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THE CHRONOLOGICAL DICTIONARY OF ROCK 1945-1962 - Bruno Blum

“Call it as you like: jive, jazz, jump, swing, soul, rhythm, rock or even punk, it’s still boogie as far as I’m concerned. […] When it’s boogie with a foreign name the link is still boogie, which is my kind of music.”

— Chuck Berry

With one significant track per artist, this 98-track set allows us to discover, better understand and appreciate the first eighteen years of rock, before its third generation lead by The Beatles came to disrupt this musical genre again. Inevitably not comprehensive, this chronological anthology gives a substantial insight into this fundamental period and comments on it didactically.

Derived from ragtime (late 19th century), which became boogie woogie in the 1920s, actual rock appeared in the post war years (etymology: rock = having sex; roll = lasting intercourse). It contributed to the evolution of social mentalities, carried forward societal progress and brought freedom on the musical, sexual and racial levels. Its rise also caused a series of scandals, as from 1956.

In those racially segregated days, on the African-American side rock was initially played by “jump blues” musicians, a kind of small band jazz based on the blues, played at a fast tempo (Jim Wynn’s 1945 “Rock Woogie”, for example). On the White/European side, some country or western swing musicians tackled it, too (i.e. Pee Wee King’s 1947 “Ten Gallon Boogie”,). To get the crowd dancing, blues, pop and country musicians alike occasionally played boogie/rock. The electric guitar gradually asserted itself; however, a strong presence of wind instruments, from the jazz tradition, was felt in the former, while fiddle, accordion and pedal steel guitar, typical of the White music of the South, was common with the latter, but this was no less rock music. Little Richard used horns heavily; was his music any less rock for all that?

From its beginnings, and later, rock always comprised different musical styles & different influences, from Americans of various origins, including Anglo-Saxons, Italians and Canadians, as heard here. In working together widely with African-Americans, the small Jewish-American community considerably contributed to the development of the rock industry (as musicians, composers, producers, publishers, arrangers, record company owners & businessmen, radio DJs, etc.) in an often searing antisemitic context. Chicanos (Mexican-Americans, also ill-considered) and Australians also contributed and soon British, Jamaican, Swedish and French became involved, too. All of these are included in this wide overview of most styles: western swing, jump blues, country boogie, rhythm and blues/R&B, shuffle, doo wop, instrumental rock, novelty, rockabilly, soul, pop, zydeco, etc.

L DISC 1 - THE BIRTH OF ROCK ‘N’ ROLL 1944-1951

Devoted to the birth of rock, Disc 1 displays different aspects of its first generation, which was little broadcast over the radio. The genre was still called “rhythm and blues” on the one side and “country” or “western swing” on the other. This is just a matter of labels; we are not talking about the prehistory of rock here, but about the beginning of rock history. Whether we are dealing with white country guitar virtuoso Chet Atkins, swing-type horns backing Annie Laurie or black doo wop (vocal group) The Swallows — this is well and truly rock.

L DISC 2 - EARLY ROCK CLASSICS 1952 - 1956

This record takes a look at early rock and roll classics. The rockabilly style fusioned black rock and country guitars, flying high with early hits by Bill Haley and Elvis Presley, who introduced the second generation of rock and its triumph for American youth — after a decade of marginalization. Chronologically, giants like Little Richard, Fats Domino, Gene Vincent and Chuck Berry (see Disc 3) could be on Disc 2 as well. Great names, such as Ray Charles, Johnny Cash, Carl Perkins, Frankie Lymon and Clifton Chenier, among others, each display their own different styles. Other musicians produced often overlooked gems, notably in the blooming British and French rock included here.

L DISC 3 - ROCK CLASSICS 1956-1958

The 1956-1958 period was a golden age, with a surge of major tunes like “Be-Bop-A-Lula”, “Louie Louie”, “Slow Down”, “Jailhouse Rock”, “At The Hop”, “Good Golly Miss Molly” and “Johnny B. Goode.” First class artists like The Everly Brothers, Buddy Holly, Fats Domino, Little Richard, Chuck Berry and Jerry Lee Lewis cashed in with big hit records. The Elvis phenomenon widely contributed to kicking off many vocations, from the USA, in the UK (with Cliff Richard), and all the way to Québec. The racial rapprochement and musical evolution during that time inspired a violent reaction in some conservative people.

L DISC 4 - THE TURN OF THE SIXTIES 1958-1962

As the cultural and societal upheaval of the 1960s approached, rock diversified, with more and more varied styles, such as Bo Diddley, Dion, proto punk The Phantom, or the more relaxed Billy Fury and Roy Orbison. New, different artists like Eddie Cochran, The Coasters vocal group, instrumental rock by The Ventures, The Shadows, The Spotnicks and Dick Dale, the outbreak of Johnny Hallyday, Vince Taylor, The Beach Boys, Lou Reed, Bob Marley and The Beatles heralded the arrival of the following generation. Aretha Franklin’s style already pointed at a new direction in African-American music: soul.

ATKINS, CHET - Dizzy Strings - Disc 1 #9

(Chester Burton Atkins aka Chet Atkins)

Chet Atkins and His Colorado Mountain Boys

Chester Burton Atkins as Chet Atkins-g; Jimmy Atkins-g; Buck Lambert-fiddle; Joe Biviano-acc; Charles Grean-b. Produced by Charles Grean. RCA Victor Studio 1, 155 East 24^th St., Manhattan, New York City, November 17, 1947. RCA Victor 20-3006, July 1948.

• In taking on the difficult four right-hand fingers fingerpicking style while country giant Merle Travis (who in turn had studied blues and 1920s ragtime guitar player Arthur “Blind” Blake in particular) used just two fingers, Chet Atkins became a country guitar virtuoso, then got into rockabilly, even recording with Elvis Presley (“I Got a Woman”, 1956). A producer, and a celebrity as an American guitar playing master in post-war years as well as a skilled studio musician, he was also prolific. Chet Atkins can be heard backing Bill Carlisle and The Everly Brothers here and his unique style is featured extensively on this 1948 track. Gretsch gave his name to their legendary G6120 electric guitar. 

BEACH BOYS, THE
- Surfin’ Safari
- Disc 4 #20

(Brian Douglas Wilson aka Brian Wilson, Mike Edward Love aka Mike Love)

Mike Love-lead and backing v; Carl Wilson-g, v; Brian Wilson-b, v, arr.; David Marks-rhythm g; Dennis Wilson-d, v. Produced by Murry Wilson. Western Recorders Studios, Los Angeles, April 19, 1962. Capitol, June 4, 1962.

• A four-piece vocal group based on the three Wilson brothers, The Beach Boys became giants in the history of 1960s rock. Both R&B & doo wop groups left a deep mark on them and they mixed their styles with Ventures-type electric guitar instrumental rock tradition. Their early recordings, including this one, reveal these roots, as well as their original style and fine taste. They established an influential sound, at first alluding to teenage romance and surf culture, the trend of which had started in the late 1950s.

LOVE ME DO - The Beatles - Disc 4 #23

(John Winston Lennon, James Paul McCartney)

John Lennon-v, g; Paul McCartney-v, b; George Harrison-v, g; Richard Starkey as Ringo Starr-d. Produced by George Martin and Ron Richards. Studio Two, Abbey Road Studios, London, September 4, 1962. Parlophone 45-R 4949, October 5, 1962.

• “Love Me Do,” the first Beatles record, was also the first hit in a career path beyond compare, which, in just a decade, deeply altered not only the history of rock, but the history of popular music. As the second wave of rock was routed, following a reactionary conservative offensive and a series of associated scandals that broke up several major careers in the USA, the extraordinary success of The Beatles, a British group, launched rock’s third wave. First in the UK, then in America and finally almost everywhere else — an astonishing feat never accomplished before.

Their excellence conquered all generations, all countries, all tastes, breaking all records, which are still unmatched, over half a century later. The Beatles reflected and carried forward the societal upheavals and the exhilarating wind of freedom that blew in an exceptional decade. This first song, issued in October, 1962, appears quite timid and consensual, when compared with their radical rock music and their many later musical and lyrical innovations.

But it allowed them to win the hearts of the new generation with a fresh format: the rock group, with two guitars, bass and drums — and four singers, four stars. 

BECKFORD, Theophilus - Georgie and the Old Shoe - Disc 4 #13

(Theophilus Beckford)

Theo Beckford orchestra The City Slickers 

Theophilus Beckford-v, possibly p; or Aubrey Adams-possibly p; Emmanuel Rodriguez as Rico-tb; Ernest Ranglin-g; Cluett Johnson-b; Arkland Parks as Drum­bago-d. Produced by Clement Dodd aka Coxsone. Federal Studio, Kingston, Jamaica, circa 1958. Worldisc, 1961.

• Jamaica, then a British colony close to the USA, was English-speaking, and imported American music ruled on the island in the post-war years. Pianist Theophilus Beckford was one of the first to record some blues on the island; his peculiar shuffle style, which gave him the very first local hit of this kind with “Easy Snappin’” in 1960, preceded ska, which has a rhythm similar to shuffle. This style comes from the influence of American musicians like Louis Jordan (see Disc 1, track 14) and Rosco Gordon, who made this beat tagged “rhythm and blues” part of rock culture. Beckford’s style was soon followed by more Jamaicans, including a rookie Bob Marley (Disc 4, #22).

BELL, FREDDIE - Giddy-Up A Ding Dong - Disc 2, #21

(Ferdinando Dominick Bello aka Freddie Bell, Peppino Lattanzi)

Freddie Bell and The Bellboys

Ferdinando Dominick Bello as Freddie Bell-v; John Kane as Jack Kane-ts; Jerry Mayo-tp; Adolph Franck Gambino as Frankie Brent-g; Russ Conti-p; b; Louis Joseph Cicchin as Chick Keeney-d; New York, February 8, 1956. Wing W-90066X45, February 27, 1956.

• Freddie Bell and his band were solid white jazz musicians who turned to rock early. They became famous with this successful record, soon covered by Bill Haley, who made it a huge hit. It is also through listening to Freddie Bell singing a fast version of Big Mama Thornton’s “Hound Dog” that Elvis Presley decided to record that song using Bell’s arrangement — one of his best records and greatest sales of his career.

BERRY, CHUCK
- Johnny B. Goode
- Disc 3 #18

(Charles Edward Ander­son Berry
aka Chuck Berry )

Charles Edward Ander­son Berry as Chuck Berry-g, v; Lafayette Leake-p; Willie Dixon-b; Fred Below, d. Produced by Lejzor Czyz as Leonard Chess and Fiszel Czyz as Phil Chess, Chicago, December 29 & 30, 1957. Chess 1691, March 31, 1958. 

There is only one true king of rock ‘n’ roll. His name is Chuck Berry.

— Stevie Wonder

This giant of the second wave of rock managed to reach the general public in spite of his strong racial handicap. Of all rock musicians, Chuck Berry is perhaps the most important one. He remains the greatest singer/ songwriter of the genre, one of the greatest showmen and best guitar players, an instrument with which, more than anyone else, he helped define the rock genre.

Feeding the American dream of his time with songs full of imagery, Berry is one of those who turned Louis Jordan, Tiny Bradshaw, Ike Turner and Roy Brown’s original rock into a formula that could reach a white audience —the general public, that is. Based on a few simple blues chords, this song was played or recorded by some of the greatest, including Count Basie, Elvis Presley, The Rolling Stones, The Beatles, Jimi Hendrix, Peter Tosh, The Ramones, The Sex Pistols, Creedence Clearwater Revival and Wyclef Jean. “Johnny B. Goode” remains the absolute rock standard. It tells and celebrates the story of a gifted guitar player — which Chuck Berry himself was. Its legendary guitar intro (and part of the solo) was borrowed from “Ain’t That Just Like a Woman” recorded in 1946 by Louis Jordan (with Carl Hogan on guitar), available on Electric Guitar Story 1935-1962 in this series. 

BERRY, RICHARD - Louie Louie - Disc 3 #9

(Richard Berry, Jr.)

Richard Berry and the Pharaohs

Richard Berry, Jr. as Richard Berry-lead v; Gloria Jones-v; The Pharaohs: Godoy Colbert-first tenor v; Noel Collins-baritone v; Stanley Henderson-second tenor v. Plas John Johnson Jr. as Plas Johnson-ts; Jewel Grant-bar s; John Anderson-tp; Irving Ashby-g; Ernie Freeman-p; Red Callender-b; Ray Martinez-d. Hollywood, January 1957. Flip 45-321, March 1957. 

• Based on the rhythmic arrangement of “El Loco Cha Chá” by René Touzet’s Cuban Orchestra (available on the Roots of Funk 1947-1962 set in this series), “Louie Louie” has become one of the most covered songs ever in rock history, a classic among classics. A Jamaican sailor is telling a barman named Louie that he is going home to meet his lover. This song is presented here in its original version, where bass notes sung in doo wop fashion might be reminiscent of early psychedelic funk hits by Sly Stone, such as “Dance to the Music” (1967). 

