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Goldmine's Hall of Fame Inductees - Volume 46

Goldmine Magazine's latest inductees into its Hall of Fame include three Country music standouts, a giant of Jazz, a group of Punks and more
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By Phill Marder

This is the 46th 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 -



Like Garth Brooks, this California band just recently became eligible for induction to the Goldmine Hall of Fame…technically. In April, 1989, the trio released a four-song EP “1,000 Hours,” which had been recorded while the band still was known as Sweet Children. Shortly after it was recorded the trio changed its name to Green Day.

The next year, also in April, another EP, “Slappy,” was released prior to the group’s first full-length offering, “39/Smooth.” “Sweet Children,” another EP, was released as 1990 neared a close. Though the recordings helped build its listening base, Green Day had yet to have much of an impact, and original drummer Jeff Kiffmeyer (Al Sobrante) left to attend college, being replaced by Frank Edwin Wright III, professionally known as Tre Cool.

“Kerplunk,” ushered in 1992, again having little chart impact. But the eventual platinum LP garnered Green Day a ton of attention from record companies, the trio eventually signing with Reprise. Their major label debut, 1994’s “Dookie,” instantly propelled Green Day to superstar status, climbing to #2 in the U.S. and #1 in Australia and Canada plus top 10 finishes across Europe. The LP produced five tracks that finished in the top 10 of Billboard’s Alternative Track listings, three hitting #1, and gave the trio its first U.K. top 10 entry, a re-issue of “Basket Case” coming in at #7. The follow-up LP, “Imsoniac,” also climbed to U.S. #2 and the next two offerings also made the U.S. top 10, setting the stage for the band’s blockbuster.

“American Idiot,” released in 2004, made Green Day a household name, not just in the Punk community but in the mainstream as well. The album was #1 in the U.K., U.S., Canada, Austria, Switzerland, Norway, Sweden, Argentina and Australia, winning a Grammy for Best Rock Album while “Boulevard Of Broken Dreams” took a Grammy for Record of the Year, becoming Green Day’s first major hit on the Billboard Hot 100, reaching #2. “Wake Me Up When September Ends” also hit the U.S. top 10 at #6. Eleven countries, the U.S. and U.K. included, had the LP at #1 and eventually it turned into a Broadway production. “21st Century Breakdown,” released in 2009, almost duplicated the success of the previous release and in 2012 the group released a set of three albums all of which were successful.

As of this writing, Green Day stands just below the top 10% of all album and singles sales worldwide. With the band still active, that standing will probably improve. The inductees are Billie Joe Armstrong (lead vocals & guitar), Mike Dimt (bass), Jason White (guitar) and Tre Cool and Jeff Kiffmeyer (drums).



Married at 15, a grandmother at 29, subject of an Academy Award winning film and known as “The First Lady of Country Music, this Kentucky vocalist has compiled career statistics staggering even when compared to most of our previous inductees. Female Artist/Vocalist of the Year, Entertainer of the Year, Album of the Year, Favorite Female Country Artist, Artist of the Decade, winner of the Living Legend Award, inducted into the Country Music Hall of Fame and The Country/Gospel Music Hall of Fame, Grammy awards, the Presidential Medal of Freedom, you name it, Loretta Lynn has achieved it.

From her first LP, 1963’s simply titled “Loretta Lynn Sings,” she became a force in Country Music almost unparalleled, the disc rising to #2. By 1977, she had racked up 28 top 10 Country albums, counting one with Ernest Tubb, but not counting her collaborations with Goldmine Hall of Fame inductee Conway Twitty. She had her first #1 album in 1966 with “You Ain’t Woman Enough,” which followed “I Like ‘Em Country,” which had stopped at #2. She hit the top again the next year with “Don’t Come Home a Drinkin’ (With Lovin’ On Your Mind)” and in 1968 with “Fist City.” After a few close misses, Lynn returned to the top in 1973 with “Entertainer of the Year – Loretta” after becoming the first female winner of the award. Its follow-up, “Love Is The Foundation,” also hit #1 later that year as did 1976’s “Somebody, Somewhere.” In 2004, her work with Jack White resulted in “Van Lear Rose” which was a Grammy winner for Best Country Album, rising to #2plus a career-best #24 on the Billboard Top 200 LP list.

