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Goldmine's Hall of Fame Inductees - Volume 45

Goldmine Magazine's Hall of Fame inducts Country superstar Garth Brooks plus guitar wizards Peter Frampton & Ted Nugent and more
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By Phill Marder

This is the 45th set of 10 selections in The Goldmine Hall of Fame.

Great Blogs Of Fire will be announcing 10 inductees approximately every three weeks until all 700-plus inductees are announced. Bios of all selections and criteria for induction can be found on our website by clicking the Goldmine Hall of Fame tab. A running list of all announced inductees will be listed, also. These also can be found under "Great Blogs Of Fire" at the bottom of the page or by following this link -

The Ultimate Hits(521X)


With his first album released April 12, 1989, this Oklahoma Country superstar just became eligible for the Goldmine Hall of Fame. That he gains immediate induction should come as no surprise as the RIAA (Record Industry Association of America) ranks him third on its list of all-time best sellers, trailing only The Beatles and Elvis with six of his albums ranking in the top 100 list of all-time best sellers topped by 1998’s “Double Live,” currently sitting in the #7 position.

Nine albums by Garth Brooks reached #1 on the Billboard Top 200 album list, the most recent a box set entitled “Blame It All On My Roots: Five Decades Of Influences,” which topped the chart earlier this year (2014). The 1989 eponymous debut rose to #2 Country and #13 in the mainstream, instantly establishing Brooks as something special in the States as well as Canada. Four singles from the LP reached the top 10 of the Country charts on both sides of the border, “If Tomorrow Never Comes” and “The Dance” in the U.S., while the latter followed U.S. #2 “Not Counting On You,” to the top in Canada.

Starting with 1990’s “Friends In Low Places,” Brooks’ second LP, “No Fences,” unloaded four straight singles that hit #1 on Country charts in both countries, the LP also topping the U.S. Country list while rising to #3 on the Top 200. Brooks, so far, has released 19 singles that reached #1 in the U.S., culminating with 2007’s “More Than A Memory,” the first single to debut at #1 on the U.S. Country chart. Between 1991 and 1999, Brooks had seven albums reach #1 and three more top off at #2, not on the Country chart, but on the mainstream Top 200 list.

Brooks incorporated elements of Rock into his music and his spectacular live performances, a trend that continues today in Country music. After a “retirement” period from 2001 to 2009, Brooks returned for a stint in Las Vegas that carried into 2012. To kick off a tour scheduled to begin this summer (2014), two shows in Dublin were announced. They sold out in 20 minutes and, eventually, three more shows were added, all quickly selling out for a total of 400,000 tickets sold.

Brooks was inducted into the Country Music Hall of Fame in 2012.


This Florida-born vocalist is one of music’s more underrated singer/songwriters. He has managed to build a resume of hit recordings plus a sampling of some self-penned classics. Perhaps the lack of recognition accorded to Johnny Tillotson is due to his rise to prominence in the early ‘60s, a period usually looked on with disdain by those who document the history of Rock & Roll.

But there was a lot of great music made between 1960 and the onslaught of British Rock, and Tillotson was one responsible for much of it, charting 26 records on the Billboard Hot 100, four of which made the top 10. Tillotson’s breakthrough smash came with 1960’s “Poetry In Motion,” which was blocked from the #1 slot by the Ray Charles classic “Georgia On My Mind.” However, in the U.K. “Poetry In Motion” had no such impediment, soaring to the top of the chart. It also became a worldwide hit, registering top 10 finishes in Norway, Canada and Flanders as well as New Zealand.

Though he didn’t pen “Poetry In Motion,” Tillotson was responsible for his next two hits, “Jimmy’s Girl,” which reached U.S. #25 and “Without You,” which returned him to the top 10 at #7, both coming in 1961. In 1962, Tillotson broke into the Country market in big fashion with “It Keeps Right On A-Hurtin’,” which peaked at #3 on the Hot 100, #4 on the Country chart and #6 on the R&B list. Written about his father, who was terminally ill, it eventually became a Country classic covered by many, including Elvis, and helped power the album of the same name to #8 on the Billboard Top 200. Before the year ended, he had two more releases score, “Send Me The Pillow You Dream On” hitting #17, while “I Can’t Help It (If I’m Still In Love With You)” reached #24. In 1963, Tillotson scored three more major hits, the #24 “Out Of My Mind,” the #18 “You Can Never Stop Me Loving You” and the #7 “Talk Back Trembling Lips.”