BRADSHAW, TINY - Well, Oh Well - Disc 1 #16

(Myron Carlton Bradshaw aka Tiny Bradshaw, Bernard, Sydney Nathan aka Lois Mann)

Myron Carlton Bradshaw as Tiny Bradshaw-v; Leslie Ayers-direction; Rufus Gore aka Nose Gore-ts; Orrington Hall-as, bs; Jimmy Robinson aka Bee Bee-p; Leroy Harris-g; Clarence Mack-b; Calvin Shields aka Eagle Eyes-d. Cincinnati, February 8, 1950. King 4397, 1950.

• The blues shouter who wrote “The Train Kept a Rollin’,” his most famous song (also cut by Johnny Burnette [see Disc 2, #19]) later recorded by The Yardbirds, Aerosmith and Motörhead, turned out to be able to record much more exciting rock with a perfect sound, such as the compelling fast tempo “Well, Oh Well”, the second best R&B sale of 1950. Tiny Bradshaw was unquestionably one of the precursors of rock but, like Roy Brown and others, he was not really remembered as such by history.

BRENSTON, JACKIE - Rocket 88 - Disc 1 #24

(Jackie Brenston)

Jackie Brenston and His Delta Cats

Jackie Brenston-v; t, ts; Willie Kizart-g; Ike Turner-p; b; Willie Sims-d. Memphis, 5 mars 1951. Chess 1458, 1951.

• Saxophone player Jackie Brenston was backed, almost without warning, by Ike Turner’s group here. Distortion on the guitar, a fast tempo and the musical direction of the legendary Ike Turner (of Ike & Tina Turner fame), who always claimed he wrote this, all contributed to some historians considering that this celebration of the Rocket 88 Oldsmobile was the first ever true rock record. However, several older recordings, some included here, can no doubt claim this prestigious title. In fact, it is because Bill Haley (a white singer) recorded this song in an early rockabilly style (this was his first attempt at recording an African- American tune, thus finding his style, radically changing his musical direction, away from the country music singer he once was) that counted most in this supposedly “first rock record” legend.

BROWN, ROY - Hurry Hurry Baby - Disc 2 #4

(Roy James Brown aka Roy Brown)

Roy Brown and His Mighty-Mighty Men

Roy James Brown as Roy Brown-v; Teddy Riley-ts; Johnny Fontennette-ts; Alexander Nelson-bs; Charlie Nelson-p; Charles Badie as Chuck Badie-b; Wilbert Smith-d. Cincinnati, September 27, 1952. King 4602, 1953.

• According to religious people, this gospel singer had “gone bad” when he opted for blues and rock, “The Devil’s music.” He released several hit records up until the early 1950s, starting with the famous “Good Rockin’ Tonight” which gave Wynonie Harris (Disc 1 #20) a big hit of his own, and yet another hit for beginner Elvis Presley (Disc 2 #11) some six years later. Brown’s compositions often blatantly alluded to sex, as heard here on “Hurry, Hurry Babe”, a call of the heart expressing the urgency of his desire, with a breathtaking punk tempo — from 1952. 

BURGESS, SONNY - Red Headed Woman - Disc 3 #3

(Albert Austin Burgess aka Sonny Burgess)

Sonny Burgess & The Pacers

Albert Austin Burgess aka Sonny Burgess-v, g; Ray Kern Kennedy-p; Johnny Ray Hubbard-b; Joe Lewis-g; Richard Jackson Nance as Jack Nance-tp; Russel Smith-d; v chorus. Produced by Samuel Cornelius Phillips as Sam Phillips. Memphis Recording Service, Sun Studio, Memphis, May 2, 1956. Sun 247, 1956. 

• The term “rockabilly” was popularized after a story published in Cashbox around 1956. As for doo wop, this musical style existed before the phrase was coined. Sonny Burgess authored one of the wildest and most exciting rockabilly recordings; in short, one of the most rocking records of 1956. It is because of this that he is featured on this anthology, as this record, much appreciated by connoisseurs, was never graced with commercial success.

BURNETTE, JOHNNY - Train Kept-a-Rollin’
- Disc 2 #19

(Myron C. Bradshaw aka Tiny Bradshaw, Howard Kay, Sydney Nathan aka Lois Mann)

The Johnny Burnette Trio (aka Johnny Burnette and The Rock’n’ Roll Trio)

John Joseph Burnette as Johnny Burnette-v, g; Thomas Grady Martin as Grady Martin-lead g; Paul Burlison-rhythm g; Dorsey Burnette Jr. as Dorsey Burnette-b, backing v; Farris Coursey-d. Owen Bradley’s Bradley Film & Recording Studio, Nashville, July 2, 1956. Coral 9-61719, 1956. 

• Considering the high quality of their few records, Johnny Burnette and The Rock ‘n’ Roll Trio’s commercial failure, in spite of several prestigious media appearances and reaching the final of an amateur contest at Madison Square Garden in New York, is one of the most unfortunate wastes of talent in the history of rock. Revered ever since as a legendary trio, Johnny and his brother Dorsey have indeed written some of the most beautiful pages of this saga.

CARLISLE, BILL - T’Ain’t Nice (To Talk Like That) - Disc 2 #6

(William Toliver Carlisle aka Bill Carlisle)

Bill Carlisle and The Carlisles

William Toliver Carlisle as Bill Carlisle-v, g; Bobbie Sills-v; Chester Burton Atkins as Chet Atkins-g; fiddle; b, d. Nashville, 1953. Mercury 70232-X45, October, 1953.

• A singer and country music guitar player, composer and comedian, Bill Carlisle had a unique “novelty” style (somewhere between The Robins, The Coasters and Henri Salvador). It was close to western swing, though not country, nor blues, nor bluegrass — but not far from rockabilly. With master Chet Atkins on electric fingerpicking, Carlisle plays the part of an insistent, pushy, hogwild guy in love here, to whom Bobbie Sills is answering “T’ain’t nice to talk like that.”

CASH, JOHNNY
- Folsom Prison Blues - Disc 2 #16

(John R. Cash aka Johnny Cash)

John R. Cash as Johnny Cash-v, g; Luther Mon­roe Perkins-g; Marshall Grant-b. Produced by Samuel Cornelius Phillips as Sam Phillips. Memphis Recording Service, Sun Studio, 706 Union Avenue, Memphis, Tennessee, July 30, 1955. Sun 232, December 15, 1955.

• This is the legendary song in which Johnny Cash declares “I shot a man in Reno just to watch him die.” He would later declare: “For this character I was looking for the very worst thing a man could do.” A consumate storyteller, very prolific composer, Sun Records legend and an American superstar with a nice deep voice varying from gospel to rock, to a great extent Johnny Cash went beyond country music. Displaying his personal style, suitable for telling stories of the US Deep South, he is riding a tranquil rockabilly rhythm here. 

CHANTAYS, THE - Pipeline - Disc 4 #24

(Brian Carman, Bob Spickard)

Brian Carman-g; Bob Spickard-g; Rob Marshall-p; Warren Waters-b; Bob Welch-d. Produced by Dale Smallins. Santa Ana, California, 1962. Downey 104-B, December, 1962.

• Four young Californian friends cut the instrumental rock tune “Pipeline” (meaning the tunnels formed by waves, ridden by seasoned surfers), an instant classic of surf culture. It was later recorded by a multitude of groups, including Dick Dale and Stevie Ray Vaughan, The Ventures and Johnny Thunders.

CHARLES, BOBBY - Later, Alligator - Disc 2 #18

(Robert Charles Guidry as Bobby Charles)

Robert Charles Guidry aka Bobby Charles; Raoul Prado-ts; Harry Simonteaux-ts; Carlo Marino-s; Larry Guidry-g; b; Kenneth Theriot-d. New Orleans, 1955.

ARC 7930 Chess 1609, November, 1955. 

• Bobby Charles was a white Cajun from New Orleans who grew up listening to country and cajun music. In 1953, aged fifteen, he heard Fats Domino’s “Goin’ Home” and turned to rock music. He wrote this famous song and recorded it in his home town with a sound inspired by that of Little Richard and Fats Domino’s, for whom he later wrote “Walking to New Orleans”. First named “Later Alligator” in 1955, another recording of this song became a smash hit as “See You Later, Alligator” by Bill Haley in February, 1956.

CHARLES, RAY
- I’ve Got a Woman - Disc 2 #13

(Ray Charles Robinson aka Ray Charles, Renald J. Richard)

Ray Charles
and His Band

Ray Charles Robinson Sr. as Ray Charles-v, p; Joe Bridgewater-tp; Charles Whitley as Clanky Whitley-tp; Don Wilkerson-ts; David Newman as Fathead-bs; Wesley Jackson-g; Jimmy Bell-b; Glenn Brooks-d. Produced by Ahmet Ertegun and Jerry Wexler. Atlanta Studios, WGST Radio Station, Georgia Institute of Technology, Atlanta, Georgia, November 18, 1954. Atlantic 45-1050, December, 1955. 

• An absolute musical giant, a singer fed by gospel, covered in awards and honours throughout his career until 2004, the writer of “What ‘d I Say”, has tackled, mastered and mixed all styles: gospel, blues, country, jazz, soul… and rock. Categorised as “rhythm and blues” in 1955, “I’ve Got a Woman” was his first huge hit — and a cornerstone in the second generation’s new rock wall of sound, which really hit the general public that year, at the same time as “Rock Around the Clock” and early hits by Elvis, Little Richard & Chuck Berry.

Note: the original melody and arrangement of “I’ve Got a Woman” were first issued in 1954 on a Southern Tones gospel record written by Bob King and named “It Must Be Jesus.” Secular lyrics were written by Renald J. Richard for Ray Charles’ version. Both versions are available on the Roots of Soul 1928-1962 set in this series.

CHENIER, CLIFTON - Ay-Tete Fee

- Disc 2 #15

(Clifton Chenier)

Clifton Chenier
and His Band

Clifton Chenier-v, accor­dion; Lionel Prevost-ts; Philip Walker-g; James K. Jones-p; Louis Candy-b; Wilson Semien-d; Cleveland Chenier-rubboard. Produced by Robert Blackwell aka Bumps Blackwell. Los Angeles, April, 1955. Specialty XSP-552-45, 1955.  

• Thousands of French people from Acadia (near Québec) were deported by the English between 1755 and 1763. Many took refuge in Louisiana, a French colony (therefore a Catholic one) until 1762 (when it became Spanish and so remained Catholic). Their name morphed into “Cadians” then “Cajuns” and they were discriminated against by Protestants when Louisiana became part of the USA on November 29, 1803. Cajuns lived in separate neighbourhoods, often close to African-Americans, who spoke French with them. Some of these were slaves, some not; segregation was less strict amongst Catholic Cajuns, who were sometimes forced by the English to implement it.

These French-speaking Cajuns were therefore White Creoles, such as Bobby Charles, who wrote the famous “See You Later, Alligator”. Other Creoles, such as Clifton Chenier, were mixed-race or black.

As for Fats Domino, Clifton Chenier’s maternal language was French, or rather the Louisiana Creole language based on 18th-century French. Chenier sang “Laisse le bon ton [temps] rouler” and this “Ay-Tete Fee” tune, which means “Hey small girl”, was his first hit record, on which he calls out to a young woman. His style was that of the African-American Cajuns (sometimes called Black Creoles) and is called zydeco. This word is probably derived from z’haricot, which is said to be from the Cajun song “Les Z’haricots Sont Pas Salés” (“The beans are not salted”), a metaphor for wretchedness. Zydeco mixes cajun, Native American, Afro-Caribbean and blues music; the result is a type of rock sung here in Louisiana Creole.

CHIPS, THE - Rubber Biscuit - Disc 3 #5

(Kinrod Charles Johnson, Adam R. Levy)

Charles Johnson-lead v; Nathaniel Epps-bar v; Paul Fulton-bv; Sammy Strain Jr., Shedrick Lincoln-tenor v; ts, b, d. New York, 1956. Josie 45-803, September 1956. 

• This exquisite, zany song was Charles Johnson’s answer to the military march style at Warwick School for Delinquent Teenagers in New York, which he attended. “Rubber Biscuit” was never a big seller but was widely broadcast on East Coast radio and remains an off-the-wall classic, one-of-a-kind doo wop record. The group disbanded in late 1957. Sammy Strain then joined Little Anthony & The Imperials (a doo wop group) then soul band The O’Jays. 

CHORDS, THE - Sh-Boom - Disc 2 #12

(James Keyes aka Jimmy Keyes, Carl Feaster, Floyd F. McRae aka Buddy McRae, William Edwards aka Ricky Edwards)

Samuel Carl Feaster as Carl Feaster-lead tenor v; James Keyes aka Jimmy Keyes-tenor v; Floyd F. McRae aka Buddy McRae-tenor v; Claude Feaster-baritone v; William Edwards aka Ricky Edwards-bass v; Leroy Taylor, Jr. as Sam “The Man” Taylor-ts; Rupert Branker-p; g, b, d. New York City, March 15, 1954. Cat 104, April 1954. 

• Here The Chords represent the vast vocal rock group genre, often dubbed “doo wop”. “Sh-Boom” is its archetype: a small, obscure Bronx group, five remarkable African-American voices, a bright composition, a tonic arrangement, and their only hit for a small independent label. Cat, a small US record company, was affiliated with Atlantic Records for a short while. “Sh-Boom” hit #9 on the national pop charts against all odds. No matter how they tried, The Chords never survived this success. But they left us this legacy, a gem full of zest for life that has uplifted doo wop lovers ever since 1954. 