Lynn was even more dominant on the Country singles chart, her initial offering, 1960’s “I’m A Honky Tonk Girl,” reaching #14. Two years later, “Success” became her first top 10 entry. By 1982, she had recorded 39 top 10 singles, including 11 chart-toppers and three that peaked at #2. In Canada, 25 of her singles reached the top 10, 13 climbing to #1. Starting with 1970’s “Coal Miner’s Daughter,” eight of Lynn’s next nine singles topped the Canadian charts.

On top of all this comes Lynn’s collaborations with Twitty. Their first effort together, “After The Fire Is Gone,” hit #1 in 1971 and started a string of five consecutive chart-toppers for the duo, who totaled 12 top singles overall. They had eight top 10 Country LPs from 1971 to 1978, including a stretch of four straight #1s from 1973 to 1976. Of course, that resulted in a slew of Vocal Duo of the Year awards plus an Album of the Year nod for 1975’s #1 “Feelins’.”


Goldmine Hall of Fame members Buddy Holly & the Crickets (Niki Sullivan, Joe B. Mauldin and Jerry Allison) helped put Lubbock, Texas on the map, and with this group of inductees Mac Davis joins his Lubbock mates. Davis was 17 and just out of Lubbock High School when Holly died at the age of 22. With a tough – some would say impossible – act to follow, Davis, nonetheless, did Lubbock proud, becoming one of the most successful singer/songwriters of the last 60 years, earning a 2006 induction into the Songwriters Hall of Fame.

Davis wrote some big hits for Elvis – “In The Ghetto,” “Don’t Cry Daddy” and “Memories” – before striking out on his own, that proving a wise career move as Davis became a TV and movie regular, even hosting his own NBC television show in the mid-‘70s. By that time, Davis was a well-established recording star, though it took him 10 years to have his first hit, his first effort coming in 1962.

The breakthrough came with 1972’s “Baby, Don’t Get Hooked On Me,” which held the #1 spot on the Billboard Hot 100 three weeks. It also topped the Country chart in Canada and peaked at #2 on the Canadian pop chart. Two years later, “One Hell Of A Woman” climbed to #11 in both the U.S. and Canada and later the same year “Stop and Smell the Roses” returned Davis to the top 10 in both countries, hitting #3 in Canada and #9 in the U.S. In 1975, “Rock ‘N Roll (I Gave You The Best Years of My Life” ironically became Davis’ last hit on the big chart, climbing to #15.

From that point on, Country fans picked up on Davis and his singles regularly appeared on the Country chart and from 1980 until 1985 he notched six top 10 Country singles, “Hooked On Music” rising to #2 in 1981. He also posted four albums in the Country top 10 and three of his long-players entered the top 25 of the Billboard Top 200 LP chart.



This North Carolina sax virtuoso appears on almost every list of greatest Jazz albums, many times more than once. He also factors heavily on lists of best-selling Jazz LPs. And no list of “influential” Jazz artists would be worth the paper printed on without his name at or near the top.

John Coltrane played with almost every Jazz great from 1949 on, including Goldmine Hall of Fame inductee Miles Davis. With Davis’ sextet, Coltrane played tenor sax on Davis’ “Kind Of Blue” album, recorded in 1959. Today, that LP is considered one of the greatest ever recorded and in 2008 the RIAA (Recording Industry Association of America) certified its sales at quadruple platinum, which makes it reportedly the biggest selling Jazz album of all time.

But before that LP, Coltrane had released a couple albums under his own name, the second being “Blue Train,” certified by the RIAA as a gold record. A 2012 article in The Village Voice” entitled “Ten Jazz Albums To Hear Before You Die” ranked this recording #2 right behind the Davis LP. On’s list of “The 100 Greatest Jazz Albums Of All Time,” the disc ranks #14. But Coltrane appears under his own name twice more on that list, 1964’s “A Love Supreme” coming in at #2, blocked from the top spot by Ornette Coleman’s “The Shape Of Jazz To Come.” Other Coltrane entries on this list are #22 “Duke Ellington and John Coltrane,” recorded in 1963, #25 “Thelonious Monk Quartet with John Coltrane At Carnegie Hall,” a 1957 concert not discovered until 2005, and the 1959 recording “Bags & Trane,” ranked #66.

Of course, every list of great Coltrane recordings will differ as he left so many options that would qualify. Just imagine what his catalog would look (and sound) like if he hadn’t passed away at the age of just 40.


