Happy Birthday To You-Rock Around The Clock- Bill Haley and His Comets

Happy Birthday To You-

By Lester Lannon

I am devoted to a local folk station WUMB which is run out of the campus of U/Mass-Boston over near Boston Harbor. At one time this station was an independent one based in Cambridge but went under when their significant demographic base deserted or just passed on once the remnant of the folk minute really did sink below the horizon.

So much for radio folk history except to say that the DJs on many of the programs go out of their ways to commemorate or celebrate the birthdays of many folk, rock, blues and related genre artists. So many and so often that I have had a hard time keeping up with noting those occurrences in this space which after all is dedicated to such happening along the historical continuum.

To “solve” this problem I have decided to send birthday to that grouping of musicians on an arbitrary basis as I come across their names in other contents or as someone here has written about them and we have them in the archives. This may not be the best way to acknowledge them, but it does do so in a respectful manner.    

CD REVIEW

The Best of Bill Haley and His Comets, Bill Haley and The Comets, MCA Records, 1999


I want to take you to back to the Stone Age of communications in the 1950’s. In those days there was a thing called a transistor radio. For those who do not know what this is it was a small battery-powered radio that you could fit in your shirt or pants pocket or for girls- a purse or some such bag. No, no downloading then, sorry. Why do I need to mention this as a prelude to discussing Bill Haley? Well, let us keep this quiet, okay. Bill and his Comets could be listened to on that little radio. No big deal, you say. Fair enough.

But what if I told you that he played Rock and Roll music and that such music was the ‘devils work’ in many households. And what if I told you that this ‘devil’s work’ was much easier to listen too if you had one of those little transistors that could be hidden away from snooping parents. And this was not in some “Iron Curtain” country but right here in America. Now you get the drift. Some, including this writer, may say that America has since gone to the dogs but, hell; it was great music to listen to after hearing the likes of Patti Page singing about How Much Was That Doggie In The Window.

Bill Haley actually represented something of a transition into Rock and Roll. He had a regular standard band of the day with a big ‘sax’ sound and all. He and his Comets were all dressed up for the country club youth dance or school dance so mother and father would certainly have approved of such nice young men. Then they came out with the jump Rock Around The Clock at you. Then covered Big Joe Turner’s classic Shake, Rattle and Roll (better than Elvis, Carl Perkins and Jerry Lee by the way). Take a breather with a little Mambo-type ditty to take advantage of the then current craze. Then back to the sneakily sensuous Skinny Minnie. And close out with a rock classic like See You Later, Alligator. Yes, this was maybe not the very best that Rock and Roll had to offer but these guys were serious. Just make sure to get some batteries for those little radios and things will be fine.

Happy Birthday To You-*A Mixed Bag Musical Potpourri-Jazz, Blues, Gospel, Rock And Rockabilly- The BlueGrass Gospel Project

Happy Birthday To You-

By Lester Lannon

I am devoted to a local folk station WUMB which is run out of the campus of U/Mass-Boston over near Boston Harbor. At one time this station was an independent one based in Cambridge but went under when their significant demographic base deserted or just passed on once the remnant of the folk minute really did sink below the horizon.

So much for radio folk history except to say that the DJs on many of the programs go out of their ways to commemorate or celebrate the birthdays of many folk, rock, blues and related genre artists. So many and so often that I have had a hard time keeping up with noting those occurrences in this space which after all is dedicated to such happening along the historical continuum.

To “solve” this problem I have decided to send birthday to that grouping of musicians on an arbitrary basis as I come across their names in other contents or as someone here has written about them and we have them in the archives. This may not be the best way to acknowledge them, but it does do so in a respectful manner.    

Click On Title To Link To YouTube's Film Clip Of The Bluegrass Gospel Project Doing "Take Me In Your Life Boat".


CD Review

“The Heavenly Choir”

Wander On, the Bluegrass Gospel Project, Vital Records, 2005


At first blush it would not appear that a somewhat secular bluegrass tradition and the very definitely religious-oriented gospel tradition would be a good mix. Silly me though. Of course they mix if one thinks about the roots of both genre then, while not a ‘match made in heaven”, the two traditions share at least a common isolated mountain Saturday night partying- Sunday repentance connection. That said, this group composed mainly of denizens of Vermont (although I do not believe most of them are natives) has caught the essence of both traditions, complete with mandolin, fiddle, banjo, guitar and the like. A remarkable group of talented musicians and with the vocals of Patti Casey they have everything they need to lead a ‘heavenly choir” (or musically set the barn on fire).

I have actually heard this group in person and between the two their live performance gives a better take on how good they really are. For those not so fortunate this CD will be a fine substitute though. Feast on “Angel Band” and the classic Tommy Dorsey (the old time Blind Willie McTell blues companion turned gospel singer not the 1940’s band leader) song “Come, Let Us Go Back To God”. I just wish “Poughkeepsie” was included here. Patty Casey “amped it up” on that one at the live performance I mentioned above.

Stanley Brothers
Angel Band lyrics

My latest sun is sinking fast
My race is nearly run
My longest trials now are past
My triumph has begun

Chorus
Oh come angel band
Come and around me stand
Bear me away on your snow white wings
To my immortal home
Bear me away on you snow white wings
To my immortal home

Oh bear my longing soul to him
Who bled and died for me
Whose blood now cleanses from all sins
And brings me victory

[chorus]

I know I'm near the holy ranks
Of friends and kindred dear
I brush the dew on Jordan's banks
The crossing must be near

I've almost gained my heavenly home
My spirit loudly sings
The holy ones, behold they come
I hear the noise of wings

In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-Out In The Be-Bop Night- In the Beginning Of Rock- Bop- Once Again, From the Vaults Of Sun Records

Click on the headline to link to a YouTube film clip of Carl Perkins performing Boppin' The Blues.


In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-Out In The Be-Bop Night- In the Beginning Of Rock- Bop- Once Again, From the Vaults Of Sun Records

CD Review


The Sun Gods, 3-CD set, Dressed To Kill Records, 1999


One of the purposes of this space is to review various cultural trends that drove American popular culture in the 20th century. More specifically in the post-Word War II, the lifetimes of many of today’s baby boomers. A seminal point, musically at least, was the breakout of the mid-1950s fueled by a strange and sometimes contradictory mix of black-based rhythm and blues, Arkie, Okie, Appalachian “hillbilly” rock-a-billy and plain old jazz and show tune Tin Pan Alley. The mix of course we now know as rock ‘n’ roll, sadly for this aging reviewer now called the age of classic rock 'n' roll. No sadly that it does not exist except in CDs such as the one under review, The Sun Gods, but that frenetic fury to change the musical direction of popular culture seems to have lost steam along the aging process. But take heart. While we have all probably slowed down a step or seven we will always have Sun Records CD memories to carry us.

And there is no question, no question at all that, pound for pound, the music that came out of Sam Phillips’ Memphis-based Sun Records for about a decade in the 1950s was central to the mix that created rock 'n' roll. Think Elvis, Jerry Lee and Chuck Berry to name just three of the more famous singers to come out of that label. And as this CD demonstrates beyond doubt, highlighted by the work of Sonny Burgess and Warren Smith here, also a whole tribe of lesser lights, one hit Johnnies and Janies, and those who never made it that formed the background milieu that drove the others forward and created this musical chemistry that can boggle the mind. If you want to find, in one spot, a CD set that rediscovers the roots of rock ‘n’ roll, especially the contributions from the rock-a-billy side well here you are.

I have highlighted some of the tracks on each disc.

Disc One: Carl Perkins performing Roll Over Beethoven, a song made famous by Chuck Berry (and that I went crazy over when I first heard it as a kid) which I think that he may actually do better than Chuck, if you can believe that: there are several Elvis interviews recorded here as part of the promotion of his records and/or concerts in the early days. I would say, thank god, that he had that great musical talent because off these innocuous, bland interviews he would have starved otherwise. Still these are good to hear from a time before the king became “the King.”