CHAUSSETTES NOIRES - Dactylo rock - Disc 4 #16

(Claude Moine aka Eddy Mitchell, Léo Missir)

Claude Moine as Eddy Mitchell-v; Aldo Martinez-g; William Bennaïm-g; Tony d’Arpa-g; Jean Bouchéty-b; Gilbert Bastelica-cymbals; Armand Molinetti-d; vocal chorus. Paris, France, 1961. Barclay 70392 A, 1961.

• The Chaussettes Noires (Black Socks) from the Créteil suburb of Paris were French star Eddy Mitchell’s first group. They were not the only ones to sing rock in French, as heard here with Magali Noël, Henri Salvador and, of course, Johnny Hallyday. French-speaking groups were clearly outweighed by their American inspirations, and their way of always making fun of rock — which Hallyday never did — is questionable. “Dactylo Rock,” a light and spontaneous song with sexist overtones (an area largely matched by their American counterparts) was simply an unpretentious teenage laugh. Other precursors, including Richard Anthony, Danny Boy et Ses Pénitents, Long Chris & Les Daltons, Lucky Blondo, Les Pirates, Les Pingouins, Dick Rivers and Les Chats Sauvages are not included in this collection, but can be found (along with many more) on the two three-CD sets devoted to the beginnings of French rock: 

COASTERS, THE - Along Came Jones - Disc 4 #4

(Jerome Leiber aka Jerry Leiber, Michael Stoller as Mike Stoller)

Billy Guy-tenor v; Carl Edward Gardner-tenor v; Will J. Jones as Dub Jones-bass v; Ulysses B. Nunn, Sr. as Bobby Nunn-tenor v; Carl Leon Hughes-v; Curtis Ousley aka Curtis Montgomery as King Curtis-ts; Michael Stoller as Mike Stoller-p; possibly Wendell Marshall-b; possibly Cesario Gurciollo as Gary Chester-d. Atlantic Studios, 234 West 56th Street, New York City, March 26, 1959. Atco, 59C-3418, May, 1959.

 • The French version of this song was a big hit for Henri Salvador as “Zorro Est Arrivé” (1964) and the original reached #9 on the US charts in 1959. Its peculiar humour ridicules the cliché of a self-assertive cowboy rushing to save a woman tied up on the railroad tracks. A tall, strong - and White — cowboy, a typical stereotype in the most popular films at the time, western movies. As for all of the Coasters hits, it was written by the famous Leiber & Stoller team, who though Jewish, were White themselves. This four-piece African-American vocal group was already rock history because they had had several big hits before this one, not to mention The Robins, where Gardner and Nunn were also singing. 

COCHRAN, EDDIE
- Summertime Blues - Disc 4 #1

(Raymond Edward Cochran aka Eddie Cochran, Jerry Capehart)

Raymond Edward Cochran as Eddie Cochran-v, g; Conrad Smith as Guybo-b; Earl Palmer-d; Probably Sharon K. Sheeley and Jerry Capehart-hand clapping. Produced by Simon Waronker and Theodore Gene Keep. Goldstar Studio, Hollywood, March 28, 1958. Liberty F-55144, July 28, 1958. 

• Deceased at the age of twenty-one after a few dazzling records, the creator of “Three Steps to Heaven”, “Twenty Flight Rock”, “C’mon Everybody”, “Jeannie, Jeannie, Jeannie”, “Somethin’ Else” and “Summertime Blues” remains one of the great legends of rock. A brilliant and sober guitar player, a singer with an irresistible charm, his original style was packed with the best of the late Fifties’ American sound.

Eddie Cochran considerably influenced the pop music of the 1960s and beyond. “Summertime Blues” was also recorded by The Beach Boys, Blue Cheer and The Who — among others.

Extrait de/Taken from The Indispensable Eddie Cochran 1955-1960 dans cette collection/in this series.

COGAN, ALMA - I’m In Love Again - Disc 2 #23

(Antoine Dominique Domino, Jr. aka Fats Domino, David Louis Bartholomew aka Dave Bartholomew)

Alma Angela Cohen as Alma Cogan-v; with orchestra conducted by Frank Cordell. His Master’s Voice 45-POP 239, 1956.

• The daughter of Russian and Romanian Jewish refugees, Alma Cogan was born into a family of artists, who encouraged her career. Gifted with a strong personality and an original voice, after her first record at the age of twenty, she started working for British TV and radio. Her recordings of current American hits secured her a steady presence on the radio between 1956 and 1963, as well as in Japan, Sweden, Germany and elsewhere. A British star in the 1950s, Alma Cogan sang this Fats Domino rock composition in an unaffected, natural way, like everything else she did.

CRUDUP, ARTHUR - That’s All Right - Disc 1 #3

(Arthur Crudup)

Arthur “Big Boy” Crudup

Arthur Crudup-v, g; Ransom Knowling-b; Lawrence Riley aka Judge-d. Chicago, September 6, 1946. RCA Victor 20-2205, 1947.

• A country blues singer from Mississippi, Arthur Crudup unsuccessfully tried his luck in Chicago. Yet his records were always fine and much loved in the South. His fame went up a few notches when his composition “That’s All Right” was recorded by Elvis Presley in 1954 (see Disc 2 #11). His name was credited on what was to become Elvis’ first record and smash hit, but Big Boy Crudup could not obtain any royalties. Very poor, Crudup played on the streets and, put off by a series of financial injustices, he quit music and went back to work in the Southern fields. He finally collected a total of $10,000 for his composition that had sold millions of copies, but in spite of a few gigs at the end of his life, he died in poverty. Several more songs of his were recorded by Presley, Slade, Elton John and Rod Stewart, among other

DALE, DICK - Miserlou - Disc 4 #18

(unknown, possibly Dimitri Patrinos, adapted by Fred Wise, Nicholas Roubanis, Milton Lieberman aka Milton Leeds, Sidney Keith Rosenthal as Sidney Keith Russell, Chaim Tauber)

Dick Dale & His Del-Tones

Unknown v; Richard Anthony Monsour as Dick Dale-g; Line-up may include Arthur Henry Munson as Art Munson-g; Nick O’Malley-g; William C. Barber as Bill Barber Sr.-p; Rick Rillera-b; Jerry Stevens-d. Produced by Richard Anthony Monsour as Dick Dale and Jim Monsour. Possibly Rendezvous Ballroom, Balboa, Southern Los Angeles, 1962. Deltone D-5019-1, November 1962. 

• Dick Dale embodied the launching of surf rock during the surf rock craze of the early Sixties with his instrumental version of this old song, recorded in a style influenced by The Ventures 

DANNY & THE JUNIORS - At The Hop Disc 3 #11

(Arthur Singer as Artie Singer, John L. Medora, Dave White Tricker aka Dave White)

Daniel Earl Rapp as Danny Rapp-lead tenor v; Frank Maffei-second tenor v; David Ernest White Tricker as Dave White-tenor v; Joe Terranova-baritone & bass v; Lennie Baker-ts; p, b, d. Arthur Singer as Artie Singer-orchestra leader. Produced by Leon Huff & Arthur Singer as Artie Singer. Reco-Art Studios, Philadelphia, 1957. Singular S-711, 1957.

• A last-minute replacement in Dick Clarke’s TV show gave these five unknown boys an instantaneous big break, and their small local hit became a national, overnight sensation, followed by another, in a style categorised doo wop. 

DELMORE BROTHERS - Boogie Woogie Baby
- Disc 1 #2

(Rabon Delmore aka Bob Nobar, Jim Scott aka Alton Delmore)

Alton Delmore-v, g; Rabon Delmore-v, g; Wayne Raney-harmony v; Roy Lanham-el g; Jethro Burns-g; Homer Haynes-g; Roy Starkey-b. Possibly Chicago, February 2, 1946. King 599-A, 1947 

• This renowned, guitar-oriented country band, which backed Arthur Smith for a long time in the 1930s, turned to boogie woogie early. In other words, they pioneered rock ‘n’ roll and became precursors of this new style. Red Foley’s version of their “Freight Train Boogie” composition (see Disc 1 #4) is another good example of such precocity, which can also be found on “Boogie Woogie Baby” here.

DIDDLEY, BO
- Bo Diddley Is Loose - Disc 4 #14

(Ellas Bates McDaniel aka Bo Diddley)

Ellas Bates McDaniel as Bo Diddley-v, g; Peggy Jones as Lady Bo-lead g; Jesse James Johnson-b; Bill Downing or Edell Robertson-d; Jerome Green-maracas. Bo Diddley’s home studio, Washington D.C., February 1961. Checker LP 2980, September 1961 

• Bo Diddley was probably the most original rhythm & blues musician of the Fifties and Sixties. He was a remarkable singer and a prolific composer who left his mark in everyone’s songbook, an (often very funny) stage personality... not to mention a revolutionary rhythm-guitarist whose innovations were both stylistic and technical. A visionary who defied all attempts to classify him, he became a spiritual father to many artists, from soul-singers to rappers, blues, rock and roll and even punk-rock figures, who all seemed to recognise themselves in Bo’s unbridled genius. Entitled “Bo Diddley,” his first hit record (based on the Cuban rumba clave rhythm, played on the guitar) goes back to 1955. With the beautiful Lady Bo on lead guitar, an eccentric and unclassifiable Diddley delivers “Bo Diddley Is Loose”, one of his always personal and inspired rock compositions.

DOMINO, FATS -   
I’m Walkin’ - Disc 3 #8

(Antoine Dominique Domino, Jr. aka Fats Domino, David Louis Bartholomew aka
Dave Bartholomew)

Antoine Dominique Domino, Jr. aka Fats Domino-v, p; Walter Nelson aka Papoose-g; Frank Fields-b; Earl Palmer-d; Lee Allen- ts; Herbert Hardesty as Herb-ts. Produced by Robert Alexander Blackwell as Bumps Blackwell. Recorded by Cosimo Matassa, Cosimo Recording Studio, 523 Governor Nicholls Street, New Orleans, January 3, 1957. Imperial X5428, February 23, 1957. 

• It is out of segregated New Orleans that Fats Domino emerged. He became the greatest African-American star of the 1950s and the first true rock superstar — a giant among giants. His worldwide hits, such as “Blueberry Hill,” became so famous that they overshadowed the best of his fine output. Yet one should not overlook the great blues performer, the boogie woogie piano virtuoso and the fundamental pioneer who let the world first discover the rock genre. Domino managed to cross over to the white, general public, and embodied the racial segregation drop during the early Civil Rights movement. Hail to the unthinkable triumph of this simple man who, far from his smiling image, caused riots all over the country. In six discs, which are indispensable to any rock or blues lover, our Indispensable Fats Domino 1949-1962 set brings out the cream of the unmissable, often overlooked works of this essential figure. One can listen here to “I’m Walkin’”, his third record to reach the Number One spot in the R&B charts — and Number Four of the national “pop” charts.

DONEGAN, LONNIE - Rock Island Line - Disc 2 #14

(Clarence Wilson,
Kelly Pace, attributed
to Hudson William “Lead Belly” Ledbetter)

Lonnie Donegan and His Skiffle Group

Anthony James Donegan as Lonnie Donegan-v,g; Chris Barber-b; Beryl Audrey Bryden as Beryl Bryden-washboard; unknown-d. Produced by Hugh Rees Christopher Mendl as Hugh Mendl, engineered by Arthur Lilley. Decca Studios, 165 Broadhurst Gardens, London NW6 3AU, July 1954. Decca FJ. 10647 (78 RPM shellac), 1955.

 • A revival of 1920s and 1930s traditional jazz and folk song took place in the post-war years. This trend was in search of authenticity and bonds between people. It reached Britain and Lonnie Donegan was part of it. He became passionate about American folk songs, which he sang with his Scottish accent. Skiffle, an American folk song genre, was played with makeshift instruments: kazoo, Jew’s harp, musical saw, washboard, shuffled in rhythm with thimbles, blowing in a jug (“jug bands”), stretching a string on a broomstick, from the center of an old basin as an acoustic bass, etc. Some players completed the skiffle picture with banjo, folk guitar and what have you. Donegan made this concept his and took this image, but he used a double bass and drums. He then launched the skiffle fad in Great-Britain with “Rock Island Line”.

More revivals, similar to the folk trend of the 1950s and early 60s, also took place in the UK, including the ska revival of the 1980s and the blues “boom” of the Sixties. This ancient song by an unknown composer alludes to a toll on a train line. Very rhythmic and lively, British skiffle sparked many vocations, but it was Lonnie Donegan who scored the hits. Skiffle became a part of British rock culture, as the trend won the hearts of the youth and opened the way for rock. One of the first songs learnt and sung by John Lennon, a founding member of the Quarrymen, who became The Beatles, was, according to him, “Rock Island Line.” The Quarrymen also sang other tunes recorded by Lonnie Donegan. 

