![Very Best of Gene Vincent [EMI]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7 "Very Best of Gene Vincent [EMI]")
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Vincent Eugene Craddock (February 11, 1935 – October 12, 1971), known as Gene Vincent, was an American rock and roll musician who pioneered the style of rockabilly. His 1956 top ten hit with his backing band the Blue Caps , " Be-Bop-a-Lula ", is considered a significant early example of rockabilly. [2]
Gene Vincent (* 11. Februar 1935 in Norfolk, Virginia; bürgerlich Eugene Vincent Craddock; † 12. Oktober 1971 in Newhall, Kalifornien) war ein US-amerikanischer Rockabilly -Musiker, der vor allem durch seinen Hit Be-Bop-A-Lula bekannt wurde.
October 12, 1971, Newhall, California (aged 36) Awards And Honors: Rock and Roll Hall of Fame and Museum (1998) Gene Vincent (born February 11, 1935, Norfolk, Virginia, U.S.—died October 12, 1971, Newhall, California) American rockabilly singer whose swaggering, black-leather-clad image defined the look of the rock rebel.
- The Editors of Encyclopaedia Britannica
Overview. Born. February 11, 1935 · Norfolk, Virginia, USA. Died. October 12, 1971 · Newhall, California, USA (bleeding ulcer) Birth name. Vincent Eugene Craddock. Nickname. The Screaming End. Height. 5′ 9″ (1.75 m) Mini Bio.
- February 11, 1935
- October 12, 1971
Vincent began playing the guitar at an early age. Hearing the Grand Ole Opry on the radio and gospel music of the local black churches; he played with neighborhood black musicians on the porch of his parents' country store. After six years the Vicents moved back to Norfolk, and in 1952 at the age of 17 and in the ninth grade, his father signed papers allowing him to join the U.S.Navy.
Biography (1935 – 1971) Gene Vincent, Vincent Eugene Craddock in real life, was an American musician who pioneered the styles of rock and roll and rockabilly. His 1956 top ten hit with his Blue Caps, “Be-Bop-A-Lula”, is considered a significant early example of rockabilly. He is a member of the Rock and Roll and Rockabilly Halls of Fame.
HALL OF FAME ESSAY. By Robert K. Oermann. The producer was afraid he’d lose his job. The studio was barely solvent. The engineer wrestled through twelve takes trying to get something usable. The record label didn’t really believe in the song, the artist or even in rock & roll. Out of such gloom came the bubbling magic of “Be-Bop-a-Lula ...