Disc Two: Red Hot by Billy Lee Riley, a rock-a-billy hard-driving classic that expresses just what the break-out was all about; We Wanna Boogie by Sonny Burgess (a definitely underrated force), Red Cadillac and a Black Mustache by Warren Smith (Bob Dylan covered this one in a tribute album); and, Crazy Women by Gene Simmons. This is one of those CDs that you have to listen to all the way through to get a real feel for this music, and you should.

Disc Three: Rock Boppin’ Baby by Edwin Brice; Let’s Bop by Jack Earls; Thinkin’ Of Me by Mickey Gilley; Rockhouse by Harold Jenkins; and, You Don’t Care by, Narvel Felts. Yes, I know, you probably have never heard of any of them. But if you listen to this CD you will see where Elvis, Jerry Lee and Chuck got their stuff from. And you know, successful or as failures, as I have mentioned before in reviewing Sun Record material, all these guys (and a few gals) all sound like they are happy to be rocking and rolling rather than whatever else they were slated to do in life.

Those Oldies But Goodies…Out In The Be-Bop ‘50s Song Night- Warren Smith’s “Rock And Roll Ruby”

Those Oldies But Goodies…Out In The Be-Bop ‘50s Song Night- Warren Smith’s “Rock And Roll Ruby”

WARREN SMITH ROCK´N´ ROLL RUBY LYRICS


Well I took my Ruby jukin'
On the out-skirts of town
She took her high heels off
And rolled her stockings down
She put a quarter in the jukebox
To get a little beat
Everybody started watchin'
All the rhythm in her feet

She's my rock'n'roll Ruby, rock'n'roll
Rock'n'roll Ruby, rock'n'roll
When Ruby starts a-rockin'
Boy it satisfies my soul

Now Ruby started rockin' 'bout one o'clock
And when she started rockin'
She just couldn't stop
She rocked on the tables
And rolled on the floor
And Everybody yelled: "Ruby rock some more!"

She's my rock'n'roll Ruby, rock'n'roll
Rock'n'roll Ruby, rock'n'roll
When Ruby starts a-rockin'
Boy it satisfies my soul

It was 'round about four
I thought she would stop
She looked at me and then
She looked at the clock
She said: "Wait a minute Daddy
Now don't get sour
All I want to do
Is rock a little bit more"

She's my rock'n'roll Ruby, rock'n'roll
Rock'n'roll Ruby, rock'n'roll
When Ruby starts a-rockin'
Boy it satisfies my soul

One night my Ruby left me all alone
I tried to contact her on the telephone
I finally found her about twelve o'clock
She said: "Leave me alone Daddy
'cause your Ruby wants to rock"

She's my rock'n'roll Ruby, rock'n'roll
Rock'n'roll Ruby, rock'n'roll
When Ruby starts a-rockin'
Boy it satisfies my soul

Rock, rock, rock'n'roll
Rock, rock, rock'n'roll
Rock, rock, rock'n'roll
Rock, rock, rock'n'roll
When Ruby starts a-rockin'
Boy it satisfies my soul
*****
Nobody had seen Billie (William James Bradley for those who are sticklers for detail) for a while, a few months anyway. I had drifted away from his circle, his corner boy circle, when my family moved across town to the other side of Adamsville, North Adamsville a couple of years before. And when Billie got into some stuff, some larceny stuff, mainly clipping things and stealing cars if you must know, and when I decided, decided almost at the last minute, that I wanted no part of that scene that pretty much ended it. I still kept in touch with him for about a year or so after and then when he got into his new “jag”, robbing stores and the like, through keeping in touch others. Rumor had it, and it was always rumor with Billie whether he was right in the room or got his fate reported by one of his boys, one of his legend-producing boys definitely including me at one time, that he was shacked up with some “broad”. I admit I did my fair share to built up the Billie legend but that’s all, he just naturally filled in the empty spaces, empty spaces that he hated, and that characteristic goes a long way in telling why we hadn’t heard from him for a while except through that rumor mill.

The rumor mill also had it, to fill in the particulars, that he had stolen some car, a classic hopped-up 1949 Nash owned by a tough guy, real tough guy, named “Blindside” Buckley (that moniker tells you all you need to know just keep clear of him, alright) or something like that, or maybe it was that he had stolen one car, abandoned it, and stole another. Either way sounds about right. Stole the cars and was holed up somewhere with a honey, Lucy (description to follow), that he had met down at the Sea and Surf teen nightclub across from the Paragon Park Amusement Park in Nantasket, a few miles outside of the town limits of Adamsville. Now this honey, this Lucy honey, was a little older than Billie but, and like I say this is rumor, she jumped on him from minute one when he walked in the door, leaving the guy she was with looking kind of stupid. And in the scheme of things probably prepared to commit mayhem.

Billie, no question was a good-looking guy, was a real good dancer and, best of all, he had a great voice, a great rock and roll voice, that fit nicely, very nicely into the music that we were all listening to, listening to like crazy, on our little transistor radios. So maybe, for all I know, she had heard Billie sing, sing at one of the two billion talents shows that he was always entering in order, as he constantly said, to win his fame and fortune. Like I said he was good, good at covering Top Forty stuff, but just short, just short, I guess, of making that projects jail break-out move that he was always confident would occur once the talent guys heard him, really heard.

And this honey, this red-headed, luscious red-lipped honey was, reportedly, just the exact kind of honey that Billie dreamed of grabbing for his own. Great shape (great shape then meaning all fill-out curves and leggy legs, or something like that), great boffo hair (dark red, an obviously Irish girl), kittenly sexy, and most importantly ready to go all night whether dancing, doing this and that (figure it out), or helping plan some caper. Just the kind of girl the priests and parents were always warning us against but we still secretly dreamed of, dreamed of hard. Ya, just Billie’s action, just his catnip. And so when I first heard that rumor, that Billie holed up rumor, I said ya, that seems about right.

See Billie one night, one twelve year old summer night, down in back of old Adamsville South Elementary School where we used to hang out because that was the only real hang-out place around, and talk, talk of futures, talk of dreams just like everybody else, every twelve year old everybody else Billie kind of laid the whole thing out for us. He was going to parlay his singing voice, his rock and roll singing voice, into fame and fortune and when his ship came in he was going to search for his rock and roll soul-mate. He didn’t put it just this way but the idea was to get the hottest, sexiest, dancingest girl around and sail off into the sunset leaving that dust of the projects behind, way behind.

So it looks like Billie has one part of his dream coming true, although being on the lam, being big time on the lam, from the cops, the owner of that hopped-up classic 1949 Nash, or maybe even that guy left looking stupid, take your choice, wasn’t part of the description back in those twelve year old summer nights. But being sixteen, being in some dough, and being with the rock and roll queen of the seaside night still seems like a bargain worth having made with whatever devil Billie needed to consult to pull the caper off. Hell, it makes me think that maybe I made a mistake moving away from Billie’s orbit. But just call that a rumor in case any cops are around, alright. Anyway, now that Billie is holed up, any girls who want to dance the night away just call out my name. Hey, I can dream too.

In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-*When Doo Wop Bopped- An Encore- The Music Of The 1950s

Click on the headline to link to a "YouTube" film clip of The Capris performing their "doo wop" classic, "There's A Moon Out Tonight".

In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-*When Doo Wop Bopped- An Encore- The Music Of The 1950s

CD Review

Old Town Doo Wop, Volume One, Ace Records, 1992

I have been doing a series of commentaries elsewhere on another site on my coming of political age in the early 1960s, but now when I am writing about musical influences I am just speaking of my coming of age, period, which was not necessarily the same thing. No question those of us who came of age in the 1950s are truly children of rock and roll. We were there, whether we appreciated it or not at the time, when the first, sputtering, moves away from ballady show tunes, rhymey Tin Pan Alley tunes and, most importantly, any and all music that your parents might have approved of, even liked, or at least left you alone to play in peace up in your room hit post World War II America like, well, like an atomic bomb.

