This site is all about music, music that we love and hate as long as it stirs some emotion it is worth listening to and talking about.
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This site is all about music, music that we love and hate as long as it stirs some emotion it is worth listening to and talking about.
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AS Music Technology 2009 Student notes - Rock 'n' Roll Edexcel AS Music Technology - Special Focus Style for Examination 2009Rock ‘n’ RollNotes in this document have largely been taken from “A Brief History of Rock & Roll” by Nick Johnstone, “The Encyclopaedia of Popular Music” and various other internet sources. “I can’t tag it, I know it when I hear it, I know when it’s played right and I know when it’s played wrong.” Keith Richards on Rock ‘n’ Roll Introduction to Rock ‘n’ Roll The popular perception is that Rock ‘n’ Roll was born with Elvis Presley in the 1950s and that Elvis’ unique achievement was to borrow from country, gospel and blues and mix those influences into an infectious and new sound. The history is far richer and more complex, however, and goes back in history to the seventeenth century and beat that travelled on slave ships from Africa to the colonies in North America. The slaves, not permitted to preserve their heritage, covertly did so anyway they could, working within the restraints of the slave owners. African rhythms were reborn as work songs, preserved at secret camp meetings, married to Christian hymns and European psalms. With time, the music of the African slaves became the re-interpreted music of their African-American children, born into slavery. By the time of emancipation, the music of African-American slaves consisted of spirituals or work songs. With freedom, that music travelled through the church and vaudeville circuit and morphed into blues, gospel and jazz. Running parallel, white Americans had folk, country and jazz too. Eventually these musical genres fused at the turn of the 1950sand blues, country and swing jazz combined to form a sound called rhythm and blues. With the rise of Elvis Presley throughout 1954 and 1955 from his first recording “That’s All Right Mama”, rhythm and blues took on a lyrical style steeped in teenage concerns and became known a rock ‘n’ roll. When Elvis signed to RCA-Victor in 1955, rock ‘n’ roll was ready to break into the mainstream and in 1956 with the release of “Heartbreak Hotel” it did. Listen to: Track 1 – “Heartbreak Hotel” by Elvis Presley
Origins of the term “Rock ‘n’ Roll” Listen to: Track 2 – “The Camp Meeting Jubilee” by Male Quartett This song from 1910 is fantastically catchy, but simple. A textbook example of Call & Response singing, in much the same way as the slaves used to structure their work songs, boat songs and field songs. A single voice sings a phrase, the group sings it back. The individual leads, the group follow in a formula that is still used today as a way for an artist to engage with their audience. The recording was released by Little Wonder Records on a one-sided, five and a half inch gramophone record, lasting one minute and forty-nine seconds. It’s widely believed to be the first recording to use any variation on the phrase “rock and roll”, in a lyric. The phrase “rock and roll” started life as African-American slang for making love. It is believed to have originated at the end of the nineteenth century, in the community of early rural bluesmen in the southern regions of the Mississippi Delta. Word spread and it soon became generic slang for sex right across the southern states of America. Other opinions point towards the sea, a nautical term “rocking and rolling” to denote the movements of a ship, a term which is still applied to this day. Also in the nineteenth century, the phrase “rocking and rolling” became popular in African-American gospel circles, used as a term to describe the rapturous receiving of God’s spirit by the faithful. It was this meaning that the Male Quartett were referencing in the recording.
Listen to: Track 3 – “My Man Rocks Me (With One Steady Roll)” by
Thereafter, various recordings start using the phrase in one form or another. In 1922, for instance the recording you have just heard is widely cited as the first record to overtly reference rock and roll as a slang term for sex. It was a particularly controversial song because this was a woman singing about her right to be sexually fulfilled. During the 1940s the term became used to describe both dancing and sex, then just dancing. By 1951 when DJ Alan Freed named his WJW Cleveland radio show, “The Moondog Rock ‘n’ Roll Party” the term entered the popular American vocabulary of the time with the meaning of dancing and having a good time. Back on Vinyl, in 1953, a singer-songwriter called Bill Haley penned a song called “Rock-A-Beatin’ Boogie”. In the chorus the word “rock” was used in one line then the word “roll” in the second. Although he didn’t put the two together as a single phrase, the reference to Rock ‘n’ Roll as a musical style was definitely there. Haley didn’t record the song himself, it was released by The Treniers. Listen to: Track 4 – “Rock-A-Beatin’ Boogie” by The Treniers When Alan Freed heard the track he played it to death on his Moondog show. Many hold this recording as the moment when Rock ‘n’ Roll came into being. Record companies had previously called music by African-American artists “race music”, but with Freed and the wave of new exciting artists in 1955 Rock ‘n’ Roll became the generic term for any release that would previously been called “race music” or rhythm and blues.