Born in New York City, this member of the TV family named Partridge became one of the ‘70’s biggest teen idols, fashioning a successful recording career to go along with his TV stardom.

Playing Keith Partridge, David Cassidy was the lead singer on the Partridge Family recordings, which included three top 10 albums and three top 10 singles in 1970 and 1971. He also sang lead on most tracks of the best selling Christmas LP of 1971, “A Partridge Family Christmas Card.” Earlier that year “Up To Date” peaked at #3 on the Billboard Top 200 LP chart and hit #1 in Canada. That marked their third #1 in Canada, the first two being the singles “I Think I Love You,” which also topped the U.S. chart, and “Doesn’t Somebody Want To Be Wanted,” which was pulled from the “Up To Date” album.

In the U.K., the group didn’t get its first top 10 single until 1972 when a cover of Neil Sedaka’s “Breaking Up Is Hard To Do” ran to #3. Gene Pitney’s “Looking Through The Eyes Of Love” and the Ronettes “Walking In The Rain” also were covered under the Partridge moniker, climbing to #9 and #10, respectively.

By this time, Cassidy was turning out hits under his own name, too, starting with the Association’s “Cherish,” which climbed to U.S. #9 and, coupled with “Could It Be Forever,” U.K. #9. In 1972, he covered another former big hit, The Rascals’ “How Can I Be Sure,” this remake going all the way to the top of the U.K. chart. Most of Cassidy’s subsequent success came in the U.K., with four more singles reaching the top 10. They included a two-sided #1, “Daydreamer/The Puppy Song,” in 1973 and the most recent, 1985’s “The Last Kiss,” which peaked at #6. The 1973 smash helped power Cassidy’s “Dreams Are Nuthin’ More Than Wishes” to U.K. #1 after his first two efforts had stopped at #2.

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This California vocalist had close ties with our above inductee, David Cassidy, during his peak years. Along with her husband, Dave Ellingson, Kim Carnes wrote and recorded with Cassidy and was a member of his touring band. But one would be hard-pressed to find many in the music industry who have not collaborated with Carnes in one fashion or another.

Carnes worked in The New Christy Minstrels with Kenny Rogers, later teaming with Rogers on a couple hit duets. She also had hits pairing up with Gene Cotton, Barbra Streisand and Neil Diamond, not to mention a couple of Jeffs, Osborne and Bridges. Add Tim McGraw and the cast of USA For Africa to the list of those Carnes has worked with, a list really too long to mention fully here.

Meanwhile, Carnes had enough time to fashion a hit-making career on her own that has her sitting on the list of best-selling artists worldwide in both the singles and albums categories. Her biggest blast was 1981’s “Bette Davis Eyes,” which sat atop the Billboard Hot 100 for nine weeks. It also hit the top in Canada, France, Brasil, Switzerland, Norway, Italy, Germany, Australia, Spain and South Africa. But that was not her first trip to the top 10, her first two coming the year before when her duet with Rogers, “Don’t Fall In Love With A Dreamer,” reached U.S. #4 and her cover of Smokey Robinson’s “More Love” outdid the original by the Miracles, climbing to #10. Teaming once again with Rogers, along with James Ingram, Carnes hit U.S. #15 in 1984 with “What About Me?” and matched that peak the next year with her solo “Crazy In The Night (Barking At Airplanes).”

Carnes’ 1981 LP, “Mistaken Identity,” topped the charts in the U.S., Canada and Norway and gained a Grammy nomination for Album Of The Year, which went to John Lennon and Yoko Ono’s “Double Fantasy.” “Bette Davis Eyes” did win for Record Of The Year.

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When you’re original enough to have a genre created in your honor, that’s something special. And while this British group may not have been the originators and didn’t like being pigeonholed, the musical term “trip hop” usually is associated with Massive Attack.

Originally a trio consisting of DJs Andrew Vowles and Grant “Daddy G” Marshall and rapper Robert “3D” Del Naja, Massive Attack meshed various genres, threw in a collection of guest vocalists, tossed in some sampling and always included stellar production. The results? Massive Attack ranks as one of the all-time best-selling album artists worldwide even without a single LP landing in the U.S. top 40. Five of their long-players hit the U.K. top 10, though, including two that topped the chart, 1998’s “Mezzanine” and 2003’s “100th Window.” Their 2010 release, “Heligoland,” reached #6. Those results were typical of the remainder of Europe.