Now strictly speaking “Doo Wop” is not really rock and roll, but rather a second cousin to it coming out of the black-dominated rhythm and blues tradition. The fantastic harmonics, precise rhythmic patterns, and smooth lyrics reflect that tradition more than the over-heated, guitar-driven, solo-singer rock performances that drove most of us to the dance floor back in the day. The kind of rock and roll that most of us children of the genre listened to, went wild over and spent that precious disposable income on was the rockabilly, hillbilly, black country blues variation that Sam Phillips and Sun Records first produced in the early 1950s and that Elvis, Carl Perkins, Chuck Berry, and Jerry Lee Lewis came to be exemplars of. But some of us, when we had a little extra cash, definitely bopped “doo wop” as part of our coming of age, especially if some dreamy girl (or guy for shes) was falling all over herself to listen to. Remember to be young was to be ready.

So what still sounds good on this CD compilation to a current AARPer and some of his fellows who comprise the demographic that such 1950s compilations “speak” to. No one came out of the 1950s without having at least listened to “There’s A Moon Out Tonight” by the Capris. Or “Remember Then” by The Earls, “Message Of Love” by The Laurels, and “Walking Alone” by The Solitaires. Now this sub-genre is a very acquired taste, to be sure, but if you need a “doo wop” primer here is a place to start.


There's A Moon Out Tonight

Artists: The Capris

There's a (moon out tonight) whoa-oh-oh ooh
Let's go strollin'
There's a (girl in my heart) whoa-oh-oh ooh
Whose heart I've stolen
There's a moon out tonight (whoa-oh-oh ooh)
Let's go strollin' through the park (ooh-ooh-ooh-ooh)

There's a (glow in my heart) whoa-oh-oh ooh
I never felt before
There's a (girl at my side) whoa-oh-oh ooh
That I adore
There's a glow in my heart I never felt before (ooh-ooh-ooh-ooh)

Oh darlin'
Where have you been?
I've been longin' for you all my life

Whoa-uh-oh baby I never felt this way before
I guess it's because there's a moon out tonight

There's a (glow in my heart) whoa-oh-oh ooh
I never felt before
There's a (girl at my side) whoa-oh-oh ooh
That I adore
There's glow in my heart
I guess it's because

There's a moon out tonight
Moon out tonight
Moon out tonight
Moon out tonight
There's a moon out tonight

When Rockabilly Rocked The Be-Bop 1950s Night- “Rock This Town-Volume 2”- A CD Review

When Rockabilly Rocked The Be-Bop 1950s Night- “Rock This Town-Volume 2”- A CD Review

Rock This Town, Volume 2, various artists, Rhino Records, 1991


The bulk of this review was used to review Volume 1 as well:

The last time that I discussed rockabilly music in this space was a couple of years ago when I was featuring the work of artists like Elvis, Johnny Cash, and Jerry Lee Lewis who got their start at Sam Phillips’ famed Sun Records studio in Memphis. Part of the reason for those reviews was my effort to trace the roots of rock and rock, the music of my coming of age, and that of my generation, the generation of ’68. Clearly rockabilly was, along with country and city blues from the likes of Muddy Waters, Howlin’ Wolf, and Ike Turner and rhythm and blues from the likes of Big Joe Turner, a part of that formative process. The question then, and the question once again today, is which strand dominated the push to rock and rock, if one strand in fact did dominate.

I have gone back and forth on that question over the years. That couple of years ago mentioned above I was clearly under the influence of Big Joe Turner and Howlin’ Wolf and so I took every opportunity to stress the bluesy nature of rock. Recently though I have been listening, and listening very intently, to early Elvis Presley, Carl Perkins and Jerry Lee Lewis and I am hearing more of that be-bop rockabilly rhythm flowing into the rock night. Let me give a comparison. A ton of people have done Big Joe Turner’s classic rhythm and bluish Shake, Rattle, and Roll, including Bill Haley, Elvis, Carl Perkins, and Jerry Lee. When I listen to that song as performed in the more rockabilly style by them those versions seem closer to what evolved into rock. So for today, and today only, yes Big Joe is the big daddy, max daddy father of rock but Elvis, Jerry Lee, and Carl are the very pushy sons.

And that brings us to this treasure trove of rockabilly music presented in two volumes of which this is the second; including material by those who have revived, or kept the rockabilly genre alive over the past couple of decades. I have already done enough writing in praise of the work of Sam Phillips and Sun Records to bring that good old boy rockabilly sound out of the white southern countryside. There I noted that, for the most part, those who succeeded in rockabilly had to move on to rock to stay current and so the rockabilly sound was somewhat transient except for those who consciously decided to stay with it. Here are the examples that I used for volume one and they apply here as well:

“…the best example of that is Red Hot by Bill Riley and his Little Green Men, an extremely hot example by the way. If you listen to his other later material it stays very much in that rockabilly vein. In contrast, take High School Confidential by Jerry Lee Lewis. Jerry Lee might have started out in rockabilly but this number (and others) is nothing but the heart and soul of rock (and a song, by the way, we all prayed would be played at our middle school dances to get things moving).” Enough said.

Stick outs here on Volume 2 include: C’mon Everybody, Eddie Cochran (probably better known for his more bluesy, steamy, end of school rite of passage Summertime Blues, a very much underrated performer whose career was cut short when he was killed in a car accident; Let’s Have A Party, Wanda Jackson (one of the few famous women rockabilly artists in a very much male-dominated genre); Red Hot ( a cover of the famous one by Bill Riley featured in Volume 1), Robert Gordon and Link Wray; Rock This Town (title track from the group that probably is the best known devotee of the rockabilly revival), The Stray Cats.

*Coming Of Age, Period-An Encore- The Rock Music Of The 1950s

Click on the headline to link to a "YouTube" film clip of Mark Dinning performing his class teen tragedy song, "Teen Angel".

CD Review

Oldies But Goodies, Volume Seven, Original Sound Record Co., 1986



I have been doing a series of commentaries elsewhere on another site on my coming of political age in the early 1960s, but here when I am writing about musical influences I am just speaking of my coming of age, period, which was not necessarily the same thing. No question that those of us who came of age in the 1950s are truly children of rock and roll. We were there, whether we appreciated it or not at the time, when the first, sputtering, musical moves away from ballady Broadway show tunes and rhymey Tin Pan Alley pieces hit the radio airwaves. (If you do not know what a radio is then ask your parents or, ouch, grandparents, please.) And, most importantly, we were there when the music moved away from any and all music that your parents might have approved of, or maybe, even liked, or, hopefully, at least left you alone to play in peace up in your room when rock and roll hit post- World War II America teenagers like, well, like an atomic bomb.

Not all of the material put forth was good, nor was all of it destined to be playable fifty or sixty years later on some “greatest hits” compilation but some of songs had enough chordal energy, lyrical sense, and sheer danceability to make any Jack or Jill jump then, or now. And, here is the good part, especially for painfully shy guys like me, or those who, like me as well, had two left feet on the dance floor. You didn’t need to dance toe to toe, close to close, with that certain she (or he for shes). Just be alive…uh, hip to the music. Otherwise you might become the dreaded wallflower. But that fear, the fear of fears that haunted many a teenage dream then, is a story for another day. Let’s just leave it at this for now. Ah, to be very, very young then was very heaven.

So what still sounds good on this CD compilation to a current AARPer and some of his fellows who comprise the demographic that such 1950s compilations “speak” to. Of course, the sordid tale of teenage treachery, “Wake Up Little Susie” by The Everly Brothers. Nobody can tell me, or you either, in the year 2010 that old Susie and the narrator just innocently fell asleep, right? And how about the died too young Ritchie Valens on “Donna”. Or one of the very first songs that I memorized and sang around the house until I almost was thrown out by my mother, in her tender mercies, “Handy Man”, by Jimmy Jones. But if you want to get a real sense of teen angst, teen alienation, teen romantic longing in the 1950s, then Mark Dinning’s “Teen Angel” is the ticket. In ten thousand years when they unearth this CD and want to try and understand us primitives, and our coming of age traumas this will be the key that unlocks the door.