And then, at the start of 1956, came Elvis Presley, the first rock ‘n’ roll star. The musical influences of Rock ‘n’ Roll Even if rock ‘n’ roll began as a popular music with Elvis Presley, it certainly didn’t start with him. Most music historians trace rock ‘n’ roll back to Africa. It was there that the rock ‘n’ roll beat was founded. With slavery, it made a journey to the English colonies in North America. The journey started in 1619 when the first slaves arrived in the colonies from places we now know as Sierra Leone, the Ivory Coast, the Gambia and Cameroon. The first shipment docked on the East coast of colonial America that same year. On board were twenty African slaves. A Dutch trader sold them to the governor of the English colony of Jamestown, Virginia, in exchange for food. Jamestown soon became a boomtown, as the successful planting and growing of tobacco brought riches. This boom created an urgent need for labour and that need led to the legalisation of slavery in Virginia and Maryland. By the 1680s, African slaves were mass imported to all the English colonies lining the East coast. By the time Britain forbade the trading of slaves, an estimated 600,000 Africans had been sent to North America. Unlike the Spanish and Portuguese, the English colonies forbade slaves to bring any of their heritage with them. It was demanded that they abandon their native language, faiths, customs, in short; let go of all culture. Any musical instruments, primarily drums, were confiscated by the ship’s captain before arrival in North America.
On arrival, slaves were forced to attend the Christian services and ceremonies of their slave owners and masters. Aside from prayer and instruction, the slaves also had to learn and sing European psalms and hymns, whilst in their minds the music and traditions of their homeland sang on defiantly. The psalms and hymns started to move to the format and structure of the music the slaves had left behind. The slave owners, hearing only successful conversion, were oblivious to the cultural traditions operating beneath the surface and more and more ways were subtly found to Africanize the Christian music, particularly when slaves stayed in the chapel after the slave masters had left and covertly adapt the music . Rhythm in particular became synonymous with rebellion and change. The slaves also crafted approximations of the instruments they had left behind. By nailing a wire to the side of a building they created an instrument called the “diddley-bow” (a name later used by the American blues guitarist Bo Diddley), which some consider to be an early form of guitar. Also created were primitive forms of the banjo, which started off as an approximation of the West African gonje instrument. The most common however was the use of their bodies as percussion instruments. At these after service meetings and at secret camps or bush meetings, where they also discussed their suffering and the cruelty of their masters, they fell into the habit of grafting these feelings to the European tunes and the African rhythm and delivery. And so a new form of ecstatic, religious music was formed. Without hymn books to refer to, a new tradition of spontaneously composing, many as call and response chants, first surfaced in the late 1700s and developed into the negro spiritual by the late 1800s. Ever since the slaves arrived in the English colonies, song and labour had been intertwined. The music was a distraction from the boredom and the suffering of hard labour, and different chants developed for different chores. The lyrical content was mostly to do with suffering, hope and protest and the texture was grinding and repetitive. A worker would sing out a solo line and then the rest of the labour team would repeat it back, all in time with the rhythm of the work they were doing. The slave owners permitted these work songs as they led to increased productivity.