DION - Runaround Sue - Disc 4 #17

(Ernest Peter Maresca aka Ernie Maresca)

Dion Francis DeMucci as Dion-lead v; The Del-Satins: Leslie Cauchi-first tenor v; Stan Zizka-tenor v; Fred Ferrara-baritone v; Tom Ferrara-bass v; Bobby Failla-second tenor v; George Wiltshire as Teacho Wiltshire-p; Alonza Westbrook Lucas as Buddy Lucas-ts; MacHouston Baker as Mickey Baker-g; John Paul Pizzarelli as Bucky Pizzarelli-rhythm g; Milton John Hinton as Milt Hinton-b; Samuel Evans as Sticks Evans or David Albert Francis as Panama Francis-d, Glen Stuart, arr. Produced by Gene Schwartz. Bell Sound Studios, 237 West 54th Street, New York City, Summer of 1961. Laurie 3110, September 1961.

• After a few hits in doo wop fashion as the lead singer of Dion & The Belmonts, an Italian-American vocal group from the Bronx in New York (1957-1959), Dion opted for an even more rocky direction as a solo artist. In the early Sixties he became a major force in the sound of American rock, composing some great songs, including two about sexual freedom, an inflammatory theme in John Kennedy’s puritan America: “The Wanderer” and this one.

ESQUERITA - Rockin’ the Joint - Disc 3 #24

(Eskew Reeder, Jr. aka Esquerita)

Eskew Reeder, Jr. aka Steven Quincy Reeder Jr. aka S.Q. Reeder, SQ Jr. as Esquerita-v; Vincent Mosley-g; Dutch McMillin-ts; Marvin Hughes-p; Floyd T. Chance-b; Johnny Young aka Ricardo-d; The Jordanaires: Gordon Stoker, Hoyt Hawkins, Neal Matthews, Hugh Jarrett-backing v. Bradley Film & Recording Studio, 804 16^th Ave. South, Nashville, August 12, 1958. Capitol F 4058, 1958.

• Esquerita was a piano player and singer from the gospel school, a friend and collaborator of Little Richard, to whom he taught a few piano licks. A flamboyant gay, he wore two wigs to keep his pompadour high enough. An erratic musician, he was in turn inspired by Little Richard to record several rock songs, many with famous musicians backing him (including The Jordanaires on backing vocals here). He was one of the first eccentrics in rock history.

Extrait de/Taken from The Roots of Punk Rock Music 1926-1962 dans cette collection/in this series.

EVERLY BROTHERS, THE - Wake Up Little Susie
- Disc 3 #21

(Diadorius Boudleaux Bryant aka Boudleaux Bryant, Felice Bryant née Matilda Genevieve Scaduto)

Isaac Donald Everly as Don Everly-v; Phillip Everly as Phil Everly-v; Chester Burton Atkins as Chet Atkins-g; Jimmy Atkins -g; Ray Edenton-g; Floyd Cramer-p; Floyd Taylor Chance as Lightnin Chance-b; Murray Mizell Harman as Buddy Harman-d. Produced by Archibald Martin Bleyer as Archie Bleyer. RCA Victor Studio, Methodist Television, Radio and Film Commission, 1525 McGavock St., Nashville, August 15, 1957. Cadence 1337, September 2, 1958.

• The Everly Brothers from Kentucky were spotted, backed and launched by guitar great Chet Atkins. “Wake Up Little Susie” went to Number One, the second of a series of big hits for the two brothers.

Their subtle, harmonised singing as a duo, was influential, most noticeably on The Beatles. It shows the more well-behaved side of white teenage rock, at a time when this “devil’s music” was the target of many attacks on a national scale. It is no less talented for all that.

FOLEY, RED - Freight Train Boogie - Disc 1 #4

(Rabon Delmore aka Bob Nobar, Jim Scott aka Alton Delmore)

Red Foley and The Cumberland Valley Boys

Clyde Julian Foley as Red Foley-v; tp; Floyd Holmes as Salty Holmes-harmonica; William Edward Grishaw as Zeb Turner-g; James Turner as Zeke Turner-g; Dale Lohman as Smokey Lohman-steel g; Dolph Hewitt-fiddle; Jimmy Bennett-accordion; Louis Todd Innis-b. Chicago, January 8, 1947. Decca 46035 A, April 1947.

• Red Foley, from Kentucky, was one of country music’s biggest stars in the 1940s-1950s. A versatile singer, he also recorded some boogie woogie, with a trailblazing rockabilly sound and this is a typical effort of early white rock, a Delmore Brothers composition (see Disc 1 #2).

FORD, FRANKIE - Sea Cruise - Disc 4 #2

(Huey Smith aka Huey “Piano” Smith)

Frankie Ford with Huey “Piano” Smith and Orchestra

Vincent Francis Guzzo as Frankie Ford-v; Huey “Piano” Smith and the Clowns: Huey “Piano” Smith-p, arr; possibly Dave Bartholomew-tp; Robert Parker or Lee Allen-ts; Alvin Tyler as Red Tyler-as; possibly Frank Fields-b; Charles Williams-d; Ace 554. Produced by Huey Smith and Johnny Vincent. Recorded by Cosimo Matassa, Cosimo Recording Studio, 523 Governor Nicholls Street, New Orleans 1959. Ace 554, 1959. 

• At first sung by its composer, Huey “Piano” Smith while on the road, his record company decided instead to offer Frankie Ford — a White singer — to replace Smith’s voice off the cuff. This invitation to a sea cruise was a big (and only) hit for Frankie Ford. This tune distinctively features the shuffle rhythm at the root of Jamaican ska, which went through a British revival in 1980 (listen also to slower shuffles by Jimmy McCracklin, Theophilus Beckford and Bob Marley here).

FRANKLIN, ARETHA - Are You Sure
- Disc 4 #15

(Robert Reiniger Meredith Wilson)

Aretha Louise Fran­klin-v, p; Albert Omega Sears as Big Al Sears-ts; Chauncey Leon Westbrook as Lord Westbrook-g; Ray Bryant-p; Milton Hinton-b; Belton Evans aka Sticks Evans-d; John Leslie McFarland-arr.; Columbia Recording Studios, 207 East 30th Street, New York City, January 10, 1961. Columbia CL 1612, February 27, 1961.

• Rock and soul expanded at the same time as gospel, from which they both drew some essential features. In 1961, the line between these two genres was still blurry and, only eighteen here, Aretha, the upcoming Queen of Soul chanted, “Don’t you dare say the Good Lord didn’t stop to hear you?”, combining gospel faith and the power of the soul music she was inventing, in a rock cocktail beyond compare.

FURY, BILLY - My Advice - Disc 4 #6

(Ronald William Wycherley aka Wilber Wilberforce aka Billy Fury)

Ronald William Wycherley as Billy Fury-v; Joseph Roger Brown as Joe Brown-g; Reg Guest-p; Bill Stark-b; Andrew McLuckie White as Andy White-d; The Four Jays-chorus. London, 1960. The Sound of Fury. Decca Studios, 165 Broadhurst Gardens, London NW6 3AU, 1960. LF.1329, late 1960.

• Completely forgotten in spite of 24 British hits in the 1960s (as many as The Beatles), the handsome Billy Fury was a major rock and pop singer and songwriter, as heard on the twelve remarkable songs gathered on The Birth of British Rock 1948-1962 (in this series), from which this is taken.

GUERRERO, LALO - Marihuana Boogie - Disc 1 #13

(Eduardo Guerrero aka Lalo Guerrero)

Lalo Guerrero y sus Cinco Lobos

Eduardo Guerrero, Jr. as Lalo Guerrero-v, leader; orchestra. Los Angeles, 1949. Imperial 329-A, 1949.

• Smoking marijuana (marihuana in the US) is a tradition in Mexico and this song is emblematic of that culture. Born in Arizona, Lalo Guerrero “the father of Chicano music” was a Spanish-speaking American, a “Pachuco”, halfway between the Mexican tradition and an American modernity, where rock was a symbol of freedom. Rejected from society in a similar way to African-Americans, Pachucos wore the same type of zoot suits (excessively roomy, loose suits) also favoured by French zazous during WWII and British teddyboys in the Fifties. 

HALEY, BILL
- Rock Around the Clock - Disc 2 #10

(Max C. Freedman, James E. Myers aka Jimmy Myers aka Jimmy DeKnight)

Bill Haley & His Comets

William John Clifton Haley as Bill Haley-v, g; Donato Joseph Cedrone as Danny Cedrone-g; Joey D’Ambrosio-ts; Johnny A. Grande-p; Marshall Lytle-b; Billy Gussak-d; unknown percussion. Produced by Milton Gabler as Milt Gabler. Decca Recording Studio, Pythian Temple, 135 West 70^th St., New York City, April 12, 1954. Decca 60.961, May 20, 1954.

• To many, along with Chuck Berry, Little Richard and Elvis Presley’s early records, this huge international hit of 1955 marked a turning point in rock history — the true birth of rock. Bill Haley had, however, been recording rock ‘n’ roll since 1952 (hear his “Rock the Joint”, a cover version of an R&B hit by Jimmy Preston, see Disc 1 #10). So, as can be noted when listening to this set, rock’s first generation preceded the shock of Elvis/Bill Haley’s second generation triumph, only it was far less widely broadcast.

HALLYDAY, JOHNNY
- Souvenirs, Souvenirs - Disc 4 # 9

(Seymour Coben aka Cy Coben, adapted in French by Fernand Bonifay)

Joey and The Showmen

Jean-Philippe Léo Smet as Johnny Hallyday-v; Léo Petit-g, arr.; b, d. Studio Vogue, Paris. Vogue EPL 7755, 1960.

• This American hit by Barbara Evans (“Souvenirs”, 1959) was translated into German by Bill Ramsey (it was Number One in Germany) shortly before Johnny Hallyday recorded it, aged sixteen. Although very young, Johnny sang about his childhood memories. After a few non-essential French-speaking rock flops (listen to Anthology of Fifties Rock in French 1956-1960 and Anthology of French Rock 1960-1962 in this series, which include some of Hallyday’s early recordings), this first hit record by major star Johnny Hallyday truly launched rock music in France.

HARRIS, WYNONIE - Bloodshot Eyes - Disc 1 #20

(Herbert Clayton Penny aka Hank Penny, Ruth Hall)

Wynonie Harris-v; Frank Galbraith-tp; Alfred Cobbs-tb; Alonzo Lucas-as; John Greer-ts; Bill Graham-bs; Herbert Parham-p; Carl Pruitt-b; Solomon Hall-d. Produced by Henry Bernard Glover. New York, February 25, 1951. King 4461-AA, 1951.

• A rock shouter, Wynonie Harris successfully recorded Roy Brown’s “Good Rocking Tonight” way before Elvis Presley, who made it a huge hit in his early career. But thanks to racial segregation, Wynonie’s version did not reach the general public, in spite of its popularity on the African-American market. His jump blues rendition of “Bloodshot Eyes” was very much appreciated in the Caribbean as well as in African-American neighbourhoods. It is a cover version of country singer Hank Penny’s composition.

HOLLY, BUDDY
- Peggy Sue
- Disc 3 #12

(Charles Hardin Holley as Buddy Holly, Jerry Ivan Allison, Norman Petty)

Charles Hardin Holley as Buddy Holly-v, g; Niki Sullivan-rhythm g; Joe B. Mauldin-b; Jerry Ivan Allison-d. Produced by Norman Eugene Petty. Norman Petty Studio, Clovis, New Mexico, July 1, 1957. Coral 9-61885, September 20, 1957. 

• In 1957, Buddy Holly emerged out of Texas as the new wind of first, rockabilly, then rock, full stop, going directly to Number One with a series of refined international hits such as “Peggy Sue.” The Beatles built their early style learning his tunes, and the first Rolling Stones hit was a Buddy Holly cover version. He was a legend among legends, a singer whose ‘hiccups’ signature made his style inimitable. A lead guitarist and a brilliant melody composer, he was a revelation — promised for a long career at the top. Sixteen months later, his plane crashed, killing him on the spot at the age of twenty-two.

JOHNNY HORTON - I’m Coming Home - Disc 3 #6

(John Gale Horton aka Johnny Horton, Tillman Ben Franks, Sr.)

John Gale Horton as Johnny Horton-v, g; Thomas Grady Martin as Grady Martin-lead g; Harold Bradley-g; Tillman Ben Franks, Sr.-b; perc. Produced by Don Law. Music City Recording, 804 16th Ave. South, Nashville, November 12, 1956. Columbia 4-40813-c, December, 1956.

• This country singer was married to Hank Williams’ widow and, influenced by Elvis Presley, he began to adopt the rockabilly style in 1955. His country music fans followed him and he scored a few rock hit records (featuring the excellent Grady Martin on guitar) including this hypnotic “I’m Coming Home”, before he reached Number One with “The Battle of New Orleans,” a military march recounting the battle between the Americans and the English in 1815.

JACKSON, WANDA
- Fujiyama Mama - Disc 3 #16

(Earl Solomon Burroughs aka Jack Hammer)

Wanda Lavonne Jack­son as Wanda Jackson-v; Alvis Edgar Owens, Jr. as Buck Owens-g; William Everett Strange as Billy Strange-g; Merrill E. Moore-p; Hollie Bundock-b; Roy Harte-d. Produced by Ken Nelson. Capitol Recording Studio, 1750 North Vine St., Hollywood, September 17, 1957. Capitol F3843, 1957.