In 2011, Tillotson was inducted into the Florida Artists Hall of Fame.

Sh Boom(500)


The St. Michael’s Choir Schoolin Toronto gave us Goldmine Hall of Fame inductees The Four Lads and also this quartet, The Crew Cuts. The Four Lads broke slightly ahead of the Crew Cuts, but it didn’t take the latter long to catch up. In fact, if the group’s biggest hit, “Sh-Boom,” had been released a tad later, the Crew Cuts probably would have finished our survey ahead of their countrymen. As it was, “Sh-Boom” came out near the end of 1954, several months after the original by The Chords, which came in at #3 U.S. R&B. The Crew Cuts version held the top spot in Billboard for nine weeks, while Cash Box had the recording by both groups holding the #1 position seven weeks.

But since our tabulations start with 1955, “Sh-Boom’s” terrific run and three other major hits by the group don’t factor. Still, The Crew Cuts put together a solid showing during the early years of Rock, starting with 1955’s “Earth Angel,” a cover of the Penguins’ classic. Like “Sh-Boom,” “Earth Angel” originally was a B-side. Released in 1954, it eventually climbed to #8 on the Hot 100 and #1 on the R&B chart. The Crew Cuts version stopped at #3, but the flip side, “Ko Ko Mo (I Love You So),” a cover of the Gene & Eunice” R&B hit, almost matched its flip, coming in at U.S. #6.

Operating under the “if it ain’t broke, don’t fix it” motto, the Canadian quartet focused on covers of R&B favorites from that point with continued success. Their next release, Otis Williams’ “Two Hearts, Two Kisses” reached #9 in Australia. Back in the U.S., the group’s cover of the Nappy Brown gem “Don’t Be Angry” backed with their version of the Danderliers’ R&B hit “Chop Chop Boom” rose to #14, and a follow-up, a redo of the Nutmegs’ “A Story Untold,” climbed to #16. Another Otis Williams tune, “Gum Drop,” gave the Crew Cuts yet another hit, reaching U.S. #10, and its successor, “Angels In The Sky,” just missed the top 10, coming in at #11. In 1956, the quartet placed “Seven Days” at #18, and in 1957 their rendition of the Tab Hunter/Sonny James smash, “Young Love,” peaked at #17.

The inductees are brothers John and Ray Perkins, Pat Barrett and Rudi Maugeri.



This English guitarist/vocalist had the biggest selling album of 1976. At the time, it also was the biggest selling live album ever, though four since have passed it led by a double-CD release by Garth Brooks. A double LP itself, “Frampton Comes Alive” made Peter Frampton a superstar and, still today, remains a staple of Classic Rock radio.

Actually, “Frampton Comes Alive” was made up of many tracks that had appeared on his first four albums. So actually, it was a live greatest hits LP, though none of the songs had been hits. “It’s A Plain Shame,” which closes Side One and “All I Wanna Be (Is By Your Side),” which opens Side Two, had been included on Frampton’s 1972 “Wind Of Change,” and the title song also was included. “Frampton’s Camel,” released in 1973, offered “Lines On My Face” and “Do You Feel Like We Do” which made up Side Four. The first two cuts, “Something’s Happening” and “Doobie Wah,” plus “I Wanna Go To The Sun” came from 1974’s “Somethin’s Happening” and “Show Me The Way,” “Baby I Love Your Way” “Penny For Your Thoughts” and “(I’ll Give You) Money” all emerged from 1975’s “Frampton.” “Shine On” came from Frampton’s last album appearance with Humble Pie, coming in 1971.

With “Frampton Comes Alive” holding down the #1 position on the Billboard Top 200 album chart for 10 weeks, the singles started emerging. The studio versions of “Show Me The Way” and “Baby, I Love Your Way” had been released with little response. The live versions turned it around, the former climbing to #6, the latter to #12, and “Do You Feel Like We Do” gave the LP a hat trick, coming in at #10. Clearly, 1976 was Peter Frampton’s year.