MARK DINNING lyrics - Teen Angel

(Jean Surrey & Red Surrey)

Teen angel, teen angel, teen angel, ooh, ooh

That fateful night the car was stalled
upon the railroad track
I pulled you out and we were safe
but you went running back

Teen angel, can you hear me
Teen angel, can you see me
Are you somewhere up above
And I am still your own true love

What was it you were looking for
that took your life that night
They said they found my high school ring
clutched in your fingers tight

Teen angel, can you hear me
Teen angel, can you see me
Are you somewhere up above
And I am still your own true love

Just sweet sixteen, and now you're gone
They've taken you away.
I'll never kiss your lips again
They buried you today

Teen angel, can you hear me
Teen angel, can you see me
Are you somewhere up above
And I am still your own true love
Teen angel, teen angel, answer me, please

When Rockabilly Rocked The Be-Bop 1950s Night- “Rock This Town”- A CD Review

When Rockabilly Rocked The Be-Bop 1950s Night- “Rock This Town”- A CD Review


Click on the headline to link to a YouTube film clip of Buddy Knox performing his classic Party Doll.

CD Review

Rock This Town, Volume 1, various artists, Rhino Records, 1991


The last time that I discussed rockabilly music in this space was a couple of years ago when I was featuring the work of artists like Elvis, Johnny Cash, and Jerry Lee Lewis who got their start at Sam Phillips’ famed Sun Records studio in Memphis. Part of the reason for those reviews was my effort to trace the roots of rock and roll, the music of my coming of age, and that of my generation, the generation of ’68. Clearly rockabilly was, along with country and city blues from the likes of Muddy Waters, Howlin’ Wolf, and Ike Turner and rhythm and blues from the likes of Big Joe Turner, a part of that formative process. The question then, and the question once again today, is which strand dominated the push to rock and roll, if one strand in fact did dominate.

I have gone back and forth on that question over the years. That couple of years ago mentioned above I was clearly under the influence of Big Joe Turner and Howlin’ Wolf and so I took every opportunity to stress the bluesy nature of rock. Recently though I have been listening, and listening very intently, to early Elvis Presley, Carl Perkins and Jerry Lee Lewis and I am hearing more of that be-bop rockabilly rhythm flowing into the rock night. Let me give a comparison. A ton of people have done Big Joe Turner’s classic rhythm and bluish Shake, Rattle, and Roll, including Bill Haley, Elvis, Carl Perkins, and Jerry Lee. When I listen to that song as performed in their more rockabilly style those versions seem closer to what evolved into rock. So for today, and today only, yes Big Joe is the big daddy, max daddy father of rock but Elvis, Jerry Lee, and Carl are the very pushy sons.

And that brings us to this treasure trove of rockabilly music presented in two volumes of which this is the first. I have already done enough writing in praise of the work of Sam Phillips and Sun Records to bring that good old boy rockabilly sound out of the white southern countryside. There I noted that for the most part those who succeeded in rockabilly had to move on to rock to stay current with the youth wave (the disposable income/allowance post World War II youth wave) and so the rockabilly sound was somewhat transient except for those who consciously decided to stay with that sound. Here the best example of that is Red Hot by Bill Riley and His Little Green Men, an extremely hot example by the way. If you listen to his other later material it stays very much in that rockabilly vein. In contrast, take High School Confidential by Jerry Lee Lewis. Jerry Lee might have started out in rockabilly but this number (and others) is nothing but the heart and soul of rock (and a song, by the way, we all prayed would be played at our middle school dances to get thing, you know what things going). Case closed.

Other stick-outs here include Ooby Dooby, Roy Orbison (although he has a ton of better songs); Blue Suede Shoes (the teeth-cutting, max daddy of rockabilly songs), Carl Perkins; Susie-Q (right at that place where rockabilly and blues meet to form rock and a classic come hither song), Dale Hawkins; Party Doll (another great middle school dance song), Buddy Knox;and, Come On, Let’s Go (bringing just a touch of Tex-Mex into the rockabilly mix), Ritchie Valens.

When Elvis Was The 'King'

DVD REVIEW

American Classic Albums: Elvis Presley, Elvis Presley, 1956, American Classic Productions, 2001



Over the past several months I have spend more than my fair of time investigating the effect of the career of Elvis Presley on my generation of ’68, and on me personally. That has entailed listening to some CDs and looking at old footage provided in various DVD compilations. One such documentary, hosted by Jack Scott, traced Elvis’s rise in the key year of 1954, the ‘dog days’. The present documentary breaks down a classic Elvis Presley (that is the title, and really all that is necessary as a title) album of 1956, his breakout year. The year he moved from Sam Phillips Sun Records to the big time, RCA Records.

This DVD is part of a series on classic American albums. I am not familiar with the others in the series yet but based on this introduction these efforts seem to be labors of love. Here we have the expected ‘talking heads’ dissecting the meaning of each song, some anecdotes from various and sundry performers and music historians interspersed with very illuminating footage of Elvis’s progress from Southern regional phenomena to national (and international) rock star at a time when the youth of my generation were desperately in need of a jailhouse breakout figure.

The highlight here is a very interesting discussion about Heartbreak Hotel, a song that whose depressive lyrics would seem to be out of sync with what Elvis was trying to project (including here are also various takes on Elvis’s performance of the song on television at different times). This segment makes a very strong case for Elvis’s emergence as ‘king of the hill’ in 1956. Whether he continued that role later is a separate question but 1956 was his year, and his alone. This little album also contained a very well thought out and performed mix of ballads, black bluesy numbers (Shake, Rattle and Roll), a little country, a little gospel. In short something any record producer would die for. If you need to know the history of rock and roll, or a slice of it anyway, this documentary is for you. If you just want the music grab the Elvis Presley CD, with both hands.

Blame It On The Late Sam Phillips, Okay?

CD REVIEWS

25 Sun Rock’n’ Roll Classics, various artists, Sun Records, 2004



Howlin’ Wolf, Roscoe Gordon, Rufus Thomas and an assortment of black blues notables in the early days. Elvis, Carl Perkins, Johnnie Cash and Jerry Lee Lewis and an assortment of white rockabilly notables in the mid to late 1950’s. What do they all have in common? Well, one thing, and make that a decisively important one thing, is that they passed through Mr. Sam Phillips’ Sun Records recording studio in Memphis, Tennessee on the way to some kind of career. Amazing. With the possible exception of Chess Records in Chicago, a label that moreover concentrated on the blues, no other studio can claim so much as the catalyst for what became rock & roll in the mid- 1950’s, the youth of the present writer and of his Generation of ‘68.

That said, the impetus for this review of a compilation of Sun Record rock and roll artists is a Public Broadcasting Station’s American Masters series that highlighted the ten years existence of that recording studio. There the format included a generous round of ‘ talking heads’ interspersed with some performances, in this case, to honor the 50th Anniversary of the founding of the Sun Records (1950). The ‘talking heads’ in that documentary include several of the artists highlighted here.

This documentary also included many of the old Sun artists who did not attain the stardom of those mentioned in the first paragraph yet who nevertheless had some interesting things to say about the meaning of the Sun Record experience. A recurring theme is that mainly it got them the hell off the farms and out of the fields, especially those damn cotton fields. And they had fun and got paid for it. And met girls! How can you beat that? My take on this is that they were good old boys who got more out of the Sun, if not financially then musically, than they had originally bargained for. And this entire film trip down memory lane, not without a ew barbs, was presided over by the impresario himself, the late Sam Phillips.

As to the present compilation of songs some comments are worth mentioning. As with all such compilations there is some unevenness in the quality of performance. For every Jerry Lee Lewis and "Great Balls of Fire" or Carl Perkins and "Blue Suede Shoes" there are any number of one-shot johnnies like Warren Smith doing the Johnny Cash- written "Rock and Roll Ruby" or Sonny Burgess doing "Red-Headed Woman", both fine if singular efforts. Then there are the merely imitative- of Elvis, Jerry Lee or whoever- like Bill Riley. And then those who never got released like Jack Earls and "Let's Bop". Well, today they all attain immorality collectively with this compilation. Rock on.


