INDUCTEES and Nominees

INDUCTEES a n d n o m in ees ft SAM COOKE January 22nd, 1935 Chicago, Illinois Died December 11th, 1964 Los Angeles, California In 1956, Sam Cooke released his first pop song, tin’ the Night Away,” “Bring It on Home to Me” and “Lovable,” under the name Dale Cooke so as not to “Another Saturday Night.” Cooke established his own alienate the gospel following he’d amassed in his five record label (Sar/Derby) and publishing company years as lead vocalist for the Soul Stirrers. One of (Kags Music) — significant moves for a Mack artist of eight sons of a Baptist minister, Cooke saw the divi that time — and returned to the world of gospel to sion between the secular and the sanctified; so did Art help other performers enter the world of pop. Among Rupe of the Specialty label, who dropped Cooke them: Bobby Womack, Johnnie Taylor, Billy Preston when his pop aspirations became dear. Cooke’s fa and Lou Rawls. ther, mi the other hand, gave Sam has Messing. A year Although Cooke announced in February 1964 that later, Cooke recorded “You Send Me,” a song he’d he would cut back on performing in order to devote written himself, for the Keen label. It sold 1.7 million more time to songwriting and administrating his label, copies and readied Number One on both the pop and he was never far from the public eye. In June of that R&B charts. year, a 70-foot billboard in New York City advertised Cooke never really crossed over, though he com- Cooke’s two-week engagement at the Copacabana; in b in ed —Mending sensuality and spirituality, sophistica September, he appeared on the première episode of tion and soul, matinee-idol looks and gospel-singer S h in d ig ! with the Everly Brothers, the Righteous poise. His warmly seductive voice suggested a very Brothers and Bobby Sherman. Then, on December personal conversation, by turns casual, confidential 11th, Cooke’s life came to an abrupt and tragic end and confessional. In 1960, Cooke signed with RCA, when he was shot to death in a Los Angeles motel and his first single there, “Chain Gang,” reached room. RCA posthumously released “A Change Is Number Two on the pop and the R&B charts at the Gonna Come,” winch returned Cooke’s voice to its fa same time. miliar gospel home. His subsequent RCA hits included “Cupid,” “Twis- « O Major companies have seemed to control ists - along with Nat King Cole, the Mills the industry, almost from the dawn of re Brothers, the Ink Spots, the Andrews Sis corded music — as far back as cylinder re ters, Louis Jordan and Eddy Howard - cordings, when Edison Bell had a virtual were among the most consistent pop sellers monopoly on the market. Yet of the 41 art of the postwar years. However, new musical ists nominated for induction into the Rock trends were beginning to take root as a re and Roll Hall of Fame, only two began their sult of developments that date back to the recording careers on a major label (Buddy early Thirties, when the Depression caused Holly on Coral, a subsidiary of Decca, and a great migration of Southern rural blacks Gene Vincent on Capitol). The remaining 39 and whites to the industrial cities, taking artists were discovered and signed by the their music with them. The economic boom small independent labels which began to after World War II not only accelerated this emerge just after World War II and which, shift in population, but brought records and I t } by the early Fifties, were flourishing in cit phonographs within the reach of more peo ies throughout the United States. ple than ever. With the introduction of the flat-disc gramophone, the tendency of the majors to control the marketplace continued. Within ten years, the Victor Talking Machine Com pany and American Gramophone (Colum bia) dominated the American marketplace, with the Gramophone Company (HMV) and its then-subsidiary, Deutsche-Gramophone, in control of the U.K. and Germany respec tively. A similar situation existed with Pathe in France. 