Their first single release came in 1988, but their first true LP was 1991’s “Blue Lines,” which didn’t have much impact in the U.K. until after “Mezzanine” hit #1 in 1998. “Blue Lines” was re-released a couple years later and peaked at #28. The album since has been featured on several “best of all time” lists along with “Mezzanine” and one of its tracks, “Unfinished Sympathy,” was named 10th best song of all time in a poll by the British daily, The Guardian. But this also is typical, the band having praise heaped upon it regularly, a Brit award in 1996 for best British dance act, its one win in seven nominations, three nominations yielding two MTV Europe music awards for Best Video, 1995’s “Protection” and 1998’s “Teardrop” (you may recognize it as the theme for the hit TV series House) and two Q awards for Best Album (Mezzanine) and Innovation In Sound in 2008.

Guest vocalists have included Neneh Cherry, a strong supporter of the trio from the start, Tracy Thorn and Goldmine Hall of Fame inductee Sinead O’Connor, among others, but our inductees are restricted to the original three plus Horace Andy, the only vocalist to appear on all five of the group’s studio recordings, and multi-instrumentalist/producer Neil Davidge, who also participated in the writing of material from “Mezzanine” forward.


Calling him versatile doesn’t begin to do justice to this Georgia vocalist. He has split his success between the Pop and Country charts. He has varied his output between comedy classics and straight classics, even recording an LP of Frank Sinatra covers at one point. He has worked as a producer, arranger, studio musician, hosted his own TV show and even had success masquerading as a chick group. He has been inducted into the Nashville Songwriters Hall of Fame, the Atlantic Country Music Hall of Fame and the Christian Music Hall of Fame and now the Goldmine Magazine Hall of Fame.

He is Ray Stevens. And just the title of his first hit – 1961’s “Jeremiah Peabody’s Polyunsaturated Quick-Dissolving Fast-Acting Pleasant-Tasting Green & Purple Pills” – should have warned listeners what was ahead. Well, maybe not, for the next year brought us “Ahab The Arab,” Ahab riding his camel Clyde all the way to U.S. #5. Another blast came the following year when “Harry The Hairy Ape” made it to U.S. #17. There were no more big hits until 1968 when Stevens returned with a dead serious “Mr. Businessman,” which climbed to #28. But the next year it was “business” as usual, the novelty “Gitarzan” proving a #1 smash in Canada and returning Stevens to the U.S. top 10 at #8, followed by a hit cover of the Coasters’ “Along Came Jones.”

Stevens made clear his desire to tackle serious subjects on a regular basis, though. And he opened the ‘70s with his biggest hit “Everything Is Beautiful,” which hit #1 in the U.S., Canada and Australia and became Steven’s U.K. breakthrough, peaking at #6. It also became his first recording to hit the Country top 40. Stevens won the Grammy for Best Male Pop Vocal Performance. His new Brit fan base was not taken aback in the least when Stevens came back with “Bridget The Midget (The Queen Of the Blues),” pushing it to #2 in 1971.

In 1974 Stevens gave us “The Streak,” which landed at #1 in the U.S., the U.K., Canada, Australia and New Zealand and gave Stevens his first Country top 10 entry, peaking at #3, a mark also reached by the next year’s “Misty,” which, of course, was a cover of Erroll Garner’s very serious Jazz composition. Steven’s version reached the top 10 in many nations and just missed giving him back-to-back #1s in the U.K., stalling at #2.

Stevens’ last top 40 entry in the U.S. and U.K. came under the alias the Henhouse Five Plus Too, when he recorded the Glenn Miller classic, “In The Mood,” as a group of chickens clucking merrily away. He did maintain a strong, steady presence on the Country charts through the early 2000s.


Like a number of our inductees, this Liverpool crooner was a major star before our starting year of 1955. And like several of our inductees, he had little impact in the United States, realizing just one entry on the Billboard Hot 100. But from 1955 to 1968, Vaughan rivaled Goldmine Hall Of Fame inductees Cliff Richard, Lonnie Donegan and Shakin’ Stevens for chart superiority in his native land, posting 31 top 40 singles during that 13-year stretch.