A diddley-bow Gonje Slaves in the fields Slaves in transit Listen to: Track 5 – “Old Rattler” by Mose Platt & James Baker – A Work Song Track 6 – “When I Lay My Burden Down” by Turner Junior Johnson Track 7 – “Blow Gabriel Blow” a Negro Spiritual The Blues The Blues came from this music. It journeyed through spirituals, field hollers, work songs and boat songs and with emancipation in 1865 it became the music of the free African-American. Free to move as they pleased, travelling musicians called songsters began hopping from plantation to plantation, performing hollers, moans, shouts and songs which were now considered traditional African-American music. Other singers joined minstrel shows also travelling the country. Through both pathways, the music of the slavery era quickly became a new music in which songs were sung about the hardships of life after emancipation. With access to instruments such as the banjo, harmonica and guitar, the same blue notes that slaves had sung were now used on the instruments to form a backing for the songs in a 12 bar structure, which along with bent, blue notes became the basis for blues. The blues spread across North America in the late 19th century and the first blues recording was taken by Thomas Edison in 1895. The man who played the biggest part in popularising the blues was cornet player and band leader WC Handy, with his song “Memphis Blues”, that was the first blues song to be published by a white publisher in 1912, that brought blues to the attention of both black and white Americans. Listen to: Track 8 – “St .Louis Blues” by WC Handy A black American singer called Mamie Smith recorded the first blues hit “Crazy Blues” in 1920. It sold 100,000 copies in the first month and by the end of the year had sold a staggering million copies, mostly to African-Americans. When the record eventually peaked at sales of around the two million mark, the white recording industry sat up and took note of the new trend. Commerce spoke louder than the racial codes of the day and white labels began hunting for other Mamie Smiths. Listen to: Track 9 – “Crazy Blues” by Mamie Smith White record labels rushed to record popular club singers like Alberta Smith, Ma Rainey and most notably Bessie Smith. Bessie Smith was signed to Columbia Records in 1923. Her first recording, “Down Hearted Blues”, sold 780,000 copies in six months. For a time she was the highest paid African-American performer with a string of hits like “Backwater Blues”, “St. Louis Blues”, “Taint Nobody’s Bizness If I Do” and “Aggravatin’ Papa”. However, the impact of the Great Depression and the decline in the fad for female blues singers led Bessie Smith’s heyday to crash. By 1931 the Depression had crushed record sales from just over $120 million to just $6 million. Bessie Smith was dropped by Columbia and for the rest of her life she struggled to make ends meet. In 1937 Smith was involved in a fatal car crash and died from her injuries. Rumour has it that she was turned away from a whites only hospital and bled to death from her injuries. Listen to: Track 10 – “Nobody Knows You, When You’re Down and Out” by Bessie Smith
Bessie Smith Ma Rainey WC Handy and his band Robert Johnson As the female African-American blues singers peaked, deep in the south, Robert Johnson was recording some of the most influential blues songs in the history of the genre. There are six things that everyone should know about Robert Johnson: 1. Many call him the “Grandfather of Rock ‘n’ Roll”. 2. He was dead at the age of 27, poisoned in mysterious circumstances. 3. The Rolling Stones covered his song “Love In Vain” on their album “Let It Bleed”. 4. Johnson is reputed to have sold his soul to the devil at the crossroads of highways 61 & 49 in Mississippi, in exchange for his remarkable musical talent! 5. He only wrote 27 songs in his lifetime and made 42 recordings before his premature death. 6. When introduced to Johnson’s music, Keith Richards of the Rolling Stones asked who the second guitarist was. When told that it was Johnson on his own, Johnson became a major influence in Richards’ playing and therefore a major influence on the future of rock music. Listen to: Track 11 – “Cross Roads Blues” by Robert Johnson Track 12 – “Sweet Home Chicago” by Robert Johnson Ragtime and Swing Jazz As Bessie Smith and WC Handy fell from popularity and Johnson went to his grave murdered by poisoning, swing jazz started to emerge. It was the latest fad in jazz, which entered the American vocabulary in 1915. Like Rock ‘n’ Roll, jazz was believed to have started life as a slang term for sex (at first spelt jas), it emerged out of the ragtime era. Ragtime was a style of piano playing which had in turn emerged in the late 19th century, when march tunes were all the rage. Listen to: Track 13 – “Maple Leaf Rag” by Scott Joplin Ragtime is a style of music with a 2/4 time and a syncopated melody popularised by Scott Joplin. During ragtime’s popularity, pianist, composer and bandleader Jelly Roll Morton later claimed to have invented jazz in the red-light district of New Orleans in 1902. In 1915 “Jelly Roll Blues” became what many people believe to