25 Sun Rare Blues Classics, various artists, Sun Records, 1997

Most of the points made above about fates of the rock and roll artists apply here as well, except the obvious question of race, both in how the artists were treated personally and financially by Phillips, and the audiences that the artists could perform before that does not get dealt with adequately in the documentary mentioned above except by Rufus Thomas in his fight to trace the roots of rock & roll back to a black musical influence. As to the present compilation some comments are worth mentioning. As with all such compilations there is some unevenness in the quality of performance.

Rufus Thomas on "Married Woman" is fine. As are the performances of Earl Hooker and Sleepy John Estes in his pre-folkie days. Tops for me is Little Milton. One should also note the house musicians like Billy Emerson ( a fine artist in his own right) and hovering around on that old piano the late Ike Turner (can anyone forget his work on "Rocket 88", not on this CD but get it).

I would add this note below that I am doing to all my Sun Record-related reviews taken from the review of the Sun Record documentary because it is appropriate in virtually every instance.

"A note on sound- no, not of this American Masters production which like virtually all PBS productions is technically of high quality. No, I am referring here to the sound in Sun Studio. I do not believe in ghosts or other such things but tell me this. Why, for example, does Johnny Cash in his Sun Records days sound like god’s own creation when on work from other recordings I can take him or leave him? And that goes for Elvis, Carl, Jerry Lee and the others as well. The gods and goddesses of Rock and Roll were smiling on that joint- thanks."

Once Again On Sun Records

25 More Blues Classics, various artists, Sun Records, 2002

Most of the points that I have made in reviewing the fates of the rock and roll artists that passed through the portals of Sun Recording studio apply here as well, except the obvious question of race both in how the artists were treated personally and financially by Phillips and the audiences that the artists could perform before that does not get dealt with adequately in the PBS documentary on the history of Sun Records except by Rufus Thomas in his fight to trace the roots of rock and roll back to the black musical influence. As to the present compilation some comments are worth mentioning. As with all such compilations there is some unevenness in the quality of performance.

Rufus Thomas on "Save That Money" is fine. As are the performances of Earl Hooker and James Cotton, Tops for me is Frankie Ballard’s "Trouble Down The Road". One should also note the house musicians like Billy Emerson (a fine artist in his own right) and hovering around on that old piano the late Ike Turner (can anyone forget his work on "Rocket 88", not on this CD but get it). Mainly though the first volume of this series (25 Rare Blues Classics) is more varied and flows better. Here there is a fair amount of imitation of Muddy Water’s and Howlin’ Wolf’s sound (not bad men to imitate, that is for sure) by musicians who, for the most part, like James Cotton and Walter Horton were just getting warmed up in their careers. They get better later.

I would add this note below that I am doing to all my Sun Record-related reviews taken from the review of the Sun Record documentary because it is appropriate in virtually every instance.

"A note on sound- no, not of this American Masters production which like virtually all PBS productions is technically of high quality. No, I am referring here to the sound in Sun Studio. I do not believe in ghosts or other such things but tell me this. Why, for example, does Johnny Cash in his Sun Records days sound like god’s own creation when on work from other recordings I can take him or leave him? And that goes for Elvis, Carl, Jerry Lee and the others as well. The gods and goddesses of Rock and Roll-and the blues- were smiling on that joint- thanks."

Blue Suede Shoes- Carl Perkins

Commentary



How About Them Blue Suede Shoes

Carl Perkins- King of Rockabilly and Friends, Carl Perkins, 1985



Everyone who cares now knows that the roots of rock and rock came from a few sources, country blues, city blues, and rhythm and blues of the Big Joe Turner sort and from the white South rockabilly from the likes of Jerry Lee Lewis and the artist reviewed here- Carl Perkins. Over the long haul I believe that the key is that Turner rhythm and blues on Shake, Rattle and Roll that defines the roots of rock and roll but that is just for argument’s sake. Carl Perkins can lay claim to a piece of that magic with Blue Suede Shoes (latter covered by Elvis, adding a great deal to his career, of course).

Whether Perkins is a key figure is the history of rock and roll beyond that initial contribution is also an open question. However, no one can question that here in a 30th Anniversary show in London to an audience that was perhaps more appreciative than a home-grown one at that time no one can doubt that he rocks the rockabilly with the best of them. As usual with this format we have the guests- and quite good ones in the likes of Roseanne Cash, Ringo Starr, Eric Clapton and George Harrison as well as a nice traveling band. Additionally there were some serious dancers, dressed in appropriate 50's style, in the audience kicking up a storm. The hit here is, without a doubt, the finale with a collective all out rendition of Blue Suede Shoes.

The Killer Once Again-Jerry Lee's Back

CD REVIEWS

The Killer At The Top Of His Form

Jerry Lee Lewis-18 Original Greatest Hits, Jerry Lee Lewis, Rhino Records, 1984

The last time we heard the name Jerry Lee Lewis in this space was in connection with a rave review of his star-studded concert on DVD and in a CD in New York City in 2006 entitled The Last Man Standing. A couple of paragraphs below are taken from the concert and CD review because they certainly apply to this album which also gets a rave review from these quarters. The last paragraph details some of the highlights of this CD. If you need to go back to the Fifties there are plenty of his compilations to choice from but this one is a good primer. Here goes.

“…Elvis, Chuck Berry, Carl Perkins, Bo Diddley. Yes those are the men who created rock and roll, as we know it. However in that list do not forget one Jerry Lee Lewis. Fate dealt him an uneven hand due to the foibles of his personal life (the subject of a movie, Great Balls of Fire, with Dennis Quaid) but his form of rockabilly/boogie woogie piano-driven music and madman presentation must be placed in the mix of influences that drove the best of early rock.

If for no other reason that that he is one of the few `still standing' from that generation it is nice to see what the Killer can do in his 71st year in concert in New York City in 2006 with a host of guests some old, some young. Clearly off these performances he has lost a couple of steps. Hell the kind of energy that Jerry Lee produced in the 1950's definitely had a short shelf life. There are some nice clips from that period intertwined with the concert, by the way.”

Of the 18 original hits from the Fifties that are included here are about 16 are must haves in any Jerry Lee compilation. When the Saints Go Marching In and Drinkin' Wine Spo-Dee-O-Dee one can pass on (although rapper Kid Rock did an incredible cover version on PBS’s American Masters- Sun Records Legacy tribute). Starting with Whole Lotta Shakin’ Goin’ On to the salacious Big Legged Woman you get Jerry Lee when he could pound it out all day and all night. Get it.


Jerry Lee Lewis and His Friends, Jerry Lee Lewis and other artist, Enterprise, 1989

I have attempted to make a case over the past several months for recognizing the musical talents of Jerry Lee Lewis. I have in essence argued that while, for a while, Elvis was clearly ‘king of the hill’ by the time Jerry Lee got rolling he was very well positioned to challenge that role. In the long haul he probably has ‘won’ that distinction but that is the subject for endless, sports-like, controversy. What matters is how he rates in his career against his early performances. I have argued that his 2006 Last Man Standing performances on CD and DVD are the standard by which to judge his later work. I continue to stand by that premise. By that standard this 1989 performance in England comes up short.

In one of the ironies of his very controversial and scandal-filled life Jerry Lee goes back to London in this concert film. The irony, of course, is that it is his obtracization by the British over his marriage to his young cousin that broke the back of a very promising career. A little vignette at the beginning of the concert asking fans and his fellow musicians why they were there puts paid to that long ago silliness. Notwithstanding all the good vibes produced by the show before devoted fans the technical production here of the film itself (the music comes across tinny) and of the meshing among the musicians does not work overall. High School Confidential, Whole Lotta Shakin’ Goin’ On and Goodnight, Irene (with Van Morrison), yes. The rest no. If you want to buy one DVD that reflects Jerry Lee when he rocks, is technically well done and has some very nice duos get that above-mentioned Last Man Standing. This, take it or leave it.


