” played “Quarter To Three” in many of his concerts and threw his weight behind a Bonds’ comeback, writing two big hits, “This Little Girl” and “Out Of Work” for Bonds while he and Steve Van Zandt produced two fine albums for the Norfolk native.

In 2004, he released “Back In 20” and in 2009 “Let Them Talk.” I had the pleasure of seeing Bonds three years ago, and he still rocked the house.

Calling Freddy Cannon explosive was an understatement

Cannon blasted – and that term is a mild description – onto the scene in May, 1959 when his “Tallahassee Lassie” began its run up the charts, eventually peaking at No. 6. As a budding deejay, this was the first record I ever played and it was a nightmare, the tone arm jumping all over the place thanks to the pounding bass drum, which became one of Cannon’s trademarks. The other was the well-timed “yelp,” which dotted most of Cannon’s records.

Cannon rocked as hard or harder than anyone in the early ‘60s, whether remaking old classics such as “Way Down Yonder In New Orleans” or “Chattanooga Shoe Shine Boy” or doing originals such as the double-sided “Jump Over” and “The Urge” or the wall-rattling “Buzz Buzz A-Diddle-It.”

Three years and one day after “Tallahassee Lassie” introduced Cannon to the Billboard Hot 100, his biggest success entered the charts. “Palisades Park” went on to reach No. 3 and become a staple of oldies radio stations. Cannon continued to have hits until 1966, reaching the top 20 with “Abigail Beecher” and “Action,” the theme for Dick Clark’s “Where The Action Is” TV show.

And speaking of Clark, Cannon was one of the most popular and accessible rockers of the early ‘60s, setting the record for most appearances on Clark’s “American Bandstand.”

The late, great Cub Koda, a former “Goldmine” columnist, wrote a glowing summary of Cannon for allmusicguide.com. Noting that many early rockers quickly abandoned the music that got them to the top for “tuxedos” and “supper club schmaltz,” (Bobby Darin anyone?) Koda wrote, “Freddy Cannon was a true believer, a rocker to the bone. Freddy Cannon made rock & roll records; great noisy rock & roll records…”

Koda describes “Tallahassie Lassie” as “a record that simply rocks from beginning to end like few others.”

Today, Cannon seems hardly remembered, except by those of us who grew up with his powerful records.

“…Cannon is wrongly lumped in with the “Bobbies and Frankies” that proliferated during that era (the early ‘60s),” Koda noted. “But a quick listen to any of his finest records … quickly dispels any preconceived notions of him being a pretty-boy teen idol no-talent…in a time frame full of phony baloney teen idols Freddy Cannon always remained a true rock & roller.”

Yes, it may have been the era of phony baloney teen idols, but it also was the era of much great Rock & Roll. And two who contributed mightily were Bonds and Cannon, and each deserves induction into the Rock & Roll Hall of Fame.

The Crickets should have been inducted along with Buddy Holly

(No. 34 in a continuing series on artists who should be in the Rock & Roll Hall of Fame, but are not)

By Phill Marder

 Last week’s entry on the E Street Band certainly brought to the fore the question of how important a star’s supporting cast is and why the Rock & Roll Hall of Fame recognizes some and not others.

On Goldmine’s Facebook page, one reader brought up just this point.

Michael Ansbro wrote, “What’s worse is The Crickets aren’t in, but Buddy Holly is. There were only two albums ever released, one by The Crickets and the other by Buddy Holly. But the Buddy Holly album actually is another Cricket’s album. It was called Buddy Holly because the music company didn’t want to release a (another) Cricket album in (such) a short time. Also, the name of the group was never Buddy Holly And The Crickets, it was always The Crickets. Buddy Holly only went solo a few short months before he died and never had any hits as a solo artist until he died.“

My thought on this is that Buddy Holly was inducted on two major factors. One, he made some incredibly great records in a short period of time. Two, he is recognized as one of the greatest songwriters in Rock history.

But just how important were The Crickets? If the Rock & Roll Hall of Fame had done the slightest research, there would be no question Mr. Ansbro is right on the money. First, the records, as Mr. Ansbro noted, were released as The Crickets, though “Peggy Sue” was listed as just Buddy Holly because Holly was signed to a solo contract by Coral Records, while The Crickets, as a group, were signed to Brunswick. Still, The Crickets participation in this recording and the rest of Holly’s work cannot and should not be ignored.

