THEY’VE OUTLIVED ‘ROCK’ ODDS

Only a sucker in the early days of rock would have bet against Bo Diddley, Roy Orbison and Carl Perkins eventually being named to a Rock and Roll Hall of Fame.

These guys were naturals. Despite quite different styles, the three men made distinctive and endearing records that helped define the passion and purpose of rock’s strange synthesis of backwoods country and outlaw blues.

Yet even those three rock pioneers would have thought twice three decades ago about placing any money on this second proposal: Diddley, Orbison and Perkins would still be playing rock ‘n’ roll in 1987.

For one thing, the theory that rock was just a fad was so widely accepted in the ‘50s that even the teen-age fans of the revolutionary music didn’t expect the shakin’ to be goin’ on for very long.

That’s why shrewd Col. Tom Parker was so delighted when he secured a long-term movie contract for his client, Elvis Presley. And if the hottest property in all of pop was looking for greener pastures, you can imagine how numbered the days of other rockers must have seemed.

Another thing working against the thought of a long career was that rock was a very young man’s game. Bill Haley was 29 in 1954 when he recorded the classic “Rock Around the Clock,” but he seemed perfectly ancient to teen fans once 19-year-old Elvis arrived with “That’s All Right (Mama).”

Who, then, could imagine someone in his 50s still getting on stage with a guitar?

Yet Diddley (56), Perkins (54) and Orbison (50) each laughed at the idea that Wednesday night’s Rock and Roll Hall of Fame ceremony at the Waldorf-Astoria was a “retirement dinner.” (The three were among 15 artists inducted as the second Hall of Fame contingent.)

The three veteran musicians not only continue to tour up to 200 days a year, but speak eagerly about promising new recording projects.

Orbison’s album--due this summer on Virgin Records--will be produced by T-Bone Burnett, who worked in recent months with some of rock’s most critically respected contemporary artists: Elvis Costello, Los Lobos, the BoDeans and Peter Case.

Perkins’ album, produced by Chips Moman (who has written and/or produced hits for such artists as Willie Nelson, Waylon Jennings, Aretha Franklin and Presley), is due this spring from PolyGram Records. Diddley plans to record a single shortly in Los Angeles and is looking for a label deal.

In separate interviews at a reception before the Hall of Fame ceremonies, however, all three men admitted that they had backup jobs in mind in the ‘50s--just in case rock proved to be a temporary passion with the public.

“I had no idea the music would live the way it has,” said Perkins, who wore blue suede cowboy boots Wednesday in a playful salute to his lively 1956 rockabilly hit “Blue Suede Shoes.” Besides writing that early rock anthem, Perkins also has the distinction of seeing three of his tunes pop up on Beatles albums (“Everybody’s Trying to Be My Baby,” “Honey Don’t” and “Matchbox”).

“I never doubted that Elvis would have a long career, but there was only one Elvis. To be honest, I thought maybe I could get enough money to (operate) my own service station. I even had my eye on one. I knew that business because I had worked at one. I had also worked at a bakery.

“In fact, I was working at a bakery when I wrote ‘Blue Suede Shoes.’ I was just playing on the weekends because I needed to feed my wife and two little babies.”

Diddley, the guitarist whose hyperactive, oddly syncopated beat has become one of rock’s most identifiable rhythms, agreed: “I never had the idea that I’d still (be in the music business). I just thought I may have to go back to driving a truck.”

Orbison, whose hits like “Only the Lonely” and “Runnin’ Scared” were masterfully crafted statements about the anxious desperation of romance, said he never envisioned the “impact rock has had on (our) culture” or that it would grow to such heights.

“I have been amazed at the way people have continued to respond to the music. I used to wonder just where I would fit in. I knew where Elvis’ place was and the Beatles and the Stones . . . the ones who were the firstest-with-mostest . . . on up to Bob Seger and Bruce Springsteen and people like that.

“But I didn’t know where mine was--and I think that’s one of the reasons I began to cut down on my shows and recordings for a while. I never wanted to be in a club when I was 50 or 60 just because I couldn’t stand to walk away from it. I told myself to have enough sense and pride to just ease out when it was time.

“But I think time finally gave me some perspective and I have a new commitment. I’ve started writing with people like Will Jennings and J. D. Souther and Rodney Crowell and it’s fun again. I feel like a kid again.”

Orbison, who still favors his trademark black clothes and dyed black hair, paused and smiled.

“I remember reading a few years ago that Mick Jagger said he didn’t want to be jumping all around the stage when he was 40. Well, he’s almost 45 now. . . . Who would have believed it?”

CD DIGEST: EMI isn’t the only record company digging into its vaults for some prized compact disc packages. Columbia Records is releasing more than 40 compact discs over the next three months by such artists as Bob Dylan, Barbra Streisand, Marvin Gaye, Willie Nelson and Leonard Cohen. Among the titles: Dylan’s “Blonde on Blonde” and “Bringing It All Back Home” (both due in March) . . . Streisand’s “People” (“February), “My Name Is Barbra” and “Color Me Barbra” (both March) . . . Gaye’s “Midnight Love” (January), Nelson’s “Red-Headed Stranger” (March) and Cohen’s “Best of” (March).

LIVE ACTION: Paul Simon will be joined by Hugh Masekela, Ladysmith Black Mambazo (who guested on his “Graceland” album) and Miriam Makeba from March 6-8 at the Universal Amphitheatre. Tickets go on sale Monday.