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Goldmine's Hall of Fame Inductees - Volume 32

Goldmine Magazine's Hall of Fame welcomes new additions from Boston to Canada, from the present to yesteryear and from Country to Soul
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By Phill Marder

This is the 32nd set of 10 selections in The Goldmine Hall of Fame.

Great Blogs Of Fire will be announcing 10 inductees approximately every two 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 -


Boston Back

Tom Scholz is one musician obviously favoring quality over quantity. The founder of Boston – the band, not the city – plays guitar and keyboards for the group, but, more importantly, has served as producer and chief songwriter since the recording of the band’s eponymous first album in 1976. Thirty-seven years later, Boston’s entire output has totaled five albums. But the success of those releases, plus the hit singles they yielded, has been so great, Boston lands in the Goldmine Hall of Fame with room to spare.

The first LP’s lead cut, “More Than A Feeling,” set the standard for Boston, with only Scholz on guitar and bass, Sib Hashian on drums and Brad Delp on vocals. The record instantly became a worldwide smash, climbing to #5 on the Billboard Hot 100, #4 in Canada and France, #9 in Switzerland and top 20 across most of the rest of Europe and in the Pan Pacific. Still today, the single ranks on most lists of top Rock singles and is a programming favorite of Classic Rock radio. But the debut album, which climbed to #3 in the U.S. and Canada and #4 in Germany, was much more than a one-hit wonder, producing two more hits, “Foreplay/Long Time” and “Peace Of Mind,” and eventually every one of the disc’s eight cuts became radio favorites.

The second LP, “Don’t Look Back,” came just two years later, a pace that, looking back on the band’s history, seemed to be breakneck speed. With the title cut reaching #4 in the U.S. and #6 in Canada, the LP topped the U.S. charts for two weeks and also reached #1 in Canada. “Third Stage,” Boston’s next LP, repeated that achievement though it came in 1986, more than eight years later. The lead cut, “Amanda,” became the group’s only #1 single in the U.S., also topping the charts in Canada, and the follow-up single, “We’re Ready,” also went top 10 in the States. Another eight years passed before the emergence of “Walk On,” which hit #7 U.S. and charted respectably around the globe. But that album failed to yield a hit and the next LP, coming after another eight-year wait, didn’t have much impact.

The inductees, chiefly responsible for the first three albums, are: Scholz, Delp, Hashian, Jim Masdea (drums), Barry Goudreau (guitar) and Fran Sheehan (bass).


By the time she’s finished, this Quebecsupervoice could be the biggest-selling artist in the history of recorded music. She’s just 45 at the time of this induction and she already ranks as the top selling Canadian artist of all time. On the worldwide scoreboard, she’s well into the upper range of the 10% top sellers, both albums and singles.

Just 13 when her first two LPs were released, Dion spent most of the ‘80s and her teen years releasing French-language albums and singles, resulting in immediate stardom in Canada. In 1984, her “D'amour ou d'amitié" became a top 10 seller in France. By the time the ‘90s rolled around, Dion was ready to launch an all-out assault on the rest of the world. The results were astonishing.

First breaking into the Canadian top 10 in 1990, she now has six #1 and five #2 singles in that country. Her first LP to top the Canadian chart and break into the U.S. top 10 at #4 was 1993’s “The Colour Of My Love.” In 1996, “Falling Into You” also hit #1 as did her next 10 studio releases. “Sans attendreis the most recent, coming in 2012. In the U.K., Dion has posted 13 top 10 singles, including two #1s, 1994’s “Think Twice” and 1998’s “My Heart Will Go On,” the hit from the movie “Titanic” that proved more massive and harder to sink than the ship itself. Her U.K. album stats are even more impressive, with 12 top 10 entries, including five that topped the chart.

Once she hit in the States, the results weren’t much different, 10 LPs reaching the top 10, four hitting #1 and two reaching #2. The results were much the same with singles, 11 reaching the top 10, four hitting #1, two reaching #2. While critics have not been particularly kind to Dion, her track record speaks for itself. Obviously, fans worldwide love her music and more is scheduled before the close of 2013.


313. RUSH –

And speaking of Canadians who get little love from critics but are loved by millions of fans, few bands have a fan base as dedicated as this trio from Canada, which has had relatively little success selling singles, but still has witnessed numerous cuts garner ample radio play. "Limelight," "Tom Sawyer," "New World Man," "Distant Early Warning," "The Big Money," "Time Stand Still," "Force Ten," "Show Don't Tell," "Dreamline," "Ghost Of A Chance," "Stick It Out," "Cold Fire" and "Test For Echo" all have become popular cuts for Geddy Lee (vocals, bass and keyboards), Alex Lifeson (guitar) and Neil Peart (drums).