0 . BY SEYMOUR STEIN V. important early leaders and are worthy of mention. The country field, too, has had its share of great indies. King, for example, started Although the independent labels were ac as a country label, before branching out tive in all areas of music, the vast majority more successfully into R&B. Other impor specialized in “race” or rhythm and blues tant early country labels were Abbott, Today, the world record market is virtu recordings. The majors, for the most part, which discovered Jim Reaves ; Four Star, ally controlled by six major multinationals ignored this field, especially the up-and- whose roster included Webb Pierce, Rose and their subsidiaries. But for about a doz coming artists whose music had a new beat. Maddox and T. Texas Tyler; and Starday, en years, from the early Fifties to the mid- As the Fifties began, the big labels’ ros whose founders discovered George Jones. Sixties, things were different. ters had swelled to include pop mainstays ATLANTIC was set apart from its com There were scores of small companies in like Patti Page, Eddie Fisher, Les Paul and petitors in that it was indeed the first truly New York, Chicago, Los Angeles, Philadel Mary Ford, Guy Mitchell, Teresa Brewer, professionally run indie in the R&B field. phia, Cincinnati, Houston and just about the Ames Brothers, the Four Aces, Joni The label was founded in 1948 by Ahmet every major American city, and they collec James, Tony Bennett, Doris Day, Frankie Ertegun and Herb Abramson — joined later tively reigned over the music scene. These Laine and Mario Lanza. Victor and Colum by Jerry Wexler, and later still by Nesuhi independent labels nurtured rock and roll bia, the two largest companies, survived a Ertegun — at a time when older, more estab and set the trends, paving the way for a new battle of the speeds, with both Victor’s 45 lished indies like Savoy, King and Aladdin musical era. rpm and Columbia’s 33-1/3 rpm accepted. dominated the R&B scene. They boldly To comprehend this phenomenon, we But the death knell had sounded for the 78. printed on the backs of their singles sleeves must go back to the years just following Record sales hit an all-time high, with no the statement “ Atlantic leads the field in World War II and the decline of the big end in sight. Sales for country and western rhythm and blues,” along with caricatures bands. The majors — RCA Victor, Colum and for rhythm and blues had increased to of their major artists. Merely a boast in bia, Decca and Capitol — retained virtual the point that Billboard and Cashbox were 1950, this became reality in 1954 and cer control of the industry, although certain devoting weekly sections and compiling tainly remained true well into the Sixties. In well-financed new labels, such as Mercury best-seller charts in both categories. The addition to Atlantic’s 11 nominees — Ray in Chicago, MGM (the first film company to majors had maintained control of the pop Charles, La Vern Baker, Ruth Brown, the enter the record sweepstakes) and London and country fields, and were little bothered Coasters, King Curtis, Bobby Darin, the (owned by Sir Edward Lewis, of British that rhythm and blues music was now total Drifters, Ben E. King, Clyde McPhatter, Decca), were gaining a foothold in the pop ly in the hands of the indies. Joe Turner and Chuck Willis — the label’s market. These early R&B leaders are responsible other great stars of that period included Ivo The big bands may have gone, but many for 23 of the 41 nominees. Atlantic leads the ry Joe Hunter, the Clovers and the Cardi of the pop stars who’d been featured vocal way with 11, followed by King with 4, Chess nals. Atlantic was also perhaps the first com ists with these ensembles back in the Thir with 3, Specialty and Imperial with 2 pany to recognize the benefit of ties and Forties — Perry Como, Frank Sina apiece, and Modern and Savoy each with 1. independent production through its ground tra, Jo Stafford, Dinah Shore and Vaughn Although none of their artists was nominat breaking deals with Jerry Leiber and Mike Monroe — remained on the scene. These art- ed, Alladin, Apollo and Jubilee were also Stoller and, later, Phil Spector, Bert Berns, Clockwise: Lester Sill, Duane Eddy and Lee Hazelwood Alan F reed...in the beginning H enry G lover H ank Ballard and Syd Nathan Morty Kraft of Melba Records Dave Miller (Essex Records), Martin Block and Don Howard. Martin Block promised to eat a record if it became a hit. Ahmet Ertegun, Joe Turner and Jerry Wexler Jim Stewart and A1 Bell of Stax, and Buddy Killen of Dial Records. SAVOY was the first and one of the oldest R&B labels to consistently come up with hit product. Savoy was founded in Newark in 1942 by Herman Lubinsky, whose strong will and tenacity were rivaled only by fellow pioneer Sydney Nathan of King Records. The label’s golden years were from 1949 to 1951, when they virtually monopolized the R&B charts with hits by Hall of Fame nomi nee Johnny Otis (“Double Crossing Blues,” “Mistrustin’ Blues,” “Deceivin’ Blues”), as well as “The Hucklebuck,” by Paul Will iams, and “Deacon’s Hop,” by Big Jay McNeely. In later years, Savoy became m ore prominent in the gospel field, with art ists like James Cleveland and Marion Will iams.

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