• This hymn and country singer from Oklahoma had trouble finding a record company as female singers were not supposed to sell well. Yet her first record for Decca finally turned out a big success.

She carried on studying — and singing country music. It was a tour and a brief romance with Elvis Presley in 1956 that persuaded her to go for rockabilly like him, which she did for two years before successfully going back to country music. But her rockabilly records, some of the earliest sung by a woman, made history, especially in Japan, where “Fujiyama Mama” stayed at Number One for weeks in 1958.

JORDAN, LOUIS
- Saturday Night Fish Fry - Disc 1 #14

(Ellis Lawrence Walsh, Louis Thomas Jordan)

Louis Jordan and his Tympani Five

Louis Thomas Jordan as Louis Jordan-v, as; Aaron Izenhall-tp; Robert Andrew Mitchell as Bob Mitchell-tp; Harold Mitchell as Hal Mitchell-tp; Josh Jackson-ts; Bill Doggett-p; Roosevelt James Jackson as Ham Jackson-g; Billy Hadnott-b; Christopher Columbus-d. Produced by Milton Gabler as Milt Gabler. New York City, August 9, 1949. Decca 24725, 1949.

• An immense composer, humorist, social com­mentator and a fine jazz saxophone player, Louis Jordan was probably the true creator of the rock ‘n’ roll style named “jump blues” in the 1940s — and was, therefore, the very first actual rock star. He was one of the very few African-Americans to slip through the net and score national pop charts (usually restricted to Whites) with hit records, one after another. A funny and talented creator, Louis Jordan was very popular from the late 1930s until the early 1950s and “Saturday Night Fish Fry” is a seductive example of his trailblazing early rock. He alludes to the party atmosphere during Saturday night private parties in New Orleans, when a police raid abruptly ends the festivities with mass arrests.

KIDD, JOHNNY - Shakin’ All Over - Disc 4 #11

(Frederick Albert Heath aka Johnny Kidd)

Johnny Kidd and The Pirates

Frederick Albert Heath as Johnny Kidd-v; Joe Moretti-lead g; Alan Caddy-el g; Brian Cregg-b; Clem Cattini-d. Abbey Road Studios, London, 1960. His Master’s Voice 45-POP 753, 1960.

• Like The Beatles, Johnny Kidd started off singing in a British skiffle group (see Lonnie Donegan, Disc 2 #14). Like them, he wrote some songs and sang them his own way, not owing much to the Elvis Presley craze (unlike his fellow countrymen Tommy Steele, Billy Fury, Marty Wilde, Vince Taylor and Cliff Richard). “Shakin’ All Over” went to Number One in the 1960 English charts. It bridged newborn British rock ‘n’ roll and the ensuing Who (who recorded it in 1970), Animals, Kinks, Rolling Stones and Beatles tidal wave. Johnny Kidd was also ahead of his time for wearing stage costumes (he wore an eye patch and a pirate outfit) and putting on stage shows. He died in a car crash, aged thirty.

KING, PEE WEE - Ten Gallon Boogie - Disc 1 #7

(Julius Frank Anthony Kuczynski aka Pee Wee King, Henry Ellis Stewart aka Redd Stewart)

Pee Wee King & His Golden West Cowboys

Tommy Sosebee-v; Julius Frank Anthony Kuczynski as Pee Wee King-accordion; Harold Bradley-g; Cowboy Copas-g; Don Davis-pedal steel g; Chuck Wiggins-b; Harold McDonald as Sticks McDonald-d. Produced by Stephen Sholes, Charles Grean. RCA Victor Studio A, 30 S. Michigan Ave., Chicago, March 25, 1947. RCA Victor 20-2366-A, 1947.

• Of Polish descent, Pee Wee King was a very prolific country, waltz, polka and cowboy songs composer. He introduced the Musicians’ Union to the very conservative Grand Ole Opry, a country, bluegrass and Southern Gospel bastion and recorded this fine country boogie as a true rockabilly pioneer.

LAURIE, ANNIE - I Ain’t Gonna Let You In - Disc 1 #17

(Rudolph Toombs aka Rudy Toombs)

Annie Laurie-Paul Gayten with the Paul Gayten Orchestra

Annie Laurie née Annie L. Page-v, p; William Stovall Cook as Broadway Bill Cook-v; John Hunt-tp; Alfred Outcalt-tb; Eddie Barefield-as; g, b; Sam Woodyard-d; Paul Leon Gayten-arr., leader. Produced by David Braun, Julius Braun. New York City, 1950. Regal 3273, 1950.

• Backed by the legendary Paul Gayten Orchestra from Louisiana, Atlanta-born Annie Laurie recorded this duet with Bill Cook, a radio, television host and a disc-jockey from Newark (New Jersey). This song is a typical example of the “swing” roots of African-American urban rock, featuring lush horn arrangements.

LEWIS, JERRY LEE - Great Balls of Fire - Disc 3 #14

(Otis Blackwell, Earl Solomon Burroughs aka Jack Hammer)

Jerry Lee Lewis and his Pumping Piano

Jerry Lee Lewis-v, p; Roland E. Janes-g; James Mack Van Eaton as Jimmy Van Eaton-d. Produced by Samuel Cornelius Phillips as Sam Phillips and Jack Henderson Clement as Jack Clement. October 8, 1957. Sun 281, November 11, 1957.

• A native of Louisiana, Jerry Lee Lewis embodied the wildest form of white rock in the 1950s. He appeared suddenly, after the success of Elvis Presley, whom he challenged. His originality was the key to his popularity: long, blonde, messy hair, emotive vocalizing, a dazzling pianist and born showman, performing both energised country and black rock. He was a performer who could play standing up, as well as with his feet, or who could set fire to his piano and continue playing it; he was also a singer of outstanding charisma. His career was broken overnight by a moral scandal in 1958, but his big classics, including the emblematic “Great Balls of Fire,” remain some of the highlights of 1950s rock ‘n’ roll. 

LEWIS, SMILEY - Lillie Mae - Disc 2 #2

(Overton Amos Lemons aka Smiley Lewis, David Louis Bartholomew aka Dave Bartholomew)

Overton Amos Lemons as Smiley Lewis-v, g; David Louis Bartholomew aka Dave Bartholomew-tp; Joe Harris-as; Ernest Mc Lean-g; Isidore Washington as Tuts Washington-p; Frank Fields-b; Earl Palmer-d; vocal chorus. Recorded by Cosimo Matassa, J&M Studio, New Orleans, June 3, 1952. Imperial 45-5194, 1952. 

• A blues and rock legend in Louisiana, Smiley created this song as a tribute to Lillie Mae, which was the name of his mother, deceased during his childhood. His nickname came from his lack of front teeth in his youth. Smiley Lewis cut this rock classic in New Orleans, with Dave Bartholomew, Fats Domino’s main collaborator. 

LITTLE RICHARD - Good Golly, Miss Molly - Disc 3 #17

(John S. Marascalco, Robert Alexander Blackwell aka
Bumps Blackwell)

Richard Wayne Pen­niman as Little Richard-v, p; Lee Allen-ts; Alvin Tyler-bs; Roy Eustis Montrell-g; Frank Fields-b; Earl Palmer-d, leader. Produced by Arthur Newton Goldberg as Art Rupe and Robert Alexander Blackwell as Bumps Blackwell. Recorded by Cosimo Matassa, J&M Studio, New Orleans, Louisiana, October 15, 1956. Specialty 624, January 1958.

• Little Richard was the most intense rock singer ever, from the drag queen revues to the blues, a precursor of soul and a giant of rock ‘n’roll. His success first thundered through music in 1955: eccentric, extrovert, brilliant and wild, his exciting, incredible story made just as much noise. He left show-business at the top of his fame, rich and famous, one year after this fabulous recording made with Fats Domino’s team, to devote himself to religion and gospel — and make his unbelievable comeback. “Good Golly Miss Molly” is one of rock’s greatest classics.

LUMAN, BOB - Red Hot - Disc 3 #10

(William Robert Emerson aka Billy Emerson aka The Kid)

Robert Glynn Luman as Bob Luman-v; James Burton, g; James Kirkland-b; Butch White-d. Mira Smith’s Ram Studios, Shreveport, Louisiana, early 1957. Imperial XB8313, 1957.

• This Texan was one of the first men to record with outstanding rockabilly guitar player James Burton. He had formed a group with Burton to appear in the country music radio and television show Louisiana Hayride in Shreveport, that, faced with Elvis’ phenomenal success, finally opened its gates to rockabilly.

LYMON, FRANKIE - I Want You to Be My Girl - Disc 2 #19

(George Goldner, Richard F. Barrett)

Frankie Lymon & the Teenagers with Jimmy Wright & His Orchestra

Franklin Joseph Lymon as Frankie Lymon-soprano v;

Herman Santiago-v; Bobby Jay-v; Terrance Farward-v; Jimmy Merchant-v; Terry King-v; Jimmy Wright & His Orchestra: Jimmy Wright-ts, leader; Clifton Best as Skeeter Best, Jimmy Shirley or Jerome Darr -g; Abie Baker or Al Hal-b; Freddie Johnson or Jimmy Phipps-p; Gene Brooks-d. Produced by George Goldner. New York City, late 1955. Gee GG-1012, April, 1956. 

• Frankie Lymon sang gospel in New York City before he recorded his first two huge hits “Why Do Fools Fall in Love” and “I Want You to Be My Girl” at the age of thirteen. After a series of big sellers, his band, The Teenagers, disintegrated just one year later and Lymon lost his popularity. The fact that he dared dance with a young white girl on Alan Freed’s TV show, on July 19, 1957, caused a scandal that further shattered his career. Lymon, a teenage star, took a subsequent dive into hard drugs and died of a heroin overdose at the age of twenty-five.

MACK, BILL - Play My Boogie - Disc 2 #3

(William Mack Smith Jr. aka Billy Mack)

William Mack Smith Jr. as Billy Mack Bill Mack-v; H.S. White as Buck White-p, fiddle; Pete Martinez-steel g; b, d, chorus. ca. September 1952 KWFT Radio Station, Wichita Falls, Texas. Imperial 8174, 1952.

• Mack was a Texan radio star for decades, hosting a country music show for truck drivers that was broadcast nationwide, and also sang on several hit records. However, his career had started with this compelling country boogie, in phase with the birth of rock.

MANZY, HERMAN - I’m Your Rockin’ Man - Disc 2 #1

(Herman Manzy)

Herman Manzy and Orchestra

Herman Manzy-v, d; possibly James L. Elliott as Jimmy Liggins-g; ts, p, b. Fidelity 3003. Los Angeles, circa 1951. Fidelity F 3003 A, January, 1952.

Extrait de/Taken from Rock ‘n’ roll 1951 dans cette collection/in this series.

• This very obscure drummer recorded with Jimmy Liggins in California. He cut his only two tracks, both little-known, under his own name, including the exquisite “I’m Your Rockin’ Man” heard here.

MARLEY, Bob - Judge Not - Disc 4 #22

(Robert Nesta Marley aka Bob Marley)

Robert Marley and the Beverley’s All Stars

Bob Marley as Robert Marley-v; flute; Roland Alphonso-ts; Jerome Haines aka Jah Jerry-g; el. p, p; Charlie Organaire-harmonica; Lloyd Brevett-b; Arkland Parks aka Drumbago-d. Recorded by Buddy Davidson, produced by Leslie Kong. Federal Studio, Kingston, Jamaica, circa February 1962. Beverley’s LM 027, 1962.

• With its strong, dance-compelling offbeat, the shuffle beat is fully part of the rock culture. It was very popular in Jamaica before ska was derived from it (in 1963). Soon to become the reggae king, Bob Marley’s very first record is a perfect example of shuffle. It can also be heard here by Jimmy McCracklin, with a fast tempo on Frankie Ford’s “Sea Cruise” and on a slow tempo by Theophilus Beckford (another Jamaican). The B-side of this ultra rare 45RPM single is available on Les Musiques des Caraïbes - Du vaudou au ska in this series.

McCRACKLIN, Jimmy - Rockin’ All Day - Disc 1 #15

(James David Walker Jr. aka Jimmie McCracklin aka Jimmy McCracklin, Julius Jeramaiah Bihari aka Jules Bihari aka Jules Taub)

Jimmie McCracklin and his Blues Blasters

James David Walker Jr. as Jimmy McCracklin-v, p; ts; Robert Kelton Jr., Lafayette Jerl Thomas-el. g; b; « Little Red »-d. Modern 20-762. Los Angeles or Oakland, circa October 10, 1949. Modern 1236, 1950.

• As for many African-American musicians of the 1940s, Jimmy McCracklin switched from pure blues to the much faster “jump blues.” A very prolific composer categorised as R&B, by 1949 his rock style moved between shuffle (as heard here) and boogie, and also moved on to soul music. Later on in 1958, his song “The Walk”, hit the national pop charts at Number Seven.

MEMPHIS SLIM - Rockin’ The House - Disc 1 #6

(John Len Chatman aka Memphis Slim)

Memphis Slim and the House Rockers

John Len Chatman aka Peter Chatman as Memphis Slim-v, p; Alex Atkins-as; Ernest Cotton-ts; Willie Dixon-b. Produced by Lee L. Egalnik. S&S Studio, Chicago, October, 1946. Miracle M-103, May 1947.