Jerry Lee Lewis: I Am What I Am, Jerry Lee Lewis and other, Enterprise, 2001

Apparently, I cannot leave this Jerry Lee Lewis thing alone. I have reviewed several of his CDs and DVDs in this space over the past several months as I have attempted argue for his proper place in the among the founders of rock and roll. This documentary is more in the way of a musical biography interspersing archival musical segments with the story of his life. And what a life. If one rocker epitomized the slogan drug, sex and rock and roll before the 1960’s the profile of Jerry Lee Lewis could serve as the model. Many marriages, many drug problems, many setbacks, many run ins with the law many… well, you get the picture. The real reason to get this film though is that early footage, like the Steve Allen Show performance of Whole Lotta Shakin’ Goin’ On. Those performances tell the tale. They tell why he could have been ‘king of the hill’. Hell, he didn’t do so badly after all. And he would be the first to tell you that. If you only need Jerry Lee’s music there are many good compilations, including an eight CD set that gives everything from the Sun Record period. If you like a little background get this.

Inventing Elvis

Commentary



Elvis-The First Year-1954, narrated by Jack Perkins, 1992



Elvis Presley a rock and roll hero of my youth, if not to me personally then to many I knew especially girls, is the subject of this in-depth look at the first year that Elvis began inventing himself as the 'King'. Jack Perkins’s somber narration and idiosyncratic style sets the tone for a thoughtful look back at Elvis’s trials and tribulation on the road to stardom. We have the full ‘talking head’ treatment here from Elvis’s surviving band member, Scotty Moore, to ex-sweethearts, motel owners, agents, radio producers and announcers, cooks, bakers and candlestick makers. Basically anyone who crossed his path in 1954 in that first tough year out on the road.

And what a road it was. Playing small clubs, high school auditoriums, the Louisiana Hayride and every where he could get his foot in the door Elvis stretched and clawed his way to success, and apparently was not a bad guy to hang around with then either. He, moreover, exhibited all the virtues that small town white Southerners liked in the 1950’s, except maybe those sideburns and, just maybe, swinging that pelvis just a little too much when their daughters were around.

An interesting part of this presentation is an attempt to place the roots of Elvis’s music in the context of his time and place. And, as has been expressed elsewhere as well, that included black musical influences in the deeply segregated South. Sun Records Sam Phillip’s old adage comes true through Elvis- finding a white boy who could sing black. This segment only adds to something that I have been arguing for the past few years- the roots of rock and roll owe more than a little to black blues musical influence – think in this regard of the importance of Big Joe Turner’s Shake, Rattle and Roll, also produced in 1954. But Elvis certainly rode the wave to great effect and this little valentine to him is good for those who like musical history with their music. For those who need just the music look elsewhere.

Elvis's Sun Sessions Commemorative CD, Elvis Presley, 1990

As to this present compilation of Elvis's Sun sessions that give flesh to the above DVD review some comments are worth mentioning. As with all such compilations there is some unevenness in the quality of performance, even in the case of Elvis. Some of this is calculated with the use of alternative takes to beef up the size of the compilation. However, any way you cut it these Sun sessions and that studio played to Elvis’s strengths musically. Starting with the classics It’s All Right, Mama, Blue Moon of Kentucky and Good Rockin’, Tonight and through such ballad covers as Blue Moon and Harbor Lights Elvis demonstrates his versatility in song style and that distinctive intonation that no one else in the Sun stable could duplicate (and they tried, believe me). Elvis fanatics will want this one just like every other thing that has been put out in his name. But the real reason to get it is to hear pure Elvis when the man, the moment and the environment all came together when Rock 'n' Roll was young.

The following is a comment made in connection with the Public Broadcasting System's documentary about Sun Records entitled Good Rockin' Tonight. I have added it to all comments on Sun Records artists that I have reviewed over the past several months

A note on sound- no, not of this American Masters production which like virtually all PBS productions is technically of high quality. No, I am referring here to the sound in Sun Studio. I do not believe in ghosts or other such things but tell me this. Why, for example, does Johnny Cash in his Sun Records days sound like god’s own creation when on work from other recordings I can take him or leave him? And that goes for Elvis, Carl, Jerry Lee and the others as well. The gods and goddesses of Rock and Roll were smiling on that joint- thanks.

Good Rockin' Tonight, Part II

CD REVIEW

Good Rockin’ Tonight: The Legacy of Sun Records, various artists, London-Sire Records, 2001



I have already commented elsewhere in this space about the Public Broadcasting Service’s American Masters 2001 production of Good Rockin’ Tonight: The Legacy of Sun Records. Here we have a CD produced in tandem with that effort. And not just any old CD but a CD that has material covered by artists who either are in, will be in or are on a short list to be included in, some musical Hall of Fame. Strangely, when I first heard this CD I was put off by it because I thought, correctly, if stupidly that covers of these Sun classics could not possibly measure up to the originals, even if done by extremely competent musicians. Well, on a second hearing I got over that little personal problem and while the originals still set the standards there are some very good, and in at least one case, better covers of the classics.

So who is good here? Well, start with a nice cover by Paul McCartney (you know him) and the Elvis classic That’s All Right, Mama. Jeff Beck with a fair rendition of another Elvis classic Mystery Train. A nice upbeat cover of My Bucket’s Got A Hole In It. An excellent Blue Suede Shoes by Johnny Halladay. A passable Whole Lot of Shaking Going On by Elton John. Okay covers of Blue Moon of Kentucky by Tom Petty and Sittin’ On Top Of The World by Van Morrison and Carl Perkins. A right on cover of Don’t Be Cruel by Brain Ferry. A surprisingly good cover of the little known Red Cadillac and Black Mustache by the endlessly surprising Bob Dylan. Classic throwback performances of Just Walking In The Rain by Eric Clapton and Lonely Weekend by Matchbox Twenty. A so-so performance of Jerry Lee’s (who can do it better) Who Will The Next Fool Be by Sheryl Crow. A stand up performance of Johnny Cash’s Walk The Line by Live. Another classic throwback performance by Mandy Barnett on You Win Again. The biggest surprise and the one that clearly is done better than the original is Kid Rock’s cover of the Jerry Lee covered Drinkin’ Wine Spo-Dee-O-Dee. I have taken the time to evaluate each song in this collection to both do penance and to give just a whiff of what this masterful album holds in store for you. These are serious artists paying their dues to artists who played Rock and Roll for keeps. Kudos.

Good Rockin', Tonight- The Legacy of Sun Records

DVD REVIEW



Good Rockin' Tonight- The Legacy of Sun Records, PBS American Masters, 2001



Howlin’ Wolf, Roscoe Gordon, Rufus Thomas and an assortment of black blues notables in the early days. Elvis, Carl Perkins, Johnnie Cash and Jerry Lee Lewis and an assortment of white rockabilly notables in the mid to late 1950’s. What do they have in common? Well, one thing, and make that an important one thing, is that they passed through Mr. Sam Phillips’ Sun Records recording studio in Memphis, Tennessee on the way to some kind of career. Amazing. With the possible exception of Chess Records in Chicago, that moreover concentrated on the blues, no other studio can claim so much as the catalyst for what became rock and roll in the mid- 1950’s, the youth of the present writer and of his Generation of ‘68.

The format here, as in most of the Public Broadcasting Station’s American Masters series, is to have a generous round of ‘ talking heads’ interspersed with some performances, in this case, to honor the 50th Anniversary of the founding of the Sun Records (1950). An added touch here is that some of the performances by the old Sun recording artists are covered by more recent performers like Paul McCartney and Kid Rock.

The ‘talking heads’ here also include many of the old Sun artists who did not attain the stardom of those mentioned in the first paragraph yet who nevertheless had some interesting things to say about the meaning of the Sun Record experience. A recurring theme is that mainly it got them the hell off the farms and out of the fields, especially those damn cotton fields or out of those dead end jobs. And they had fun and got paid for it. And met girls. How can you beat that? My take on this is that they were good old boys who got more out of the Sun, if not financially then musically, than they had originally bargained for. And all of this trip down memory lane is presided over by the impresario himself, the late Sam Phillips.