Even with virtually no hit single support, Rush has placed 19 albums on the United States’ charts since 1974, 11 reaching the top 10. These numbers exclude live concert albums and compilations, by the way. While most artists slack off after being around a long time, Rush saw its June 2012 release “Clockwork Angels” climb to #1 in Canada and #2 in the U.S. 38 years after the band released its first long-player. Since 1974, the trio placed the same 19 LPs on the Canadian charts, 13 of which reached the top 10 (two just missed at #11), including three #1 and four #3 entries. Add three more top 10 live LPs.

In the United Kingdom, Rush had 16 albums reach the top 40, half of which made it to the top 10 and since 1980, Rush also has charted hit albums in Finland, Germany, Ireland, the Netherlands, Norway, Poland and Sweden. Reportedly, they rank third behind just The Beatles and Rolling Stones for most consecutive gold or platinum studio albums by a rock band.

The trio was inducted into the Canadian Hall of Fame in 1994 and continues to be one of Rock's best drawing concert attractions.


This Tennessee singer/songwriter became a major force in the music industry before recording his first LP, having written Sam & Dave’s hits, “Hold On, I’m Comin’,” “Soul Man,” “When Something Is Wrong With My Baby” and “I Thank You.”

So it was rather odd that Hayes built his own recording career on songs written by others. Of course, those who wrote those songs didn’t have Hayes’ arrangements in mind. After his first album stiffed, Hayes released “Hot Buttered Soul” in 1969. There were just four cuts, one less than on his debut. He turned Dionne Warwick’s 1964 hit, “Walk On By,” which producer and co-writer Burt Bacharach had clock in at 2:55, into a 12-minute album leadoff. But that paled next to the LPs last cut, Jimmy Webb’s “By The Time I Get To Phoenix,” which proved a 1967 smash for Glen Campbell with a radio-friendly time of 2:42. Hayes wrapped it up in a tidy 18:42. Yes kids who may recognize Hayes’ voice as that of Chef on South Park, there was rap back in the ‘60s and ‘70s. Hayes’ approach was successful to put it mildly, “Hot Buttered Soul” climbing to #8 on the Billboard LP chart and #1 on the R&B and Jazz charts.

The next year, Hayes duplicated that showing with “The Isaac Hayes Movement” and later in 1970 he put his third straight release atop the R&B and Jazz charts, although “…To Be Continued” slipped a tad on the main chart, peaking at #11.

In 1971, Hayes unleashed two double albums, “Black Moses,” which returned him to the top 10 and proved another R&B chart-topper, and “Shaft,” the soundtrack for the popular movie which gave Hayes his only #1 single on the Hot 100 and only #1 album on the Billboard Top Albums chart. It also hit the top of the R&B and Jazz charts. Hayes continued releasing steadily selling albums and returned with a major single in 1979 with the #18 “Don’t Let Go.”

Also an accomplished actor in movies and on TV, Hayes passed away in 2008 at age 65.

George Strait


How many recording artists could release an album entitled “50 Number Ones” without fudging a little. This Texan could…and did. And remarkably, the leadoff cut on the first disc of the 2004 two-disc set was previously unreleased. But when “I Hate Everything” saw the light of day, it became #1 number 51! Naturally, the LP also hit #1.

Most of George Straits’ damage was done on the Country charts, but often he crossed over into the mainstream, so strong was his repertoire. His achievements are too numerous to mention in this limited space, but we’ll try to touch on the highlights. He has posted a Country record 60 #1 singles (a record 44 on the Billboard chart alone) and 25 #1 albums and ranks 12th on the Recording Industry Of America Association (RIAA) list of all-time best-selling album artists. He is the only artist to have a top 10 record in any chart for 30 consecutive years. Only Goldmine Hall of Fame inductee Eddy Arnold has had more Country top 10 entries.

In 2006, Strait was inducted into the Country Music Hall of Fame and in 2009 the Academy of Country Music named him “Artist Of The Decade” and his LP “Troubador” took home the Grammy for Best Country Album. The next year, Strait was named “Top Country Artist of the Past 25 Years” by Billboard. His awards started back in 1984 when he was named “Top Male Vocalist” by the Academy Of Country Music.

Known as “The King Of Country,” Strait was in the midst of his farewell tour at the time of this induction. His birthday, May 18, has been designated “George Strait Day” in Texas.



This Long Island group of rappers has been controversial to say the least, and successful to understate the obvious. Their debut album, issued in 1987, barely made an impact, but the second release, 1988’s “It Takes A Nation Of Millions To Hold Us Back,” topped the Rhythm & Blues chart in the U.S. and reached #8 on the U.K. chart. It narrowly missed top 40 on the Billboard Top Albums chart, but the groundwork for future releases had been laid.