• A big blues name in the 1930s, a Chicago studio pianist in the 1940s, the post-war “jump blues” trend encouraged Memphis Slim, the bluesman, to move on towards more of a rock style — as did Arthur Crudup and many more. In this he was a precursor, as were piano players Jimmy McCracklin and Amos Milburn also heard here. 

MILBURN, AMOS - Down the Road Apiece Disc 1 #5

(Donald MacRae Wilhoite, Jr. aka Don Raye)

Joseph Amos Milburn, Jr. as Amos Milburn-v, p; b, d; vocal chorus. Produced by Leo and Edward Mesner as Eddie Mesner. Los Angeles, September 12, 1946. Aladdin 161 A, 1947.

• A boogie woogie ace, Amos Milburn launched 1940s boogie piano in the rock dimension.

The Beatles could not go wrong when they borrowed the piano line played by his left hand and made it the bass guitar part of their excellent “I Saw Her Standing There,” which opens their first album. As for The Rolling Stones, they recorded this song for their remarkable second album, “No. 2.”

MOORE, WILD BILL - Rock and Roll - Disc 1 #12

(William M. Moore aka Bill Moore)

Wild Bill Moore Sextet

Benjamin Sherman Crothers as Scatman Crothers-v; William M. Moore aka Bill Moore-v, ts; possibly Paul Williams as Hucklebuck Williams-bs, tp, p, b, d, handclaps, chorus. Produced by Julius Jeramaiah Bihari as Jules Bihari. Los Angeles, February 22, 1949. Modern, 20-674A, 1949. 

• After the success of “We’re Gonna Rock” (Savoy, 1948), Wild Bill Moore created the riff used by Solomon Burke on his famous “Everybody Needs Somebody to Love,” a pillar of soul and rock music. Wild Bill Moore was a pioneer of rock as early as the 1940s and it’s plain to hear why.

NELSON, RICKY - Stood Up - Disc 3 #15

(Erma Herrold, Willis Dickerson as Dub Dickerson)

Eric Hilliard Nelson as Ricky Nelson-v; Otis Wilson Maphis as Joe Maphis-el g; James Burton-ac g; b, Earl Palmer-d. Produced by Louis Chudnofsky as Lewis Robert Chudd, Hollywood, late 1957. Imperial 5483/45, December 9, 1957. 

• Nelson’s debut was in a TV series, aged eight. He moved on to a radio series, then to movies; so he was already well-known before he started singing. He had neither the talent, the voice, the charisma, nor the magic Elvis had, but his more well-behaved rock appealed more easily to the general public and media than that of the scandalous Elvis The Pelvis, who was a bit too hyper-sexualised for his time. A direct competitor of Elvis, Nelson went for rockabilly at the height of Elvismania and became the first “teen idol” (the term was first coined for him). Ricky Nelson was slightly bland, but in addition to being a movie star, and having a pretty face, his excellent band (featuring James Burton on the guitar) helped turn him into a big American star (54 songs in the top hundred) in 1958.

NOËL, MAGALI - Fais-Moi Mal, Johnny - Disc 2 #24

(Boris Paul Vian aka Boris Vian, Alain Goraguer)

Magali Noëlle Guiffray as Magali Noël-v; Boris Paul Vian as Boris Vian-v; Alain Goraguer et son Ensemble: ts; p, b, d. Apollo Studio, 21 rue de Clichy, Paris, summer 1956. Philips 432.131 ME, 1956. 

• This French rock gem, composed by Serge Gainsbourg’s arranger, with lyrics by Boris Vian, is likely the most interesting recording from the 1950s dawn of French rock. Although it is written in a humourous tone, it goes without saying that it was banned from the radio at the time considering the subject (“hurt me, Johnny”), violence against women and S&M sex — ten years before The Velvet Underground!

O’KEEFE, JOHNNY - Wild One - Disc 3 #20

(Johnny Greenan, John Michael O’Keefe aka Johnny O’Keefe, Dave Owens)

Johnny O’Keefe and The Dee Jays

John Michael O’Keefe as Johnny O’Keefe-v, p; Dave Owens-ts; Johnny Greenan-ts; Lou Casch-g; Keith Williams-b; Johnny Purser as Catfish-d. Sidney, Australia, 1958. Festival FX-5002, July 1958.

• Johnny O’Keefe came from a Sydney suburb and became the first Australian rock star, as well as the first local singer to sell a lot of records. He was hit by the rock revelation listening to Bill Haley’s “Rock Around the Clock” and devoted himself to that genre. O’Keefe became a TV host after this first hit record and he represents his country here, fifteen years before one of the most famous bands in the world formed in Sydney, too: AC/DC.

ORBISON, ROY - Only The Lonely - Disc 4 #8

(Roy Kelton Orbison aka Roy Orbison, Joe Melson)

Roy Orbison With Bob Moore’s Orchestra & Chorus

Roy Kelton Orbison as Roy Orbison-v; Bob Moore’s Orchestra & Chorus: Joe Melson-v; The Anita Kerr Singers: Anita Jean Grilli as Anita Kerr-sop v, arr.; possibly Gil Wright-tv; Louis Nunley-bar v; Dottie Dillard-alto v; Hank Garland, Harold Bradley-g; Floyd Cramer-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Nashville, RCA Studio, March 25, 1960. Monument 45-421, 1960.

• After a rockabilly phase with fairly ambitious lyrics and melodies at Sun Records, Roy Orbison created a new form of sophisticated rock, with refined and elegant arrangements. He was an inspiration and a friend to both Elvis Presley and The Beatles, as well as a pioneer of the creative musical explosion of the 1960s and one of the first to give rock an orchestral, lush edge. An extraordinary singer, his romantic, deeply original works remain an emblem of John Kennedy’s lavish, progressive years and beyond. 

PARKER, JUNIOR - Feelin’ Good - Disc 2 #7

(Herman Parker, Jr. aka Junior Parker)

Little Junior’s Blue Flames

Herman Parker, Jr.-v, g; Floyd Lee Murphy-g; Kenneth Banks-b; John Bowers-d. Memphis Recording Service, June 18, 1953. Sun 187, 1953. 

• At first a gospel singer in West Memphis, then a blues performer discovered by Ike Turner, Little Junior Parker joined Sun Records in 1953. It was there that he scored three consecutive hits, including this “Feelin’ Good” boogie-rock. His famous “Mystery Train” was recorded the same day and was soon covered by Elvis Presley, who made it a huge hit, which widely contributed to Junior Parker’s fame.

PERKINS, CARL - Blue Suede Shoes - Disc 2 #17

(Carl Lee Perkins aka Carl Perkins)

Carl Lee Perkins as Carl Perkins-v, lead g; Jay Perkins-g; Clayton Perkins-b; W.S. Holland as Fluke Holland-d. Produced by Samuel Cornelius Phillips as Sam Phillips. Memphis Recording Service, Sun Studio, Memphis, Tennesse, December 19, 1955. Sun 234, January 1956.

• A rockabilly archetype and anthem, “Blue Suede Shoes” was one of the biggest hits by Carl Perkins, who played electric lead guitar on top of composing and singing. Elvis Presley’s remarkable version did however contribute to his fame. George Harrison partly built his style on Perkins’ and recorded several of his songs with The Beatles. 

PHANTOM, THE - Love Me - Disc 4 #7

(Jerry Lottis aka Marty Lott aka The Phantom as Jerry Lott)

Jerry Lottis as The Phantom-v; Frank Holmes-g; Bill Yates-p; Peter McCord-b; H.H. Brooks-d. Dot 16026. Gulf Coast Studio, Mobile, Alabama, 1958. Dot-45-16056, January, 1960.

• With his stage name and mask borrowed from a comic book masked vigilante (written by Lee Falk, who also created Mandrake), like many before him, The Phantom was a country singer before Elvis stormed in. He cut this overexcited rockabilly without warning, which has since become an underground classic.

Extrait de/Taken from The Indispensable Rockabilly 1951-1960 et/and The Roots of Punk Rock Music 1926-1962 dans cette collection/in this series.

POMUS, DOC - Give It Up - Disc 1 #22

(Jerome Solon Felder aka Doc Pomus)

Doc Pomus with Bill Doggett and his Orchestra

Jerome S. Felder as Doc Pomus-v; Bill Doggett and his Orchestra: Pete Brown-as; ts, tp, bar, Reggie Ashby-p; Leonard Gaskin-b; Jimmy Crawford-d; vocal ensemble; Bill Doggett-arrangement, leader. New York, March 8, 1951. Coral 65050, 1951.

• A legendary composer of many rock classics for the greatest names, Doc Pomus was the son of European migrant Jews. He suffered from polio and walked with crutches. An admirer of Big Joe Turner, he used to go and sing blues and rock in New York’s small clubs with African-American musicians, an unusual habit for a White man in 1951, to say the least. “Give It Up” is no doubt the earliest Black rock hit sung by a White singer. 

PRESLEY, ELVIS - That’s All Right - Disc 2 #11

(Arthur Crudup)

Elvis Presley, Scotty and Bill

Elvis Aaron Presley aka Elvis Presley-v, g; Winfield Scott Moore II aka Scotty Moore-g; William Patton Black aka Bill Black-b. Produced by Samuel Cornelius Phillips as Sam Phillips. Memphis Recording Service, Sun Studio, Memphis, Tennessee, July 5, 1954. Sun 209, July 19, 1954. 

• A cover version of an African-American rock song by bluesman Arthur Crudup (the original version is on Disc 1 #3), Elvis’ first record caused a bit of a stir in the country music world because it integrated some distinguishing features of Black blues, to which he added a country-styled guitar — the rockabilly winning formula (= Black rock + White hillbilly) which suddenly turned trendy. The Elvis phenomenon amplified beyond all proportions between 1954 and 1958, and his popularity was unprecedented for a singer. Elvis was also an extraordinary, self-taught dancer. His renditions were without compare and he disrupted the history of popular music worldwide, sexualised White rock in a very controversial way and highlighted African-American popular music with his very powerful versions.

Extrait de/Taken from Elvis Presley face à l’histoire de la musique américaine/& The American Music Heritage volume 1 1954-1956. Voir aussi/See also volume 2 1956-1958 dans cette collection/in this series. Ces coffrets juxtaposent aux interprétations d’Elvis les versions originales par différents artistes/These two sets juxtapose Elvis’ renditions with the original versions by various artists.

PRESTON, JIMMY - Rock the Joint - Disc 1 #10

(Harry Crafton, Wendell King as Don Keane, Harry Bagby aka Doc Bagby)

Jimmy Alfred Smith Preston and His Prestonians

James Preston as Jimmy Preston-v, as; possibly Earl Patterson-ts; possibly Danny Turner-ts; Raymond King-p; possibly Leroy Terry-b; possibly Eddie Winters-d. Produced by Ivin Ballen. Philadelphia, May 1949. Gotham G-188, 1949.

• Jimmy Preston could never have imagined this. That at the core of racial segregation, a White man would record his song and place it at Number Six on the “rhythm and blues” charts. It was rock ‘n’ roll before this expression associated with the sex act became the name of a music genre. When recording it, Bill Haley, a singer from Philadelphia, like Preston, obtained a fair success as he had hoped, following his version of Jackie Brenston’s “Rocket 88.” This new success inspired him to take the direction of an R&B/country fusion for good and he dropped country/western swing after this. Haley’s “Rock the Joint” also contained the exact same popular guitar solo heard on his “Rock Around The Clock” era-defining song years later. 

PRICE, LLOYD - Rock ‘n’ Roll Dance - Disc 3 #7

(John S. Marascalco, Lloyd Price)

Lloyd Price and his Band

Lloyd Price-v; Lee Allen-ts; Alvin Tyler as Red Tyler-bs; Edward Frank-p; Edgar Blanchard-g; Frank Fields-b; Earl Palmer-d. Recorded by Cosimo Matassa, J&M Studio, New Orleans, Louisiana circa April 6, 1956. Produced by Arthur Newton Goldberg as Art Rupe and Robert Alexander Blackwell aka Bumps Blackwell. Specialty XSP-578-45, 1956.

• He was backed by pianist Fats Domino on his first record “Lawdy Miss Clawdy” (Specialty, 1952), a huge rhythm and blues hit that launched his career in the spring of 1952. A trumpet and piano player as well as a gospel singer, he epitomized the New Orleans sound of the time. In 1956 he turned to a solid rock sound, keeping the Fats Domino, Dave Bartholomew and Little Richard team to record.

REED, LOU - Your Love - Disc 4 #21

(possibly Lou Reed)

Lewis Reed

Lewis Allen Reed as Lewis Reed aka Lou Reed-lead v; vocal chorus, ts; b, d. Produced by Abraham Shadrinsky aka Robert Abraham Shad as Bob Shad. New York City, 1962. Time Records. 

• The Velvet Underground’s founding member and rock icon started out his studio singer career in his New York hometown in 1962. His style was then anchored in the vocal group tradition of the time, doo wop. 