Along the way there are discussions, sometimes heated, about the roots of rock and roll- black blues or white country. That will never, ultimately, get resolved although I think the case for the blues gets stronger the more I see and read about the early 1950’s and the shift of the blues from a country sound to a city sound. But that can be argued another day. What we have here is recollections, funny and bittersweet, by those who were either one-shot johnnies or were ‘put on the shelf’ by one Sam Phillips. That is the kind of influence that he had for that one golden decade of the 1950’s. Another nice touch here is that the one- shot johnnies not only get their ‘hit’ covered by currently popular musicians but they get one last 15 minutes of fame by belting out their own classics. Who can forget Lonely Weekend or Rock and Roll Ruby after this retrospective to speak nothing of Good Rockin’, Tonight.

A note on sound- no, not of this American Masters production which like virtually all PBS productions is technically of high quality. No, I am referring here to the sound in Sun Studio. I do not believe in ghosts or other such things but tell me this. Why, for example, does Johnny Cash in his Sun Records days sound like god’s own creation when on work from other recordings I can take him or leave him? And that goes for Elvis, Carl, Jerry Lee and the others as well. The gods and goddesses of Rock and Roll were smiling on that joint- thanks.

When Rockabilly Drove The Be-Bop 1950s Night- “Rockabilly Boogie”-The Johnny Burnette Trio-A CD Review

Click on the headline to link to a YouTube film clip of Johnny Burnette performing Dreamin'.

CD Review

Rockabilly Boogie, The Johnny Burnette Trio, Bear Family Records, 1989


Recently, in reviewing a two-volume CD entitled Rock This House, CDs dedicated to the best of the rockabilly artists that formed one of the important strands of the 1950s rock jail-break for my generation, the generation of ’68, I noted that there were actually very few rockabilly artists who stayed right in the rockabilly genre. They either, like Elvis and Jerry Lee Lewis, inhaled, inhaled big time, the rock wave that swept all before it for a few magnificent years before “they” (that infamous big time record company corporate they, although we didn't know that at the time) made it all soupy, and parent-happy worthy or were left behind. I mentioned the names Warren Smith and Billy Riley as exemplar of the genre. I could also have added Sonny Burgess and the artist highlighted here, Johnny Burnette, at least for a long while.

Of course, seemingly every rockabilly artist, including Elvis and Johnny Cash, started rocking with a three piece band (bass and drums along with lead guitar) and Johnny (along with brother, Dorsey, who had his own career as well) followed that trend. Why Johnny and the trio, which was a staple on that rockabilly circuit did not make it, is detailed in a very informative booklet that accompanied this CD. In general terms it was, as usual, a question of personality, personality differences, and a not unnatural calculation that the road to success was too hard, or too tenuous to make the run. Every genre (for that matter every field of endeavor) has that moment of truth. Here, as well, was the question by Johnny of whether to stick with the “girl who brung you”, rockabilly, at a time when it was heading up against that misty, mushy rock wave just mentioned. However, in the end as a solo he also left those rockabilly roots behind when the music turned vanilla in the late 1950s.

Many of the selections here show very good rockabilly rhythm and workmanlike riffs but a few also point to the limitations, listening limitations of young teenage ears, in the repetition of the same musical theme. Still, the stick-outs really shine: Rockabilly Boogie: Chains Of Love; Please Don’t Leave Me; and, Midnight Train.

***When Rockabilly Drove The Be-Bop 1950s Night- “Rockabilly Boogie”-The Johnny Burnette Trio-A CD Review

CD Review

Rockabilly Boogie, The Johnny Burnette Trio, Bear Family Records, 1989

Recently, in reviewing a two-volume CD entitled Rock This House, CDs dedicated to the best of the rockabilly artists that formed one of the important strands of the 1950s rock jail-break for my generation, the generation of ’68, I noted that there were actually very few rockabilly artists who stayed right in the rockabilly genre. They either, like Elvis and Jerry Lee Lewis, inhaled, inhaled big time, the rock wave that swept all before it for a few magnificent years before “they” (that infamous big time record company corporate they, although we didn't know that at the time) made it all soupy, and parent-happy worthy or were left behind. I mentioned the names Warren Smith and Billy Riley as exemplar of the genre. I could also have added Sonny Burgess and the artist highlighted here, Johnny Burnette, at least for a long while.

Of course, seemingly every rockabilly artist, including Elvis and Johnny Cash, started rocking with a three piece band (bass and drums along with lead guitar) and Johnny (along with brother, Dorsey, who had his own career as well) followed that trend. Why Johnny and the trio, which was a staple on that rockabilly circuit did not make it, is detailed in a very informative booklet that accompanied this CD. In general terms it was, as usual, a question of personality, personality differences, and a not unnatural calculation that the road to success was too hard, or too tenuous to make the run. Every genre (for that matter every field of endeavor) has that moment of truth. Here, as well, was the question by Johnny of whether to stick with the “girl who brung you”,rockabilly, at a time when it was heading up against that misty, mushy rock wave just mentioned. However, in the end as a solo he also left those rockabilly roots behind when the music turned vanilla in the late 1950s.

Many of the selections here show very good rockabilly rhythm and workmanlike riffs but a few also point to the limitations, listening limitations of young teenage ears, in the repetition of the same musical theme. Still, the stick-outs really shine: Rockabilly Boogie: Chains Of Love; Please Don’t Leave Me; and, Midnight Train.

From The Pen Of Joshua Lawrence Breslin-When Rockabilly Rocked The Be-Bop 1950s Night

Hey, blame it on Warren Smith and a freshly heard Rock and Roll Ruby via YouTube  automatic retro magic. Hell, blame it on Sonny Burgess burning up the world with Red-headed Woman, yah, now that I think of it blame it on him, or even on a mad dog middle of the night discussion with kindred Peter Paul Markin rekindled from childhood (or rather budding teen-hood) about who was who in the be-bop rock and roll firmament in the mid-1950s. Damn, blame it on the retro-fuelled Stray Cats but under no circumstances blame it on me for lighting up cyberspace with a bag full of rockabilly gumbo.       

The last time that I discussed rockabilly music in this space was a couple of years ago when I was mulling over the work of artists like Elvis, Johnny Cash, and Jerry Lee Lewis, when they were young and hungry, from hunger really, and fed into our jailbreak hungry after years of listening to parent Sinatra, Como, Page and the Ink Spots ad infinitum, who got their start at Sam Phillips’ famed Sun Records studio in Memphis. Part of the reason for those thoughts was my effort to trace the roots of rock and roll, the music of my coming of age, and that of my generation, the generation of ’68. Clearly rockabilly was, along with country and city blues from the likes of Robert Johnson, Skip James , Muddy Waters, Howlin’ Wolf, and pre-Tina Ike Turner (think Rocket 88 among other be-bop stuff) and rhythm and blues from the likes of Big Joe Turner (think, big think and don’t spare anything, Shake, Rattle and Roll) a part of that formative process. The question then, and the question once again today, is which strand dominated the push to rock and roll, if one strand in fact did dominate.

I have gone back and forth on that question over the years. That couple of years ago mentioned above I was clearly under the influence of Big Joe Turner and Howlin’ Wolf and so I took every opportunity to stress the bluesy nature of rock. Recently though I have been listening, and listening very intently, to early Elvis Presley, Carl Perkins and Jerry Lee Lewis and I am hearing more of that be-bop rockabilly rhythm flowing into the rock night. Let me give a comparison. A ton of people have done Big Joe Turner’s classic rhythm and bluish Shake, Rattle, and Roll, including Bill Haley, Elvis, Carl Perkins, and Jerry Lee. When I listen to that song as performed in their more rockabilly style those versions seem closer to what evolved into rock. So for today, and today only, yes Big Joe is the big daddy, max daddy father of rock but Elvis, Jerry Lee, and Carl are the very pushy sons.