He left himself an impossible act to follow, but 1977’s “I’m In You” gave it a good run, climbing to U.S. #2. The title song matched that finish on the Hot 100, remaining #2 for three weeks as Andy Gibb’s “I Just Want To Be Your Everything” refused to budge from the top spot. The single and LP did even better in Canada, hitting #1. Frampton’s remake of Stevie Wonder’s “Signed, Sealed, Delivered (I’m Yours)” kept the run going, reaching #18. In 1978, Frampton hit a wall, surviving two near fatal events. First, he appeared in the panned “Sgt. Pepper’s Lonely Hearts Club Band” movie, then he was involved in a serious car accident. Still, in 1979 his album “Where I Should Be” rose to U.S. #19, the leadoff track, “I Can’t Stand It No More” topping out at #14.

That was Frampton’s last major hit single, but in the ‘80s he placed three in the U.S. Mainstream top 30 and another in 1994. Never able to duplicate the success of 1976-77, Frampton continues to sell albums steadily and remains a popular concert attraction.


In 1964, Goldmine Hall of Fame inductee Johnny Rivers swept the nation with live recordings at California’s Whisky a Go Go. The format was simple, Rivers on guitar with a bass and drums as backing, rocking a night club miked to get a lively crowd effect. But the template for these recordings had been laid down the year before by this Texas guitar-slinging vocalist.

Trini Lopez, whose parents moved from Mexico to Texas, worked his magic at a club named PJ’s in West Hollywood, California. The manager was Elmer Valentine, who left to found the Whisky, also in West Hollywood. But before he did, PJ’s gave birth to two albums by Lopez that made him a household name, “Trini Lopez At PJ’s” and “More Trini Lopez At PJ’s,” both released in 1963. The first took the previously unknown Lopez to the top of the charts, climbing all the way to #2 on the Billboard Top 200. It was a rather remarkable achievement as the album rode the back of a most unlikely hit single, a rocked-up version of the folk classic “If I Had A Hammer.” The single climbed to #3 on the Hot 100, rose to #4 in the U.K. and topped charts in Flanders and France and came close at #2 in Norway and Germany and #5 in Canada, not to mention its appeal in Latin countries.

The album mixed Latin favorites “Cielito Lindo,” “Marianne,” “La Bamba,” “A-me-ri-ca” and “Granada” with old time classics “Bye Bye Blackbird” and “When The Saints Go Marching In” and a couple Ray Charles’ hits, “What’d I Say” and “Unchain My Heart.” Lopez even threw in “Volare” for good measure. The successor reached U.S. #11, powered by Lopez’ version of the Wilbert Harrison hit, “Kansas City,” which hit U.S. #23. In 1965, his version of “Lemon Tree” reached #20.

“Lemon Tree” was one of six Lopez singles to reach the Adult Contemporary top 10 in the ‘60s and various releases became hits in different parts of the world at different times. Between 1963 and 1967, Lopez landed 14 albums on the Billboard Top 200, 10 reaching the top 55.

446. TED NUGENT (and band)

This Detroit guitarist makes as many headlines with his outspoken views as with his music. And that’s a lot of headlines.

The first hit came in 1968 with a hit single by his band, The Amboy Dukes. “Journey To The Center Of The Mind,” put Ted Nugent, still a teenager, on the guitar wizard map. But that was it for the Dukes, remembered now as one-hit wonders, Nugent eventually deciding to go it alone. His solo career is not known for hit singles, but is based on the LP. Today, Nugent ranks as one of the world’s all-time top album sellers. His late 1975 debut, “Ted Nugent,” featured Nugent’s new band, which included Rob Grange, also in The Amboy Dukes.

The very first track, “Stranglehold,” brought Nugent recognition on a major scale once more, and Nugent’s stranglehold on the charts was launched. The eponymous effort climbed to #28 on the Billboard Top 200 LP chart even without the benefit of a hit single. His second, “Free-For-All,” also without a top single, did even better, reaching U.S. #24. It also hit #33 in the U.K., a 23-point improvement over Nugent’s debut. Major success in Canada and Sweden spread the word.

Fact is, Nugent has had just one hit single in his solo career, his signature song “Cat Scratch Fever” making it to #30 in 1977 as the parent LP reached U.S. #17. Nugent’s following continued to grow, however, as 1978’s “Double Live Gonzo!” album reached #13, a peak matched by 1980’s “Scream Dream.” In between came 1979’s “State Of Shock,” which reached #18. Nugent did have a #3 single in 1990 with the supergroup Damn Yankees, which also included Jack Blades of Night Ranger and Tommy Shaw of Styx.

