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Posts tagged ‘music’

UNCLAIMED: Names For Bar Bands

Semi-professional musicians, if you’ve recently split from the Thursday-Sunday band you formed with some guys from the office, I’m here to get you started again. You might think the old dudes never found your “sound” but my guess is you never had the right name.

Tits ‘n’ Whiskey

E.R. Nurse

Dog Water

Lucifer’s Cock

The Telephone Bills

Sweat Band

Adam & Evil

Perry and the Winkles

Milk Dudes

Chuck Roast and his Fingerlings

Santa’s Bastards

Bass Ick

Muss+Fuss

Rock Of Lamb

A Bad-minton Racket

Chocolate Funkdae 

Dave & Buttholes

2 Balls and a Strike

Flyy and the Ointments

Gay Panic!

Automatic Tune Machine

Blessed Insurance- book review of Norma Zimmer’s unlucky autobiography

Do not be surprised at the fiery ordeal that is taking place among you to test you, as though some strange thing happened to you. – 1 Peter 4:12

Norma Zimmer was a gifted soprano who performed for decades on television’s ‘LAWRENCE WELK SHOW.’ Welk even gave Zimmer the title of Champagne Lady, the highest honor among other fine women vocalists on the show. Zimmer accepted that appellation graciously in her autobiography,norma although with reservations about sounding like she would be promoting liquor.

She was raised by alcoholic parents in poverty in the Pacific Northwest. Her parents were emotionally abusive, they smoked cigarettes, and they did not yet know God. But Norma grew up to confess Christ on her own. Throughout her story she draws Christian lessons from a life of “tests” and “fiery ordeals.” Her gifted singing, confident will, and the generosity of early supporters enabled Norma to make a great career of radio/recordings, television, and Christian revival concerts. She describes her adult life with financial comforts, devoted family, and spiritual bliss. Yet through bad luck (or influence of her book editor), tests of her and family’s allegiance to God never abate: toxemic pregnancy, auto accident, crooked car salesman, crooked agent, twisted intestines, psoriasis, debilitating arthritis, broken back, brain shunt, family strokes, sister dies of liver disease, father dead in a car two days, family dog burns the house down, near death penicillin reaction, near death choking on beef Stroganoff, stranded on treacherous river rapids, water skiing accident, downhill skiing accident:

“…’one of the [ski-lift] workers climbed up on the tower to repair it and he called for a peen hammer. They threw one up to him but he missed it and it fell and hit your husband.’ I was crying, and praying, O God, help us! Please protect him, Lord!”

A prayer too late, if you ask me. I imagine if Job read Norma’s autobiography he would say, “Wow, this dame can’t catch a break.”

Still, what also never abates is Norma’s optimism about life, people’s good nature, and her faith in God’s long game. Some readers may discover her buoyant attitude and ornamented writing style ironic, others inspirational. If you are a fan of the ‘LAWRENCE WELK SHOW’, like I am, you already have a sensibility for what is over-decorated but enjoyable. If you take your Lawrence Welk more serious, you might also find Zimmer’s book metaphysically uplifting.

Lawrence Welk

Lawrence Welk

However, if you pray to read more detail about what it was really like working under Welk’s baton for twenty years, God’s answer will be No. There is not much behind the scenes here, except some descriptions of how busy Norma was on days driving between the studio and hospitals, and lists acknowledging all the backstage angels who kept Norma looking grand. I hoped for behind the curtain conflict among the performers, rather than hearing more about Norma’s redoubtable faith in Jesus, no matter what terrible shit life threw at her. I wanted to read more shit about Lawrence the hot-headed puritan, or the over-the-hill band member schtuping a teenage Lennon sister, or the on-camera star who had an off-screen champagne problem.

I admit that despite my being atheist, I did find Norma’s take on life encouraging. She was a person who absolutely believed that smiling into the video camera communicated a hopeful message to viewers. At another scene in the book she describes laying awake with her her croup-afflicted toddler Ronnie, worrying if she should take him to the hospital for a tracheotomy:

“He was barely able to breathe… I lay beside Ronnie, watching and praying. ‘God,’ I prayed over and over, ‘please heal our little son.’ Suddenly I noticed a brightness behind me… Standing near the bed was a lovely blonde woman with a white blouse and dark skirt… She just stood there with a radiant smile on her face, looking down at Ron. Then she just faded away. It was a glorious experience. I felt no fear – just awe. I have always believed that I was permitted to see Ron’s guardian angel.”

A blonde in a blouse and skirt? Who was her son’s guardian angel, Donna Reed?

Off screen Norma Zimmer sounds like she was a bit of a kook, but I’m also convinced, beyond a doubt, that she was a wunnerful, wunnerful lady.