RICHARD, CLIFF - Move It - Disc 3 #22

(Ian Ralph Samwell aka Ian Samwell)

Cliff Richard with The Drifters

Harry Rodger Webb aka Cliff Richard-v; Ernie Shear-lead g (Hofner President, DeArmond pickup); Ian Ralph Samwell-g; Bruce Cripps as Bruce Welch-g; Frank Clarke-b; Terry Smart-d. Produced by Norman William Paramor as Norrie Paramor, with Brian May, Brian Bennett. Recorded by Malcolm Addey at Abbey Road, Studio Two, London. Columbia 45-DB.4178, 1958. August 29, 1958.

• Although little-remembered in continental Europe, Anglo-Barbadian singer Cliff Richard became the first British rock superstar, adding up an unimaginable amount of hit records in the USA, UK and elsewhere in the world, to the point of becoming one of the biggest record sellers in history (130 records charting in the Top 20 in Great Britain alone, more than any other artist). His first record, “Move It” was one of British rock’s first ever classics. Cliff Richard was backed by The Shadows (see Disc 4 #12) under the name The Drifters, but guitar player Hank Marvin was not present on this very first session. The Shadows, too were hugely successful with their instrumental beat music.

Retrouvez Cliff Richard dans/More Cliff Richard on The Birth of British Rock 1948-1962 dans cette collection/in this series.

SALVADOR, HENRI - Rock and roll-mops - Disc 2 #25

(Mig Bike aka Michel Legrand, Boris Paul Vian aka Boris Vian aka Vernon Sinclair)

Henry Cording and His Original Rock And Roll Boys

Pierre Gossez-ts; Léo Petit-g; Guy Pedersen-b; Jean-Baptiste Reilles as Mac Kac-d; Christiane Legrand, Rita Castel, Jean-Claude Briodin, Ward Lamar Swingle, Roger Berthier, Janine Wells-backing v. Produced by Jacques Canetti as Jack K. Netty. Conducted by Michel Legrand. Apollo Studio, 21 rue de Clichy, Paris, June, 21, 1956. Fontana 460.518 ; Philips-Fontana 261-.011, July 1956.

• As the Elvis Presley phenomenon left America all shook up, Henri Salvador was one of the very first to mock rock with French play on words by Boris Vian: to both men, the only relevant music around was jazz.

Far from blues and country sung literally, in its early days French-speaking rock often took a chance at light, humourous songs — when it wasn’t simply an ersatz of American originals. “Rock And Roll-Mops” is a historic novelty example of this.

SCOTT, JACK - The Way I Walk - Disc 4 #3

(Giovanni Domenico Scafone Jr. aka Jack Scott)

Jack Scott With The Chantones Vocal Group

Jack Scott-v, g; Al Allen-lead g; The Fabulous Chantones: Jack Grenier-lead tenor v; Jim Nantais-baritone v; Roy Lesperance-bass v; Larry Desjarlais-tenor v; George Kazakas-ts; Stan Getz-b; d. Produced by Joe Carlton. United Sound Studio, Detroit, circa April 1959. Carlton 514, 1959.

• A Canadian from Ontario, not far from Detroit, where his family ended up moving. Jack Scott came from country music and he is mostly known for his love songs in a sort of doo wop style and sentimental balads, but he also recorded some first choice rockabilly.

SHADOWS, THE - Apache - Disc 4 #12

(Jeremiah Patrick Lordan aka Jerry Lordan)

Brian Robson Rankin aka Hank Brian Marvin as Hank Marvin-lead g; Bruce Cripps as Bruce Welch-g; Terence Harris as Jet Harris-b; Daniel Joseph Anthony Meehan as Tony Meehan-d; Cliff Richard-Chinese drum (intro). Produced by Norrie Paramor. Abbey Road Studios, London, June 1960. Columbia 45-DB 4484, July 1960.

• Only a few days after The Ventures’ first instrumental rock hit, Cliff Richard’s backing group in London released this rumba-rock instrumental of their own, evocative of Apache territory in Arizona’s immensity. The use of the reverb effect, suggesting vast spaces, left a strong influence on the sound of 1960s electric guitars.

SINGER, HAL - Rock Around the Clock - Disc 1 #18

(Harold Joseph Singer aka Hal « Cornbread » Singer aka Hal Singer, Samuel Allen Theard aka Sam Theard)

Hal Singer and His Orchestra :

Samuel Allen Theard aka Sam Theard as Spoo-Dee-Odee-v; Harold Joseph Singer as Hal Singer-ts; Hal Mitchell-tp; George Rhodes-p; Grachan Moncur-b; Bobby Donaldson-d: vocal ensemble feat. vocal chorus. New York City, circa August 1950. Mercury 8196, 1950.

• A jazz saxophone player, Hal Singer released a single rock record at the beginning of his career — and it chased him around for a long time, as it bears the same title as “Rock Around The Clock” (the title of Bill Haley’s worldwide hit five years later) and because Sam Theard (composer and original singer of the “You Rascal You” standard, a big 1979 hit by Serge Gainsbourg as “Vieille Canaille”) sings the words “One for the money, two for the show” borrowed by Carl Perkins on his famous “Blue Suede Shoes.”

SMITH, ARTHUR - Guitar Boogie - Disc 1 #11

(Arthur Smith)

Arthur “Guitar Boogie” Smith with his Cracker-Jacks

Arthur Smith-lead g; Donald Wesley Reno as Don Reno-g: Roy-b. Produced by Irving Field. Possibly Washington, DC, September, 1944. M-G-M 10293-A, 1949.

• A huge number of rock guitar players based their work on this absolute boogie woogie classic, including Tommy Emmanuel, who recorded several virtuoso versions (available online) and which managed to outperform the already prodigious original version, cut in 1944.

This was right at the time when the Allied Forces began than victorious invasion against the Nazis in Europe — which explains why this record was issued belatedly in 1949.

SMITH, HUEY “PIANO” - Don’t You Just Know It - Disc 3 #19

(Huey Smith, John Vincent Imbragulio aka Johnny Vincent)

Huey ‘Piano’ Smith and The Clowns

Huey Smith as Huey “Piano” Smith-v, p; Gerri Hall née Erdine Louise-v; Oscar James Gibson as Bobby Marchan-v; John Williams as Scarface-falsetto v; Robert Parker-ts; Alvin Owen Tyler as Red Tyler-bs; Frank Fields-b; Charles Williams as Hungry-d. Produced by John Vincent Imbragulio aka Johnny Vincent. Cosimo Recording Studio, Gov. Nichols Street, New Orleans, 1958. Ace 545, 1958. 

• Along with his own “Rocking Pneumonia and the Boogie Woogie Flu”, “Don’t You Just Know It” is illustrative of Huey “Piano” Smith’s inimitable, nonchalant rock style from New Orleans, somewhere between Fats Domino and Little Richard. Dr. Feelgood, with Wilko Johnson on guitar, recorded one of the most renowned cover versions of this classic tune in 1975.

Extrait de/Taken from New Orleans Roots of Soul 1941-1962 dans cette collection/in this series.

THE SPOTNICKS - Orange Blossom Special - Disc 4 #19

(Ervin Thomas Rouse)

Bo Winberg-lead g; Bo Starander as Bob Lander-rhythm g; Björn Thelin-b; Ove Johansson-d. London, 1961. Karusell KSEP 3235 (Sweden), 1962. 

• This Swedish rock band was the first Scandinavian group to record international hits. They played in the instrumental style of The Ventures and The Shadows and dressed up in astronaut costumes onstage. “Orange Blossom Special,” a rural, bluegrass classic written by The Rouse Brothers, initially alluded to a steam train evoked by a fiddle.

STARR, ANDY - Rockin’ Rollin’ Stone - Disc 3 #4

(Franklin Delano Gulledge aka Andy Starr, Woodrow D. Patty)

Franklin Delano Gulledge aka Frank Starr as Andy Starr-v ; Larry Adair-g; Lyman Macklin-b; Walter Paschal Parsons-d. Produced by Joe M. Leonard Jr. MGM Recording Studios, 751 North Fairfax Avenue, Los Angeles, 1956. MGM K12263, 1956.

• One of Elvis Presley’s many disciples, and a typical rockabilly recording in the wake of the Elvismania that swept America in 1956. An obscure but great record. Ringo Starr’s spiritual father? 

STEELE, TOMMY - Rock With the Caveman - Disc 2 #22

(Thomas Hicks aka Tommy Steele, Michael John Pratt aka Mike Pratt, Lionel Begleiter as Lionel Bart, Frank Chacksfield)

Tommy Steele and The Steelmen

Thomas Hicks as Tommy Steele-v; Ronald Schatt as Ronnie Scott-ts; David Cyril Aarons-p, arr.; g, b, d. London, 1956. Produced by Hugh Rees Christopher Mendl as Hugh Mendl, engineered by Arthur Lilley. Decca Studios, 165 Broadhurst Gardens, London NW6 3AU, September 24, 1956. Decca (UK) 45F 10795, October 12, 1956. 

• Steele was directly influenced by Elvis Presley and turned out to be the first British “teen idol” in the rock tradition sense of the term. British rock was really born with “ Rock With the Caveman,” his fine first record, which got to Number Thirteen in the November 1956 UK charts, and which was in fact conceived as a humourous effort. His TV appearances, which promoted his handsome physique, contributed to make him the new generation’s first UK rock star. He was dethroned by Cliff Richard two years later (see Disc 3 #22).

SWALLOWS, THE - It Ain’t the Meat - Disc 1 #19

(Henry Bernard Glover, Sydney Nathan aka Syd Nathan)

Frederick Johnson as Money Guitar-baritone lead v, g; Eddie Rich-tenor v; Herman Denby as Junior Denby-tenor v; Earl Hurley-tenor v, bongos; Alphonso Thompson as Sonny Thompson-p; Norris Mack as Bunky-b. King Studio, 1540 Brewster Avenue, Cincinnati, 1951. King 45-4501-AA, December, 1951.

• One of the best doo wop groups, featuring Money Guitar’s delicious deep baritone voice. This is a stereotype of the doo wop genre, rock music’s vocal groups. The Swallows had a string of great, elegant hits in the 1950s.

TAYLOR, DANNY - You Look Bad - Disc 2 #8

(Daniel Parker Taylor aka Danny Taylor, Sidney Jackson Wyche, Theodore McRae as Teddy McRae)

Danny Run Joe Taylor with Orchestra

Danny Parker Taylor as Danny “Run Joe” Taylor-v; Albert J. Johnson as Budd Johnson, George Buddy Tate as Buddy Tate-ts; Dave McRae-b; Al Williams-p; McHouston Baker as Mickey Baker-g; Lloyd Trotman-b; Marty Wilson-d. Leader: Theodore McRae as Teddy McRae. New York City, November 11, 1953. RCA Victor 47-5558, 1954.

• History has not remembered much about Danny “Run Joe” Taylor. Born in Savannah, Georgia, in 1931, this singer was 23 when he recorded this fine “rhythm and blues” song. He issued 14 singles, including two as Little Danny, between 1949 and 1960. All were recorded in New York and few were reissued, but this one is worth its weight in gold as it features world class musicians, funny, cheeky lyrics and an arrogant attitude — a punk spirit before its time.

TAYLOR, VINCE - Brand New Cadillac - Disc 4 #5

(Brian Maurice Holden)

Vince Taylor and His Play-Boys

Brian Maurice Holden as Vince Taylor-v; Joseph Edward Moretti as Joe Moretti-el g; Lou Brian-p; Brian Locking-b; Brian Laurence Bennett-d. Produced by Norman Newell. Abbey Road Studios, London, April, 1959. Parlophone R. 4539, April, 1959.

• Born in Isleworth (London), Vince Taylor spent ten years in the US (1949-1958). Upon return in London he tried to pass for an American (in spite of his English accent) to become a singer, but his two early singles “I Like Love” and “Brand New Cadillac” (his only composition) for Parlophone got nowhere, so he moved to Paris. He signed a deal with Barclay Records there and issued several more records, but his total black leather look (inspired by Marlon Brando in The Wild One and Gene Vincent on his 1960 British tour) and his bad boy, “black jacket” image provoked some fights and trouble that caused his career some damage. A remarkable, feline and spontaneous dancer, he got an unexpected reputation boost when The Clash recorded his “Brand New Cadillac” in 1979 to reconnect with their British roots.

THORNTON, BIG MAMA - Hound Dog - Disc 2 #5

(Jerome Leiber aka Jerry Leiber, Michael Stoller aka Mike Stoller)

Willie Mae “Big Mama” Thornton - Kansas City Bill Orchestra

Willie Mae Thornton as Big Mama Thornton-v; Pete Lewis-g; Albert Winston-b; Leard Bell-d; hand claps. Produced by Don Deadric Robey as Don Robey. Houston, August 13, 1952. Peacock 5-1612, 1953.

• As is often the case, rock history only remembers an African-American recording when a White artist recorded it and made it a national success. Almost as if it somehow validated the original version. This was certainly the case with Janis Joplin’s version of “Ball and Chain,” also a song by Big Mama. “Hound Dog” was first covered by Freddy Bell, then Elvis Presley, who gave it an enormous impact. But this time, the original version by Big Mama Thornton with guitar great Pete Lewis (which sold two million copies) is a well-known, steadfast masterpiece recognised as such from day one.