Prior to 1955, many of Vaughan’s hits were covers of American hits by Guy Mitchell, The Four Lads, Frankie Laine and Tony Bennett just to name a few. As 1955 began, “Happy Days and Lonely Nights” climbed to U.K. #12, continuing that formula as the tune had been a hit in the U.S. by the Fontane Sisters. By the time his run was over, Vaughan had brought covers of LaVern Baker, Boyd Bennett, Jim Lowe, Jimmie Rodgers, Perry Como, The Fleetwoods, Gene McDaniels, Johnny Thunder and others to the U.K. hit parade.

The first top 10 entry for Vaughan was 1956’s “Green Door,” which climbed to U.K. #2. A month prior, Lowe’s original, a #1 in the U.S., had peaked at #8. Vaughan’s next offering, “The Garden Of Eden,” held the U.K. top spot four weeks in 1957. It, too, was a cover of an American hit, Joe Valino’s recording reaching #12 on the U.S. charts a couple months before. That was the first of four top 10 entries for Vaughan in 1957, culminating with his version of Rodgers’ smash “Kisses Sweeter Than Wine.” The next year, Vaughan went head-to-head with Como, whose U.K. popularity rivaled his U.S. status. Como’s version of “Kewpie Doll” reached #9 with Vaughan’s coming in right behind at #10. The follow-up, “Wonderful Things,” reached just #22 in the U.K., but the release proved significant as the flip side, “Judy,” became his lone stateside hit, reaching U.S. #22.

In 1959, Vaughan struck again, his cover of the Fleetwoods’ “Come Softly To Me” hitting U.K. #9 and “The Heart Of A Man” stopping at U.K. #5. In 1961, he covered McDaniels’ “Tower of Strength,” which reached #5 in the U.S. but had just minor success in the U.K., and scored his second British #1. Two years later, Vaughan redid Thunder’s U.S. hit “Loop-de-Loop,” carrying it to U.K. #5 and in 1967 he once again gained residence in the U.K. top 10, “There Must Be A Way” reaching #7.

Vaughan also appeared in movies and stage productions, including Let’s Make Love with Marilyn Monroe and The Right Approach with Juliet Prowse. Although he was from Liverpool, his nickname, “Mr. Moonlight,” had nothing to do with those four other guys from his home town, instead coming from his 1955 recording of “Give Me The Moonlight, Give Me The Girl.” He passed away in 1999 at age 71.


When your older sister is Loretta Lynn, you’ve been born with a tough act to follow. But this Kentucky-born songtress, 19 years younger than Lynn, managed to do quite well for herself even though they may never make a movie about “The Coal Miner’s Youngest Daughter.”

Then again…they might.

After all, Crystal Gayle has put together quite a resume. The Academy of Country Music knew what it was doing, naming Gayle Top New Female Vocalist in 1975, then naming her the Top Female Vocalist the next two years and again in 1979. Ironically, the year she missed (1978) she won the Country Music Association Award for Female Vocalist Of The Year, which she also took home the previous year. She has won a Grammy, has a star on the Hollywood Walk of Fame and was inducted into the Kentucky Music Hall of Fame in 2008. Now, she’s a member of the Goldmine Hall of Fame.

Gayle experienced great crossover success and also has had much success in the U.K. Her Country success laid the foundation from the release of her first single, 1970’s “I’ve Cried (The Blue Right Out Of My Eyes),” which climbed to #23. Seven years and five top 10 smashes (two #1s) later, Gayle had her signature hit with a similarly titled “Don’t It Make My Brown Eyes Blue.” It hit #1 Country, became her third #1 in Canada, and her first U.K. hit, reaching #5. More importantly, it hit #2 on the Billboard Hot 100. Gayle’s next three singles all topped the Country chart in both the U.S. and Canada, 1978’s “Talking In Your Sleep” also going to #18 on the Hot 100. Her next big crossover came the next year when “Half the Way” climbed to U.S. #15 and gave Gayle another Country #1 in Canada.

From 1980 to 1986 Gayle was a force of nature on the Country charts as she notched 19 top 10 hits, 10 of which topped the charts. The #1s included a 1985 pairing with Gary Morris entitled “Makin’ Up For Lost Time (The Dallas Lovers Song),” and a 1982 duet with Eddie Rabbit, “You & I,” that also reached #7 on the Hot 100 and became one of her 16 Canadian #1s.