HARRY PARTCH’S EXPERIMENTAL MUSIC AT LINCOLN CENTER

http://www.newyorker.com/magazine/2015/07/27/beautiful-dreamer-classical-music-russell-platt

REBLOG: TASTEBUDS.com: Worst Album Covers of All Time

link: Worst Album Covers of All Time | The Tastebuds.fm Blog

 

BREAKING 4TH O’JULY NEWS: Tchaikovsky’s 1812 Overture Ain’t The 1812 You’re Thinking Of

NPR.org » The Co-Opting Of Tchaikovsky’s ‘1812 Overture’The Co-Opting Of Tchaikovsky’s ‘1812 Overture’

Wikimedia Commons

Pyotr Ilyich Tchaikovsky wrote his “1812 Overture” in 1880.

Published: June 24, 2012

by NPR Staff

Pyotr Ilyich Tchaikovsky wrote his piece The Year 1812, Festival Overture in E flat major in commemoration of the Russian Army’s successful defense of Moscow against Napoleon’s advancing troops at the Battle of Borodino. Most Americans, however, know the piece as the bombastic tune that accompanies Fourth of July fireworks shows all over the country. Jan Swafford, a professor at the Boston Conservatory, says there are a handful of reasons why Americans have adopted it as their own.

“Arthur Fiedler, in the ’70s — I think ’77 — started doing it with the Boston Pops and it was a gigantic success,” Swafford tells NPR’s Guy Raz. “There are two things about it: It has fireworks built in, so in that sense it’s a natural. And it has an enormous, patriotic, celebratory quality, no matter what it’s celebrating, and that’s certainly relevant. And, you know, by the time it comes around with the fireworks at the Fourth of July, everybody’s pretty drunk anyways. It’s a fantastic climax for the evening, this explosion of joy and fireworks and cannons.” [Copyright 2012 National Public Radio]

TRANSCRIPT:

(SOUNDBITE OF SONG, “1812 OVERTURE”)

GUY RAZ, HOST:

Two hundred years ago today, on June 24, 1812, Napoleon’s grand army began its fateful march into Russia. Now, three very important things came out of that invasion. The first was the eventual downfall of Napoleon. The second, Tolstoy’s “War and Piece,” and the third was this.

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The Undercover Soundtrack – Laura Pauling

I also write with a soundtrack. My novel, Merrily He Rolls Along, theatrical musical comedy with fiction. In my iTunes I’ve even created a special playlist for each chapter. Sometimes I imagine the voice I want to convey through whatever lyrics. But mostly, as this blogger writes, it about how the music makes me feel as I write.

My Memories of a Future Life

It’s all about capturing the emotion’

Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by YA author Laura Pauling @laurapauling

Soundtrack by Taylor Swift, Kelly Clarkson, Colbie Caillat, Natasha Bedingfield, Christina Perri, Adele

To quote Randy Jackson from American Idol: ‘The transference of emotion is what the audience wants.’

Readers more than anything want to feel what we’re feeling when we put our hearts into a story. Whether it’s heartbreak, humour, revenge, sorrow…etc. And sometimes listening to the right kind of music, a certain song that pushes my heart to its limit, can transfer over to my writing.

Stories at your fingertips

So when I was writing A Spy Like Me, I…

View original post 602 more words

Everybody Hates Rap And Opera

Not really. I like one of ’em. NPR article on why some of the same people can’t listen to rap music and opera music.

 

Why Do People Hate Rap And Opera?

link: Why Do People Hate Rap And Opera? : Deceptive Cadence : NPR.

So what’s wrong with rap and opera? Not much, really. Except that last week when we asked readers to name their musical blind spots (genres or bands they ignored, either by choice or neglect) a distinct refrain emerged within the responses. Two examples:

“Oh, and by the way, rap is not music. It is mostly a bunch of meaningless drivel by people with no real talent and who certainly should not get paid.”

“Very little of opera is worth bothering with and even then only as instrumental music rather than as the sounds of tortured cats.”

It was clear that opera and rap, more than any other genres, hit some kind of nerve with people. And it’s a fact that seems to hold true far beyond our highly unscientific social media polling. But why?

 

For some people, taste — why we dislike one thing and prefer another — is complicated. It’s connected to self-esteem, personal branding and creating social divisions based on things like class and education. In a 1996 article for the American Sociology Review, Bethany Bryson attempted to show that people use their musical tastes to erect what she calls “symbolic boundaries” between themselves and others.