In 1990, the group issued “Fear Of A Black Planet,” which, propelled by three major singles, became the first album to reach the U.S. top 10 and second to enter the U.K. top 10. “Fight The Power” was first, topping the U.S. Rap chart, with “Welcome To The Terrordome” coming in at #3. “911 Is A Joke” put the group back on top, while “Can’t Do Nuttin’ For Ya Man” just missed giving Public Enemy four top 10 entries, stopping at #11.

“Apocalypse 91…The Enemy Strikes Back,” issued in 1991, did even better, topping the U.S. R&B chart and hitting #4 on the top 200, the band’s best showing. It also hit the top 10 in Sweden and the U.K. The album’s first two singles, “Can’t Truss It” and “Shut ‘Em Down,” topped the U.S. Rap chart, but, except for 1994’s #5 “Give It Up,” Public Enemy’s run as a chart-topper was over, though the group continues to score heavily with critics.

The inductees are vocalists Chuck D (Carlton Ridenhour), Flavor Fav (William Drayton) and Professor Griff (Richard Griffin) and DJ Terminator X (Norman Lee Rogers).


Except for the Coasters, no major group has had more fun with Rock & Roll than Paul Revere & the Raiders. Dressed in Revolutionary War garb, the band put on live appearances that produced as much laughter as musical appreciation. But behind the great stage show resided a talented collection of young musicians who held their own with the British Invasion groups as far as quality output is concerned, and that was no easy task.

Leading the band was Mark Lindsay, one of the most underrated vocalists in Rock. Lindsay could croon, but he also could shout down any set of hard-rock lyrics and do it with great style. But Lindsay's vocal prowess wasn't to emerge in the band's first sessions, which produced a series of instrumentals. They included the group's first hit single "Like, Long Hair" that generated an album of the same name. The quick success was interrupted when Revere was drafted. When he returned in 1963, the group we grew to love – Revere on keyboards, Lindsay on sax, drummer Mike Smith, guitarists Drake Levin, then Jim “Harpo” Valley and bassist Philip "Fang" Volk - emerged.

Columbia signed the band before the year was up, but they quickly lost a battle with Northwestern rivals - The Kingsmen - when each group released "Louie Louie" as a single. The Kingsmen version soared to #2, eventually gaining status as one of Rock's all-time classics. The Raiders' version died. The Kingsmen went on to release a string of hit singles and LPs, but eventually the Raiders recovered and blew by them. Their outlandish stage show at times included the destruction of a piano (in fun, not anger), their distinct garb and synchronized dance steps that would have gotten three 10s on today's "Dancing With The Stars." It wasn't long before they drew the attention of Dick Clark, who installed the group as house band on his daily ABC TV show "Where The Action Is."

"Steppin' Out" and "Just Like Me" were raveups from the band's 1966 breakthough album "Just Like Us!," which peaked at #5. Their follow-up, "Midnight Ride," stopped at #9 though the single "Kicks" reached #4. Written by Cynthia Weil and Barry Mann for the Animals, who turned it down, "Kicks" became the first major hit featuring an anti-drug message. Though it has grown in stature over the years, it further alienated the "hip" community, already turned off by the group's attire and carefree attitude. But the album is one of the best released in the mid-60s, featuring the original version of Tommy Boyce and Bobby Hart's "Not Your Stepping Stone." The rest of the disc was group written.

Two more rock-solid albums, "The Spirit Of '67" and "Revolution!," followed and the Raiders appeared on every major television outlet for music, even hosting their own show. But the onslaught of the psychedelic era further damaged their credibility in spite of continued quality recordings from both the group and Lindsay as a solo artist. Though long considered a singles band, the Raiders didn't hit the #1 position until 1971 with John D. Loudermilk's "Indian Reservation," which actually was recorded during a Lindsay solo session as the Raiders were almost non-functional as a unit by then. Eventually, Revere - billed as “the last madman of Rock and Roll” - put together other sets of Raiders, keeping the group's name and image alive through the years, but the inductees are the above six responsible for the band’s key material.


One of the rare artists who were superstars before Rock & Roll and maintained that status through the Rock Era was Norma Deloris Egstrom, better known as Peggy Lee. And why not? After all, she gave us “Fever.”

Actually, Lee, inducted into the Songwriter’s Hall of Fame for her work as a lyricist, did not compose her signature song, only a couple of uncredited lines. In fact, she didn’t even have the biggest hit with her version, though it rose to #8 in the U.S. and #5 in the U.K. in 1958. That honor went to The McCoys, often mistakenly referred to as “one-hit wonders,” though they had several hits besides “Hang On Sloopy,” including their 1965 version of “Fever,” which climbed to #7 in the U.S. It wasn’t even her biggest hit, that honor going to 1947’s “Manana,” written by Lee & then husband Dave Barbour, which topped the U.S. chart. Of course, anything before 1955 doesn’t factor into our compilations, but we will mention Lee’s first #1, 1942’s “Somebody Else Taking My Place.”