And that brings us to the treasure trove of rockabilly music, the stuff the big boys came, all back forty barns dances, high school last chance dances, and country fair jamborees from, the stuff the big boys listened to get an idea or two, and maybe helped to create.  I have already done enough writing in praise of the work of Sam Phillips and Sun Records to bring that good old boy rockabilly sound out of the white southern countryside. I noted that for the most part those who succeeded in rockabilly in say 1954, or 55 had to move on to rock to stay current with the youth wave (the disposable income/allowance post- World War II youth wave, mainly girls, who bought those luscious 45 RPM records and put those nickels, dimes and quarters in the jukeboxes and, and, sometimes, pretty please some times, let the likes of  cash-lite Josh Breslin and P.P. Markin help them make their selections, okay) and so the rockabilly sound was somewhat transient except for those who consciously decided to stay with that sound. The best example of that, other than those mentioned above, is Red Hot by Bill Riley and His Little Green Men, an extremely hot example by the way. If you listen to his other later material it stays very much in that rockabilly vein. In contrast, take High School Confidential by Jerry Lee Lewis. Jerry Lee might have started out in rockabilly down in that Cajun mishmash Louisiana swamp but this number (and others) is nothing but the heart and soul of rock (and a song, by the way, we all prayed would be played at our junior high school dances to get thing, you know what things, going). Case closed.

Other stick-outs included Ooby Dooby, Roy Orbison (although he has a ton of better songs); Blue Suede Shoes (the teeth-cutting, max daddy of rockabilly songs), Carl Perkins; Susie-Q (right at that place where rockabilly and blues meet to form rock and a classic come hither song), Dale Hawkins; Party Doll (another great junior high school dance song), Buddy Knox;  Come On, Let’s Go (bringing just a touch of Tex-Mex into the rockabilly mix), Ritchie Valens, and the national anthem, Summertime Blues by the great and underrated Eddie Cochran.    

*The Last Waltz- The Never-Ending Review Tour-Coming Of Age, Period- Oldies But Goodies-Yet Again

Click on the headline to link to a YouTube film clip of Bill Haley and the Comets performing their classic Rock Around The Clock.

CD Review

Oldies But Goodies, Volume Fourteen, Original Sound Record Co., 1990

Note: The term “last waltz” used in the headline is used here as a simple expression of the truth. Just when I thought I had completed this “Oldies But Goodies” series at Volume Ten I now find that this is a fifteen, fifteen count ‘em, volume series. Therefore I am whipping off these last five in one day and be done with it. After all how much can we rekindle, endlessly rekindle, memories from a relatively short, if important, part of our lives, even for those who lived and died by the songs (or some of the songs) in these compilations. How many times can one read about wallflowers, sighs, certain shes (or hes), the moonlight of high school dances (if there was any) and hanging around to the bitter end for that last dance of the night to prove... what. Bastante! Enough!

******
I have been doing a series of commentaries elsewhere on another site on my coming of political age in the early 1960s, but here when I am writing about musical influences I am just speaking of my coming of age, period, which was not necessarily the same thing. No question that those of us who came of age in the 1950s are truly children of rock and roll. We were there, whether we appreciated it or not at the time, when the first, sputtering, musical moves away from ballady Broadway show tunes and rhymey Tin Pan Alley pieces hit the radio airwaves. (If you do not know what a radio is then ask your parents or, ouch, grandparents, please.) And, most importantly, we were there when the music moved away from any and all music that your parents might have approved of, or maybe, even liked, or, hopefully, at least left you alone to play in peace up in your room when rock and roll hit post- World War II America teenagers like, well, like an atomic bomb.

Not all of the material put forth was good, nor was all of it destined to be playable fifty or sixty years later on some “greatest hits” compilation but some of songs had enough chordal energy, lyrical sense, and sheer danceability to make any Jack or Jill jump then, or now. And, here is the good part, especially for painfully shy guys like me, or those who, like me as well, had two left feet on the dance floor. You didn’t need to dance toe to toe, close to close, with that certain she (or he for shes). Just be alive…uh, hip to the music. Otherwise you might become the dreaded wallflower. But that fear, the fear of fears that haunted many a teenage dream then, is a story for another day. Let’s just leave it at this for now. Ah, to be very, very young then was very heaven.

But what about the now, seeming mandatory to ask, inevitable end of the night high school dance (or maybe even middle school) song that seems to be included in each CD compilation? The song that you, maybe, waited around all night for just to prove that you were not a wallflower, and more importantly, had the moxie to, mumbly-voiced, parched-throated, sweaty-handed, asked a girl to dance (women can relate their own experiences, probably similar). Here the classic Brenda Lee weepy tune I’m Sorry fills the bill. Hey, I did like this one, especially the soulful timing. And, yes, I know, this is one of the slow ones that you had to dance close on. And just hope, hope to high heaven, that you didn’t destroy your partner’s shoes and feet. Well, one learns a few social skills in this world if for no other reason that to “impress” that certain she (or he for shes, or nowadays, just mix and match your preferences) mentioned above. I did, didn’t you?

*******

Rock Around The Clock-Song Lyrics from Bill Haley

One, two, three o'clock, four o'clock, rock,
Five, six, seven o'clock, eight o'clock, rock,
Nine, ten, eleven o'clock, twelve o'clock, rock,
We're gonna rock around the clock tonight.

Put your glad rags on and join me, hon,
We'll have some fun when the clock strikes one,
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'til broad daylight.
We're gonna rock, gonna rock, around the clock tonight.

When the clock strikes two, three and four,
If the band slows down we'll yell for more,
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'til broad daylight.
We're gonna rock, gonna rock, around the clock tonight.

When the chimes ring five, six and seven,
We'll be right in seventh heaven.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'til broad daylight.
We're gonna rock, gonna rock, around the clock tonight.

When it's eight, nine, ten, eleven too,
I'll be goin' strong and so will you.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'til broad daylight.
We're gonna rock, gonna rock, around the clock tonight.

When the clock strikes twelve, we'll cool off then,
Start a rockin' round the clock again.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'til broad daylight.
We're gonna rock, gonna rock, around the clock tonight.

*A Mixed Bag Musical Potpourri-Jazz, Blues, Gospel, Rock And Rockabilly-In Search Of Lost Rockabilly Time

Click On Title To Link To YouTube's Film Clop Of Warren Smith Doing "Rock 'N' Roll Ruby". Wow!

CD Review

In Search Of Lost Time

Lost Gold Rockabilly Collector’ Series, Original Historic Rockabilly Classics, various artists, Lost Gold Records, 1998

I have spent some time discussing the various rockabilly artists who did, or did not, make it in the 1950's out of Sam Phillips' Memphis-based Sun Records. I have reviewed at least one CD with a compilation that contained such one-shot hits as Sonny Burgess' "Red-Headed Women" and "Rock `n' Rock Ruby". I have also reviewed a very interesting PBS documentary on the 50th Anniversary of Sun Records that included the usual "talking head" commentary, although this time though including various artists who did not make the "bigs" for one reason or another. It is that last point that is relevant here.

I have also been spending a fair amount of ink in this space recently discussing those who didn't make it big in various genres like folk, the blues, early rock and now rockabilly. This compilation is a case study about why, out of all the talents who tried to become "kings of the hill" (and it was mainly, although not exclusively men), some did not make it. We have here the usual subjects for rockabilly songs of thwarted love, longing for love, the vagaries of love, two-timing women (and men, listen to the result, in "Black Cadillac"), cars, Saturday night dances and other things near and dear to the hearts of teenagers in the 1950's (and, with updating, now as well) that made up the lyrics of this genre. So that is not the problem.

What struck me after listening to this compilation a couple of times was that although there were some outstanding riffs, some hot guitar playing, some lines of parts of songs that could have made it big the whole package were not there. Only a couple of songs grabbed and held my attention throughout. Nothing came up to the two classics mentioned in the first paragraph. A number of songs barely were to the left of traditional country and western numbers. I do not know how much of a role being in the right place at the right time, being merely imitative of greater artists, like Elvis and Carl Perkins, as is obviously the case with some performers here or of not being willing to risk all for glory played in all of this. However, just as with the Sun rockabilly artists who didn't make it, or who were one shot johnnies (or janies) or who just gave up the grind was tough. If you want to know about those who didn't get to the top of the rockabilly heap listen here. This is the search for lost time, indeed.