There’s little doubt that both rap and opera have traveled with significant prejudicial (if stereotypical) baggage: Opera is for rich, white, elderly snobs; rap is made by poor, young, black thugs. Some people reject both groups, while others relish degrees of perceived inclusion. Bryson would say perceptions help determine musical choices and vice versa.

On a less academic level, I asked a couple of my NPR Music colleagues to weigh in. For Bob Boilen, creator and host of All Songs Considered, social structures, he says, have nothing to do with it. It’s all about communication. The languages of rap and opera just don’t speak to him. “If the crux of the music is focused on the words and if the words don’t relate to the listener then it’s all is a big disconnect,” he says. But he’s willing to admit exceptions, including the mournful strains of Portuguese fado: “I don’t care what they’re singing about, I’m with them.”

Frannie Kelley, who swims in the world of rap like I do in opera, agrees that at first glance the two genres would appear to have little in common. Digging deeper, one can argue that there are many connections, not least of which is the obsessiveness of each genre’s most dedicated aficionados.

Opera fanatics incessantly evaluate all aspects of singers, conductors, directors, composers, set designers and opera companies. True geeks know the intricacies of how the human voice works, and how it should work in any given operatic role vis-à-vis any given singer. Opera roles are like clothes, which singers “try on” to varying degrees of success. Certain voices fit certain roles perfectly, but singers often try on roles a size or two too big. Not pretty.

In the higher realms of rap, Frannie says, you have to navigate the interior social strata, the subtleties of sampling and layers of meaning behind the braggadocio and how it relates to selling records. Rap, like opera, also has complicated “cast lists.” Keeping up with who appears on whose singles, mixtapes and remixes can be as confounding as keeping track of who sang what on the famous Knappertsbusch Ring cycles. And with rap, like opera, there are a huge amount of regional variety, from Compton to Atlanta to the Bronx, London and Istanbul.

And then there’s the language, as Bob mentioned. Both the actual language that each genre uses in performance and the cryptic vernaculars each has engendered (click here for a handy Bay area hip-hop dictionary, and here to decode some opera jargon). Opera and rap rely heavily on words, many of which are not immediately discernable. Rap can have complex poetry (and profanity) zipping past at indecipherable speeds (especially theturbo rappers). Opera often has foreign tongues and high flying phrasing, requiring CD listeners to run to their printed librettos and opera houses to install supertitles.

Opera and rap take work to appreciate — perhaps more effort than many of today’s music consumers are willing to expend. In an age when more and more music is available to anyone’s ears, are we turning into lazy listeners? Is it too easy to download too much, to acquire everything but actually hear nothing? Does any time remain to fully appreciate a complete hip-hop album, let alone an entire opera? It also takes work to enjoy music that’s as in-your-face as opera and rap are. With all the melodrama, social consciousness, violence and intense vocal styles, they certainly are not musical wallpaper.

Opera and rap. Who knew they could be so far from each other and yet so close? And who really knows exactly why they both act like lightning rods when it comes to musical preferences? Is it deeply rooted in social psychology, elitism, racism, self-image? The discussion has already been interesting around the NPR Music water cooler. Need to weigh in yourself? Have a story about opera, rap and the reasons why like and dislike what we do? Let us know in the comments section.

book reports – VIOLENCIA! A MUSICAL NOVEL by Bruce Jay Friedman

I’m not sure if I’m supposed to know the author Bruce Jay Friedman. I came across his novel Violencia! (2001) while doing research for my own novel in progress. Friedman, now in his 80s, over decades has written a bunch of novels I never read, some off-broadway plays I never heard of, and the screenplays for movies made in the 1980s I couldn’t care less about, e.g. Stir Crazy, Doctor Detroit, Splash. If Friedman is a famous author I gather it’s because he’s supposed to be a master wit in hysterical fiction. Hysterical is a pretty good word for describing the mania of Violencia! A retired police precinct clerk is recruited to write the libretto for Violencia!, a Broadway musical based on gritty experiences observed in the crime fighting world. Despite knowing nothing about writing a musical and being a rather ordinary man, the clerk unwittingly becomes a swiveling node for the novel’s cast of neurotic producers, composers and theatre actors. They all see the dull clerk as an embassy for their vanities, character flaws, and harebrained ideas about art and audience. Violencia! follows the attempt to put on a big musical from it’s distasteful concept, to dishonest financing scheme, to pointless and vulgar production numbers, and then to calamitous road tryouts. The novel is intended as a satire on the affectations of backstage Broadway. Situations and characters in this book are clever I have to admit, but satirical comedy like this too often proceeds plausibility: the fatigued composer returns energized after vacationing in less than a day’s travel from New York to PuertaVallarta, no-nothing producers with hundreds-thousands of dollars at stake insist that Violencia!’s success is held in suspense by the script’s call for use of the word “doody.” This style of writing allows for comical leaps in logic and abandoned story detail. Friedman’s novel is creative but I also find the storytelling a little lazy considering it’s something he’s been doing for decades. This may be a good light read for someone in the mood for lampoonery; I take my comedy much more serious.