Lee got her first big break singing with Benny Goodman’s orchestra, and she worked with almost every big star of the pre-Rock era. When the new music did hit, Lee was a favorite of many of the younger generation and she reciprocated that respect by recording compositions by Jimmy Webb, Tim Hardin, John Sebastian, Carole King, Neil Diamond, George Harrison and many others, the Ray Charles’ songbook being a particular favorite.

In 1969, the great songwriting duo of Jerry Leiber and Mike Stoller provided “Is That All There Is?”, which Lee carried to #11 on the Billboard Hot 100 and #1 on the Adult Contemporary chart, where Lee remained a steady resident until 1974. The recording, with orchestra arranged and conducted by Randy Newman, earned her the Grammy for Best Female Pop Vocal Performance and later was named to the Grammy Hall Of Fame.

Lee passed away in 2002 at age 81.


Reportedly, this Philadelphia tenor was the most successfulsingles artist of the early ‘50s. And certainly, his 22 top 10 hits, including four #1s, charted between 1950 and the close of 1954 would go far to support that claim. He also placed six singles in the U.K. top 10, including two that reached the top.

Once Rock & Roll hit, Fisher’s success rate slowed. But still he notched enough best-sellers to easily qualify for Goldmine Hall of Fame status. Best known as the husband of Debbie Reynolds, Elizabeth Taylor and Connie Stevens and as the father of Carrie Fisher, Eddie’s recording successes sometimes are overlooked. But in 1955, he put seven singles into the U.S. top 20, including the #6 “Heart” and the #7 “Dungaree Doll.” He also posted a #5 album with “I Love You.”

In 1956, with Rock well on its way to becoming music’s dominant force, Fisher had two more top 20 hits in the U.S., “On The Street Where You Live,” which reached #18, and “Cindy, Oh Cindy,” which climbed to #10. In 1955, “I’m Always Hearing Wedding Bells” peaked at #5 in the U.K. and the next year “Cindy, Oh Cindy” matched that finish, also hitting #1 in Australia and #2 in Flanders, where “Dungaree Doll” also had been a major success. “Milk & Honey,” which just missed topping the Canadian chart in 1961, was Fisher’s last major recording success.

Fisher also became a popular actor starring in “Bundle Of Joy” and “Butterfield 8” and television performer, hosting his own shows, “Coke Time With Eddie Fisher” from 1953 to 1957 and “The Eddie Fisher Show” from 1957 to 1959. He passed away in 2010 at age 82.


Hospital porter Philip Oakey never had sung in public and couldn’t play an instrument. But he looked like a star, so he was invited to become the lead singer of the British group that was to become The Human League. Later, with a tour staring them in the face, the original group imploded, leaving Oakey just a few days to find replacements. Susan Ann Sulley (17) and Joanne Catherall (18) were just two teens dancing at a local nightclub. Oakey recruited them for the new formation of The Human League.

The result was one of the most successful and original groups to emerge in the ‘80s, a group still going strong. Hey…whatever works.

Before the ladies joined, Human League had a #6 success in the U.K. and Germany in 1978 with their initial single, “Being Boiled.” They also recorded two LPs that proved fairly popular in the U.K., 1979’s “Reproduction” and 1980’s “Travelogue.” But it was 1981’s “Dare” that took off, hitting #1 in the U.K., Sweden, New Zealand and Canada and #3 in the U.S. The catalyst was a single Oakey didn’t even want released. After “Love Action (I Believe In Love)” hit U.K. #3 and the successor “Open Your Heart” climbed to #6, “Don’t You Want Me” was issued. It became a worldwide sensation, reaching #1 in the U.K., Ireland, Norway, New Zealand, Canada and the U.S., #2 in South Africa, #3 in Sweden and top 10 almost everywhere else.

Two British #2 singles later appearing on the 1983 EP “Fascination!” followed before the 1984 LP “Hysteria” became the true follow-up to “Dare.” The failure of “Hysteria” to produce a hit damaged the group’s standing in the U.S., but two singles did connect in their homeland and the LP climbed to #3 and reached the top 10 in several other countries as well. In 1986, “Human” became a worldwide smash, hitting #1 in the U.S. and Canada, lifting its parent LP “Crash” high on the charts.

Nine years later, The Human League still connected with U.K. audiences, the LP “Octopus” reaching #6 and producing a couple hit singles, and two more LPs, the most recent issued in 2011, fared well on the U.K. and German charts. Currently, the group ranks in the upper echelon of top sellers for singles and LPs worldwide.

While Oakey, Catherall and Sulley are the group mainstays, Ian Burden (keyboards & bass), Jo Callis (keyboards & guitar) and Philip Adrian Wright (keyboards) also played major roles in the group’s biggest successes and also receive “Miners.”