The inductees in addition to Nugent are the members of The Ted Nugent Band, who recorded Nugent’s first three studio efforts plus the double live 1978 release. They are Derek St. Holmes (lead vocals & guitar), Rob Grange (bass) and Cliff Davies (drums & vocals) as well as Charlie Huhn, lead vocalist on the next three studio releases plus a 1981 concert recording. Huhn has been lead singer for Foghat since 2000.


South African keyboardist Manfred Mann led three distinct groups, Manfred Mann’s Chapter Three and Manfred Mann’s Earth Band following the original Manfred Mann, which was the most successful, qualifying for this position in the Goldmine Hall of Fame. Will the other two bands make it? Stay tuned.

The original quintet, with Paul Jones as lead vocalist, had heavy Jazz leanings, but soon found itself smack dab in the middle of the British Invasion. After its first two singles misfired, the band established itself with 1964’s “5-4-3-2-1,” which rose to U.K. #5 followed by U.K. #11 “Hubble Bubble Toil and Trouble.” Neither did much outside the band’s home base, though. That changed with the next release, a cover of an obscurity by The Exciters entitled “Do Wah Diddy Diddy.” The single became a smash, eventually turning into one of the British Invasion’s signature songs, hitting #1 in the U.S. and U.K. plus Canada, New Zealand and Sweden. Not to switch directions, Manfred Mann followed with a cover of a miss by The Shirelles, “Sha La La,” which also became a major hit, rising to #3 U.K. and #12 U.S. Earlier in 1964, The Shirelles version had topped out at #69. The album “Five Faces Of Manfred Mann” and the EP “Groovin’ With Manfred Mann” each climbed to U.K. #3.

The following year began with “Come Tomorrow” reaching #4 in the U.K. and #20 in Canada. Another Shirelles’ track “Oh No Not My Baby,” written by Carole King and Gerry Goffin followed. While the Shirelles’ version was not released, its instrumental track was used by Maxine Brown, who turned it into a sizeable hit. Not released in the U.S., the song became a #11 smash in the U.K. for Manfred Mann. That led to a sampling of the Bob Dylan catalog with “If You Gotta Go, Go Now.” Unused by Dylan at the time, the Manfred’s version climbed to U.K. #2. It was followed by “Pretty Flamingo,” which hit #1 in the U.K. and New Zealand in 1966.

The band followed with seven more U.K. top 10 hits before collapsing in 1969, including Dylan’s “The Mighty Quinn,” which topped charts in several countries including the U.K. and restored the band to the U.S. top 10. In total, the group had 16 top 10 hits in Britain, with two stopping at #11, four top 10 LPs and six top five EPs, including three that hit #1.

The inductees are: Manfred Mann (keyboards); Mike Vickers (guitar, flute & sax); Mike Hugg (drums & vibes); Paul Jones & Mike D’Abo (vocals) and Tom McGuinness & Klaus Voormann (bass).


This Brooklyn vocalist/pianist became the youngest to write, produce and perform a #1 single on the Billboard Hot 100, when her 1988 hit “Foolish Beat” climbed to the top. Still a teenager, by that time Gibson had come close when the first three singles from her “Out Of The Blue” debut LP had reached the top five, “Only In My Dreams” and “Shake Your Love” each reaching #4, while the LP’s title cut followed at #3.

With her versatility, Gibson was taken much more seriously than many teen artists who light up the horizon, then fade as quickly as they arrived. Gibson has proven she has staying power beyond her hit records as she has become a fixture on the Broadway stage and a regular on various TV programs. But she has demonstrated staying power with her recordings as well, the debut LP winding up with five hit singles, including “Staying Together,” which reached #22 U.S. “Foolish Beat” also reached #1 in Canada and was top 10 in the U.K., Sweden, Holland, France and Switzerland.

But that wasn’t Gibson’s biggest hit. That distinction goes to the first single from 1989’s “Electric Youth” album, which eventually reached U.S. #1. “Lost In Your Eyes” was the kickoff hit, topping the charts in the U.S., Japan, Sweden and Canada. The album’s title cut followed, just missing the U.S. and Japanese top 10 at #11 and finishing #2 in France, and a third single, “No More Rhyme,” also performed well, climbing to U.S. #17 and #8 in France.