TURNER, BIG JOE - Shake, Rattle and Roll - Disc 2 #9

(Jesse Stone aka Chuck Calhoun aka Charles E. Calhoun)

Joe Turner and His Blues Kings

Joseph Vernon Turner Jr. aka Joe Turner as Big Joe Turner-v; t; Wilbur Decca Paris-tb; Sam Taylor-ts; Haywood Henry-bs; McHouston Baker as Mickey Baker-g; Harry Vanguard Walls-p; Lloyd Trotman-b; Connie Kay-d; Gerald Wexler as Jerry Wexler, Ahmet Ertegun, Jesse Stone aka Charles E. Calhoun-shouting chorus. New York City, February 15, 1954. Atlantic 1026, 1954.

• At first a singing bartender in a Kansas City bar, Joe Turner was a “blues shouter” powerful enough to front Count Basie’s orchestra — without a microphone. He became a big rhythm and blues star and was only reluctantly admitted to be a “rock singer” after his hit record, “Shake, Rattle and Roll” was also one for Bill Haley. In fact, Turner was a rock trailblazer and his other big hits for Atlantic, such as “Honey Hush” and “Flip, Flop and Fly” were all recorded later by White artists; just like Jackie Brenston and Tiny Bradshaw he was a rock pioneer during segregation days.

VALENS, RITCHIE - La Bamba - Disc 3 #25

(unknown, adapted by Ricardo Esteban Valenzuela Reyes aka Ritchie Valens)

Ricardo Esteban Valenzuela Reyes aka Ritchie Valens-v, g; Carole Kaye née Smith-acoustic g; René Joseph Hall-g; Ernie Freeman-p; Buddy Clark-b; Earl Palmer-d, claves. Produced by Robert Verrill Kuhn as Bob Keane. Gold Star Studios, 6252 Santa Monica Boulevard, Los Angeles, July, 1958. Del-Fi 4110, November 15, 1958.

• Born to Mexican migrant parents settled in Los Angeles, Ritchie Valens chose an Americanised name and learnt to play on a right-handed guitar although he was left-handed. After he was discovered by his manager and producer, Richard Keane, his second record “Donna” (about his high school sweetheart, whose family rejected Valens because of his origins) with “La Bamba” on the B-side, sold a million copies. He had his grandmother translate the lyrics of “La Bamba” into Spanish and thus became the founder of “chicano” rock (Mexican-Americans, see also Lalo Guerrero). The demand for shows was so great that Valens had to quit high school. After a triumphant tour, his plane crashed, killing him, the pilot, The Big Bopper and Buddy Holly. He was only seventeen. “La Bamba” was adapted from a traditional son jalocho from the Veracruz region. It inspired The Isley Brothers to write “Twist and Shout,” which became one of The Beatles biggest hits. Valens’ life was also the subject of a film, La Bamba (Luis Valdez, 1987).

VENTURES, THE - Walk Don’t Run - Disc 4 #11

(John Henry Smith, Jr. aka Johnny Smith)

Robert Lenard Bogle as Bob Bogle-lead g; Don Wilson-g; Nole Floyd Edwards as Nokie Edwards-b; Skip Moore-d. Joe Boles’ home studio, Seattle, Washington, late 1959. Dolton DO-649, June 1960.

• The Ventures inherited a guitar tradition sum­marised in our Electric Guitar Story 1935-1962 and Rock Instrumentals Story 1934-1962 sets. They formed in Tacoma, a Seattle suburb, near where Jimi Hendrix was still a teenager. Their first record, “Walk Don’t Run”, was a smash hit and established their influential, instrumental rock sound already suggested by the likes of Duane Eddy and Link Wray a few months earlier. Their clean electric guitar sound with a reverb effect left a deep mark on the 1960s.

Retrouvez les/More Ventures sur/on Rock Instru­mentals Story 1934-1962 et/and The Birth of Surf Rock 1933-1962 dans cette collection/in this series.

VINCENT, GENE - Be-Bop-a-Lula - Disc 3 #2

(Vincent Eugene Craddock aka Gene Vincent, William Douchette aka Bill Beauregard Davis aka Sheriff Tex

Gene Vincent and his Blue Caps

(Vincent Eugene Craddock aka Gene Vincent, William Douchette aka Bill Beauregard Davis aka Sheriff Tex)

Vincent Eugene Craddock as Gene Vincent-v; Clifton E. Gallup as Cliff Gallup-lead g; Willie Williams aka Wee-rg; Jack Neal-b; Richard Harrell aka Dickie Harrell-d. Produced by Ken Nelson. Mort Thomasson, engineer. Owen Bradley’s Bradley Film and Recording Studio, Nashville, Tennessee, May 4, 1956. Capitol F3450, June 1956.

• Thanks to “Be-Bop-a-Lula,” Gene Vincent and his group The Blue Caps became one of rock’s giants. Featuring the dazzling guitarist Cliff Gallup, their first recordings mix jump blues, rock ‘n’ roll and hillbilly with peerless energy and magic. These raw, uncompromising titles represent the very essence of pure rockabilly, a genre they widely contributed towards creating and defining.

WILDE, MARTY - Wild Cat - Disc 3 #13

(Reginald Leonard Smith as Marty Wilde, Lionel Begleiter as Lionel Bart)

Marty Wilde and The Wild Cats

Reginald Leonard Smith as Marty Wilde-v; ts; James George Tomkins as Big Jim Sullivan-lead g; p; possibly Brian Locking-b; Robert William Goodman as Bobbie Clarke or Brian Bennett-d. London, 1957. Philips BBE 12164, 1957.

• Marty Wilde was one one of the first British singers to issue a quality rock track, “Wild Cat.” Pop singer Kim Wilde’s father left a strong mark on a young audience, thanks to his manager and producer Larry Parnes’ efforts. Parnes ran a stable of young rock singers from London and had him appear on Jack Good’s TV show Six-Five Special. Backed by the best rock musicians
in the country, Marty Wilde had several hits and in 1958-59 was one of the most notorious English rock singers, along with Tommy Steele (see Disc 2 #22) and Cliff Richard (Disc 3, #22)

WILLS, JOHNNIE LEE - The Band’s a Rockin’ - Disc 1 #22

(Eb Gray, Johnnie Lee Wills)

Johnnie Lee Wills-v; Henry Boatman, Curly Lewis-fiddle; Don Harlan clarinet; Buster Magness-steel g; Eb Gray-g; Clarence Cagle-p; Chuck Adams -b; Howard Davis-d; vocal chorus. KVOO Radio Station Studio, Tulsa, Oklahoma, circa May, 1951. Bullet 737 A, 1951.

• Johnnie Lee Wills was initially the banjo player in his big brother’s band (Bob Wills & His Texas Playboys, the popular founders of the western swing style).

Johnnie Lee decided to stay in Tulsa, Oklahoma when Bob moved to California, and formed his own group. This track is a good example of western swing, which was designed for dancing to, and its proximity to jazz and rock, at a time when rock was busy being born. In the “country & western” phrase, the word “western” means western swing, distinct from the more traditional, more relaxed country music from the Appalachian Mountains to the east, and the more vigorous bluegrass. Western swing morphed into country boogie in the 1940s and 1950s but it’s plain to hear that beyond these categories, the energy carried here was already ‘rock’ in essence.

WILLIAMS, CURLEY - Move in a Little Closer - Disc 1 #23

(Dock Williams aka Curley Williams)

Dock Williams as Curley Williams-v; The Texas Top Hands, orchestra. Possibly Jack Ford-g; Clyde Freeman Harris as Boots Harris-pedal steel g; possibly Sanford Williams-b; d. Houston, Tx. 1951. Circle G 102, 1951.

• Curley Williams was a country & western musician from Georgia, near Florida’s border. He introduced the pedal steel guitar (played by Clyde “Boots” Harris here) to the temple of country music, Nashville’s Grand Ole Opry show, with his group, The Georgia Peach Pickers. One of his biggest tunes was “Half As Much,” a country song turned into a big hit by Hank Williams in 1950, but by 1951 the boogie “Move in a Little Closer” was clearly on the rock side. Pedal steel guitar, a typical country feature, gives it a Southern edge.

Extrait de/Taken from Rock ‘n Roll 1951 dans cette collection/in this series

WILLIAMS, LARRY - Slow Down - Disc 3 #23

(Laurence Eugene Williams aka Larry Williams)

Laurence Eugene Williams as Larry Williams-v, p; Plas John Johnson Jr. as Plas Johnson, John Oliveri-ts; Jewel Grant-bs; René Joseph Hall as René Hall-g; Ted Brinson-b; Earl Palmer-d. Produced by Robert Blackwell as Bumps Blackwell. Los Angeles, September 11, 1957. Specialty 626, March 1958.

• Born in New Orleans, gone to Oakland, California at the age of ten, Larry Williams returned to Louisiana aged fifteen and became Lloyd Price’s manservant, before he was his pianist, then Roy Brown’s and Percy Mayfield’s. When his close friend, Little Richard, who was recording in New Orleans, dropped rock ‘n’ roll to become a minister in 1957, Larry Williams stepped in at Specialty Records. It was with his own musicians that he recorded several rock classics, including “Slow Down”, “Dizzy Miss Lizzy”, “Bad Boy”, “Short Fat Fannie” (all of which were recorded by The Beatles), “She Said Yeah” (soon a hit for The Rolling Stones) and “Bony Moronie” (recorded by a solo John Lennon). Two years later his career was abruptly ended by a prison sentence for narcotics trafficking. Armed and drugged, he was shot dead in the head, in 1980, without ever getting his huge late-Fifties popularity back. He remains the archetype of the bad boy of rock.

WILLIAMS, LEW - Bop Bop Ba Doo Bop (Classroom Hop) - Disc 3 #1

(Lewis William Kaczmarek aka Lewis Wayne Williams aka Lew Lewis)

Lewis William Kaczmarek aka Lewis Wayne Williams as Lew Lewis-v; Barney Kessel-g; “The Wrecking Crew”: ts, p, b, d. Produced by Sheridan Pearlman as Jimmie Haskell. Hollywood, 1955. Imperial X5411, 1956.

• Brian Setzer’s Stray Cats turned this song into their 1981 virtuoso “Fishnet Stockings”, but the original version, featuring jazz guitar great Barney Kessel, remains a vintage rockabilly gem. Born in Chillicothe, between Dallas and Amarillo, Texas, on January 12, 1934 and deceased in September, 2019, the legendary Lew Williams issued just a few records but all left a mark on rock ‘n’ roll connoisseurs.

WILLIAMS, TEX - Smoke! Smoke! Smoke! (That Cigarette) - Disc 1 #8

(Merle Robert Travis aka Merle Travis, Sollie Paul Williams aka Tex Williams)

Tex Williams with Jack Marshall’s Music

Sollie Paul Williams aka Tex Williams-v; Johnny Weis el. g; Eugene Rogers as Smokey Rogers-ac. g; Earl Murphey as Joaquin Murphey-pedal steel g; Manny Klein-tp; Paul Featherstone as Spike Featherstone-harmonica; Larry DePaul as Pedro DePaul-accordion; Andrew Soldi as Cactus Soldi, Harry Sims, Rex Call, fiddles; Ossie Godson-p; Deuce Spriggens-b, v; Milton Berry as Muddy Berry-d. Produced by Leland James Gillette as Lee Gillette. Radio Recorders, Los Angeles, March 27, 1947. Capitol 4413, May, 1947.

• Tex Williams played many instruments and became a celebrity as a TV and radio host. But he was also known for his “talking blues” style as a storyteller in rhythm, as heard on this hilarious track from 1947. This is more western swing than actual rock, a white dance style from the South West and South (Texas), which was born in the 1930s, different from the Appalachian bluegrass and “country” boogie played in most southern spots then. But as can be heard here, western swing was by then close to rock, and it was hard to tell the difference in those post-war years.

WYNN, JIM - Rock Woogie - Disc 1 #1

(Luther Luper, Jr.)

Jim Wynn’s Bobalibans

Pee Wee Wiley-lead v; Luther Luper, Jr.-v, p; Stanley Casey-tp; James A. Wynn Jr. as Jim Wynn-ts, bs; David Graham-as; Freddie Simon-ts; Theodore Shirley-b; Robert Sims as Snake Sims. Gilt-Edge 528. Los Angeles, circa October, 1945. Gilt-Edge 528, 1945

• A true precursor of rock as early as 1945. The authentic, vintage sound of African-American “jump blues” rock, complete with horn riffs inherited from the swing style of the time. Big Jim Wynn was also the composer of “Be-Baba-Leba,” another rock ‘n’ roll jump blues trailblazer, sung by Helen Humes that year (and included on Beat Generation 1936-1962 in this series).

Bruno Blum, mai/May 2024

Thanks to
Jacky Chalard,
Christophe Hénault,
François Jouffa,
Christian Lebrun,
Roy Orbison,
Vincent Palmer,
Slim Jim Phantom,
Lou Reed,
Patrick Renassia (Rock Paradise),
Lee Rocker,
Brian Setzer,
and to Chris Carter
for proofreading.

© Frémeaux & Associés 2024