Jerry Allison was one of the finest drummers in Rock & Roll, doing studio work for the Everly Brothers as well as holding down his slot in The Crickets. He and Joe Mauldin, on stand-up bass, and rhythm guitarist Niki Sullivan played major roles in The Crickets’ recordings, particularly Allison, who co-wrote “That’ll Be The Day” with Holly, though producer Norman Petty also received a writer’s credit. Allison also wrote “Peggy Sue,” named after his girlfriend and future wife Peggy Sue Gerron, the record becoming a classic thanks in no small part to Allison’s unique drumming. After Holly died, Allison insisted Holly receive a writer‘s credit as well. “Well…All Right” and “Think It Over” also show Allison with a composer’s credit.

Mauldin also has a writer‘s credit on “Well…All Right“ & he and Sullivan wrote “I’m Gonna Love You Too.” Petty received writer’s credit on all these as well.

So – much as in the case of The Miracles, covered in No. 13 of this series – the contributions of The Crickets to Buddy Holly’s success have been unjustly ignored by the Rock & Roll Hall of Fame.

An argument also could be made for Gene Vincent’s band The Blue Caps, who were left out when Vincent was inducted. However, though Cliff Gallup generally is recognized as one of Rock’s early great guitarists and the rest of the group is top notch, their success paled compared to The Crickets and Vincent was the only composer in the bunch.

Bill Haley & His Comets rocked every joint in which they played

However, there are other early inductions that make no sense. For instance, how does Bill Haley get inducted without His Comets? Anyone who saw the group that effectively started it all knows that, although Haley was the lead singer, the real show was put on by saxman Rudy Pompilli and stand-up bassist Al Rex. Haley, with his band, made records that literally cracked with punch and rocked the joint.

Same can be said for famous guitarist Duane Eddy, inducted without his group, “The Rebels.” But in this case The Hall probably got it right as The Rebels were often comprised of variations of studio musicians.

If the reasoning is that the Hall of Fame’s policy at the outset was that just the main star was inducted, that policy has changed as The Attractions were inducted with Elvis Costello, the Texas Playboys made it with Bob Wills, the Pips were inducted with Gladys Knight, the Imperials with Little Anthony, the Vandellas with Martha Reeves and the Heartbreakers with Tom Petty.

So perhaps the Hall of Fame should have a special segment this year to announce the induction of The Crickets and The Comets along with The Miracles and The E Street Band.

At the same time, perhaps a committee could be formed to study the arguments concerning not only The Blue Caps and The Rebels, but also The Midnighters (with Hank Ballard), The Famous Flames (with James Brown), The Belmonts (with Dion), The Wailers (with Bob Marley), The Silver Bullet Band (with Bob Seger) and Crazy Horse (with Neil Young).

Ballard’s records were almost always with the Midnighters. In fact, he tried a go without them, but quickly reassembled them when success didn’t follow. Yes, he wrote “The Twist” (see the fourth installment of this series), but The Midnighters performed the song – and the dance. Brown was a superstar with and without The Famous Flames, but who would have been there with his cape if not for The Flames? Dion had a solid, hit-filled career after leaving The Belmonts. But Dion & The Belmonts were one of early Rock’s most successful vocal groups, and The Belmonts had a few hits of their own after Dion left.

It’s Bob Marley & The Wailers on almost all the records and live appearances. Seger formed The Silver Bullet Band in 1976, the same year “Night Moves” made him a superstar. Coincidence? The case for Crazy Horse may be the weakest. If you took out everything Young did with Crazy Horse, he’d still easily qualify for the Hall of Fame. But his off and on band did have quite an impact on his career and the sound of grunge.

Curtis Mayfield & the Impressions are in. Is Jerry Butler?

Meanwhile, maybe the Hall of Fame – or our readers – could clear up a mystery for me. Several months ago, I was preparing a segment on Jerry Butler. During my research, I found several articles indicating he had been inducted in 1991 with the Impressions. However, several other articles made no mention of this.

The biography on the Hall of Fame website mentions Butler as the lead singer on the initial hit “For Your Precious Love,” but then notes that he left the group immediately after that record. The picture shows just the three Impressions – Curtis Mayfield, Sam Gooden and Fred Cash – who were responsible for the classic recordings that made them perhaps the greatest vocal group of all. Their hit streak started three years after Butler was gone.

I tried contacting the Hall of Fame with what I thought was a very simple question. Was Jerry Butler already inducted or not? Of course, I received no answer. Maybe they don’t know.

If he was, he shouldn’t have been – not as a member of the Impressions. He really had nothing to do with their success. However, certainly, in my opinion, he deserves induction as a solo artist. He had a great, hit-filled career and remains a strong force in keeping early Rock & Roll alive through his work on the PBS reunion specials.

So please, someone answer this question for me. Is Butler in the Rock & Roll Hall of Fame or not?

Meanwhile, Rock & Roll Hall of Fame…let’s start cleaning up some injustices and get some of the deserving supporting cast members inducted with their leaders.

Better late than never.