book reports – THE THEATER WILL ROCK, Elizabeth L. Wollman

THE THEATER WILL ROCK: A HISTORY OF THE ROCK MUSICAL FROM HAIR TO HEDWIG (2006)

There does seem to be a common understanding that before the musical Hair there was nothing like Hair and that most of what followed Hair were flop imitations – Dude, Via Galactica, Rainbow. Though Hair became a classic, theatrical producers stopped throwing their money away on rock scores by about 1975. What Elizabeth Wollman’s through history brings forward is that Hair’s influence in musical theatre can be seen in decades of cultural tug-of-war between keeping rock music’s aesthetics authentic and produce musicals that have mass audience appeal. Hair’s long beautiful hair grew into Grease, and Les Mis, and Mama Mia but through the use of softer forms of rock music. We don’t really recognize how things of changed since Rogers and Hammerstein. Unlike any work I’ve read on the topic of musical theatre, or even in rock journalism for that matter, Wollman finally provides language for describing the variety of very different kinds of musical theatre that are too often lazily categorized as “rock musicals.” For once Hair is rock musical, Jesus Christ Superstar is rock opera and Dreamgirls and Smokey Joe’s Cafe are other things too, well categorized here. I have a couple of quibbles. First, I think Wollman doesn’t emphasize that much of the failure in those fabulous post-Hair rock flops lies in being rushed to Broadway with big money backers and no existing source material. Most of the truly great shows in musical theatre are drawn from novels, plays or history. At least Hair had the huge benefit of a long and sometimes painful gestation period before finally coming uptown. The big rock flops of the early 1970’s were being made-up on the spot. Ironically two of the successful rock musicals from the same period, Your Own Thing and Two Gentleman of Verona were adapted from that rebellious beatnik Shakespeare. Next, Wollman makes frequent reference to off-off Broadway shows like House of Leather and The Legend of Johnny Pot which barely ever opened, meanwhile her research overlooks shows like Promenade (259 performances) and Salvation (239 performances). Finally, between her socio-historical chapters the author includes some short academic meditations on audience attitudes, marketing experiments, and musical aesthetics. These interlude essay are well written they do seem like step children, sections from a different book. If you are seeking musical aesthetics and composition for musical theater, you won’t find much here on the specific shows or songs. However this is excellent work on cultural commodification and the economics of Broadway over the last forty years.

the dirty needle – THE LAST SWEET DAYS OF ISSAC

The Last Sweet Days of Issac is about a guy trying to make it with a girl in an elevator and then, in the second act, the same guy, in jail, trying to make it with a different girl through a television screen. I don’t think we’re in Oklahoma anymore. The play appears to be Brecht inspired and the music is the definite offspring of Hair. Issac was a decent off-Broadway hit in 1970. The show’s creators were the female-female team of Nancy Ford (composer) and Gretchen Cryer (lyrics and mother of actor John Cryer). Ford and Cryer got what ever they needed to bring another show to Broadway called Shelter. Shelter flopped, but after that they had their biggest hit I’m Getting My Act Together And Taking It Out on the Road. The songs in Issac are so much like Hair you could transfuse “I Want to Walk to San Francisco” and “Herein Lies the Seeds of Revolution” into the Hair lineup and not know they’re from different shows. That’s a compliment. I love Hair, and I love a lot of the rock ensemble pieces in Issac. This show has its pretentious clunkers, but it also seems to have its own point of view about living life to the fullest. I would love to see this show revived somewhere. 3 gramophones.

The vinyl copy I found has some distortion, especially during the louder tracks on side two. I think it’s an issue with the pressing rather than the recording. I’ve seen this soundtrack in the record swap bins a couple of times so it’s not hard to find and it should be cheap.

Goldmine Magazine’s Who should be in the Rock and Roll Hall of Fame That Isn’t? Paul Anka and Bobby Vee

Rock Hall of Fame should induct Paul Anka and Bobby Vee | Goldmine Magazine.

Two Teen Idols for the Rock & Roll Hall of Fame

Paul Anka

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.

Bobby Vee

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.



Read more: Rock Hall of Fame should induct Paul Anka and Bobby Vee | Goldmine Magazine http://www.goldminemag.com/blogs/two-teen-idols-for-the-rock-roll-hall-of-fame#ixzz1SKxRopdb