Her third LP, “Anything Is Possible,” climbed to #5 in Japan where she remains a strong favorite, her 2010 single “I Love You” topping charts there. Still in her early 40s, Gibson is sure to be heard from on many fronts as her career continues.


For those who think music should be an uplifting experience, the ‘80s provided a buffet of great bands who could put even the grumpiest critics on the dance floor if given the chance. People generally go to clubs to dance and have a good time. And there’s plenty of competition, so you’d better be playing the right music to survive.

The Thompson Twins played the right music, and the response put them near the top of the ‘80’s many popular bands. It also put them on top of the club scene as they registered seven top 10 hits on the U.S. Dance charts, four reaching #1. The first chart-topper also was the last as “In The Name Of Love” went to #1 in 1982 and again, in a remixed version, in 1988. Unlike many other Thompson Twin offerings, “In The Name Of Love” didn’t do much on other charts. But overall, The Twins rank among the leaders in both worldwide singles and album sales.

“Lies” became their second Dance chart #1, also in 1982, and reached #6 in New Zealand. The next year began with a semi-breakthrough as “Love On Your Side” became their first hit single in the U.K., climbing to #9. It also picked up chart action, including several top 10 finishes in other parts of the globe and the follow-up, “We Are Detective,” ran to U.K. #7, though it didn’t raise much of a fuss elsewhere. The year concluded with “Hold Me Now” returning the band to #1 on the Dance chart after “Love On Your Side” had stopped at #6. More importantly, “Hold Me Now” became their first top 10 entry in the U.S., rising to #3 on the Billboard Hot 100. “Hold Me Now” also hit #1 in Canada and rose to #4 in the U.K. and top 10 status in the Pan Pacific, Germany, France and South Africa. Their next two singles, “Doctor! Doctor!” and “You Take Me Up” continued the group’s U.K. streak, finishing #3 and #2, respectively.

On the LP front, the Thompsons had three straight U.K. top five entries, 1983 “Quick Step & Side Kick,” which hit #2, 1984’s “Into The Gap,” which reached #1 and also registered a top 10 finish in the U.S., and 1985’s “Here’s To Future Days,” which peaked at #5 and #20 in the U.S.

The inducted Thompson Twins are not twins at all, but a trio consisting of Brits Tom Bailey and Joe Leeway and New Zealander Alannah Currie, all of whom wrote the bulk of group’s material.



This New York vocalist had the best/worst possible start to his career when, at the age of 16, he recorded “Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini.” It was the best possible start because the single went to #1 in the U.S., Canada and New Zealand, #2 in Australia and #8 in the U.K. with top 10 finishes in many other countries. It was the worst possible start because the smash was a novelty recording that to some “labeled” Hyland a teenybopper with little credibility, an image he never completely shook.

But Brian Hyland had enough talent to not only survive this start, but the British Invasion as well. In fact, while still a teenager Hyland had several more major hit records, none of the novelty type, 1961’s “Let Me Belong To You” coming in at U.S. #20. While that entry failed to connect outside the States, 1962’s “Ginny Come Lately” restored Hyland’s popularity worldwide, rising to #3 in New Zealand, #5 in both the U.K. and Norway and #10 in Germany. It also notched a #21 peak in the U.S., with Canada (#20) and Australia (#19) also reporting heavy sales.

Before 1962 was over, “Sealed With A Kiss” had become Hyland’s biggest U.K. hit, peaking at #3, a finished equaled in the U.S. It also topped charts in Canada. Though “Sealed With A Kiss” has been covered many times, Hyland’s version pulled a major surprise, climbing to #7 in the U.K. when reissued in 1975. Its successor, “Warmed Over Kisses (Left Over Love),” didn’t do as well, but still finished in the top 30 in the U.S., Canada and U.K.

After several “misses” in 1963 and the onslaught of the Brits the following year, Hyland vanished from the charts. But he returned in 1966 with two major successes, the U.S. #20 and Canada #5, “The Joker Is Wild,” and the U.S. #25 “Run, Run, Look and See.” It was no mirage as 1970’s cover of the Impressions’ “Gypsy Woman” proved, climbing to #2 Canada, #3 U.S. #4 South Africa, and #1 in France and Australia. Overall, Hyland is in the top 75% of singles sellers worldwide.