Joe Hoppel may work at a country radio station, but 42 years ago he was witness to rock ‘n’ roll history.

The WCMS-FM (100.5) morning jock was employed at that same Norfolk station in April 1956 when a young man named Gene Vincent stopped by to make a demo of his new song “Be-Bop-A-Lula.”

That demo was sent to Capitol Records where it was quickly embraced by executives desperately seeking the next Elvis Presley. And soon, it was also embraced by a nation of young rock fans.

“Be-Bop-A-Lula” was Vincent’s biggest hit. It peaked at No. 7 in 1956 and eventually sold more than 9 million copies worldwide. And it’s one of the biggest reasons the late singer and Norfolk native will be inducted in the Rock and Roll Hall of Fame Monday in New York City.

Hoppel’s role in Vincent’s demo was beyond than that of an observer. He literally had a hand in its production. In the ’50s, WCMS recorded commercials on reel-to-reel tapes, then transferred them onto acetate discs for DJs to spin. The transferring was one of young Hoppel’s responsibilities at WCMS.

So after Vincent recorded his song, Hoppel was the man who dubbed it onto acetate.

“You can never tell what’s going to turn out historic,” Hoppel said last week. “If I’d known, I would have taken a picture or something.”

Vincent’s demo was mailed to Ken Nelson at Capitol Records by WCMS manager Sheriff Tex Davis. And apparently, the disc made quite an impact. “A couple of days later, Nelson called the station,” Hoppel said. “He said `You guys must have our offices bugged. Because just this morning we had a meeting about how we need a rockabilly guy like Elvis. We want Gene to come to Nashville as soon he can.’ “

At WCMS, Vincent and his band – later to be named the Blue Caps – practiced furiously to get ready for the Music City studio session. “For four days straight, they did nothing but practice,” Hoppel remembers. “There was a lawyer’s office below us. They called up numerous times asking us to please keep it quiet.”

Also, Capitol wanted Vincent to record other songs besides “Be-Bop-A-Lula.” That presented a problem for Vincent, whose set at that point consisted of Elvis covers and that single original, Hoppel said.

The idea that Capitol was talking about an album was a shocker for Vincent. “He was saying, `An album of what?’ ” Hoppel said. To solve the problem, WCMS staffers were instructed to search for suitable cover material. Hoppel said three songs he suggested ended up on the Vincent’s debut album “Bluejean Bop!”

While Vincent was an incredibly influential early rocker, his story has a sad ending. When rock ‘n’ roll entered the doldrums in the late 1950s, Vincent’s career lagged. He eventually relocated to England, where he enjoyed a lengthy second shot. There, he remained a bona fide star long after he was nearly forgotten in the States. Vincent’s look and music were key early influences on Beatle John Lennon and a host of other British rockers from the ’60s.

But eventually, even the European success faded. After Vincent moved back to America, he was plagued by depression and alcoholism. He died of an ulcer hemorrhage in October 1971.

Fortunately, Vincent’s spirited early days will be immortalized in Cleveland’s dazzling rock shrine.

“The tortured image of the black-leather rockabilly rebel, whose anguished life of physical pain and psychological torment could only be soothed by sheer rock and roll abandon gave Gene Vincent a uniquely menacing identity in the 1950s,” a Hall of Fame release explains. “Vincent is still ranked next to Elvis, Eddie Cochran, Buddy Holly and few others whose lives and times defined rock and roll forever.”

– Sam McDonald can be reached at 247-4732.