be the first piece of jazz sheet music. In the same way that WC Handy and Bessie Smith introduced blues. And later Elvis Presley introduced Rock ‘n’ Roll to a mainstream audience; Jelly Roll Morton performed this function for jazz and the New Orleans and Dixieland style. The influence of jazz on Rock ‘n’ Roll is clear to see. They are structurally similar, have cultural similarities, both genders and races participate as musicians, composers and audience members and both have rebellious attitudes. The AABA form or rhythm changes is present in both, prominent soloing and the rhythm section are dominant in both and both emerged as a result of society’s problems such as racism and gender oppression. Jazz came together in New Orleans, on account of it being a busy port that many different cultures travelled through. The Creole music from the Caribbean, European classical music brought by immigrants from France and Italy, music travelling with minstrel and vaudeville shows, the ragtime that had been typified by Scott Joplin, African-American parade music, the blues and their origin in field hollers, work songs, hymns and spirituals all combined to form Jazz. Listen to: Track 14 – “Steamboat Stomp” by Jelly Roll Morton During the 1920s jazz flourished and spread across the USA (as a result of the migration of African-Americans looking for work) through the popularity of artists such as Morton, Louis Armstrong and white cornet player Bix Beiderbecke and became known as Dixieland jazz, after the success of the Original Dixieland Jazz Band from 1917. Danceable, suited to good times and characterised by scintillating live performances, it introduced the public to the tastes that would also make rock ‘n’ roll so popular. Listen to: Track 15 – “When The Saints Go Marching In” by Louis Armstrong
Scott Joplin’s Music Jelly Roll Morton Bix Beiderbecke Louis Armstrong Swing jazz came about after Dixieland jazz gradually morphed in the 1930s into the new trend for bigger bands. The bands became bigger to deal with larger venues, without amplification and so numbers rose from bands of five and seven, up to twelve or even sixteen members and to prevent members of these larger bands playing across each other, arrangers and bandleaders emerged, acting in the same capacity as an orchestral conductor. By 1935 the USA was coming out of the Great Depression and the new mood of optimism and swing jazz captured the mood of the nation. The arrival of radio pushed the music hard and gave the record labels an easy way to reach new markets. Suddenly, arrangers and bandleaders such as Count Basie, Duke Ellington, Chick Webb and Cab Calloway were the new stars. Just as important were the musicians who became known as great soloists, capable of improvising brilliant solo breaks. Listen to: Track 16 – “Take the ‘A’ Train” by the Duke Ellington Orchestra The invention of the jukebox played an important role in the spread of swing jazz as it enabled the public to sample music without buying. Members of the public found themselves enjoying music, mostly without their knowledge, that crossed the race divides. Once the idea of music being good or bad rather than black or white entered the public consciousness, listeners followed up on music they liked, often in the process finding themselves buying music that crossed the race barrier, something that would not have been possible in the flesh due to segregation. The Blues continues, Gospel and Boogie-Woogie Back in the Mississippi delta blues music continued to develop and by the mid 1930s had taken on a looser and yet harder and faster style. It was a raw sound but contained the prototype guitar riffs and stomping beat that would underpin Rock ‘n’ Roll later on. The style was called “rocking and reeling” and featured vocals that were reminiscent of the, now elaborate music of the black churches in the southern states. The development of the spiritual was also key to events later on. After the American Civil War ended, African-American colleges, such as Fisk University, began to collect the oral repertoire and handbook of Negro spirituals. They also had choirs that began to tour the north of the USA and Europe, singing them, and spreading the cultural history and traditions. From the popularising of the spiritual and the spread of the Pentecostal churches came a new style of black religious song, gospel, a combination of spirituals, Christian hymns rearranged with blue notes, syncopated rhythms and call and response vocal technique. Black gospel music helped create the vocal portion of Rock ‘n’ Roll. Listen to: Track 17 – “The Old Landmark” by Aretha Franklin Boogie –Woogie was a piano playing style that developed between 1910 and 1930. The style involved a driving percussive rhythm played using the blues scale in the left hand, leaving the right hand to improvise over a melody. Boogie-Woogie became a big craze in the 1930s and the biggest stars were Chicago’s Jimmy Yancey and Albert Ammons. Although the style faded from popularity by the outbreak of the Second World War it was later a key ingredient in the rock ‘n’ roll style of Little Richard, Chuck Berry and Jerry Lee Lewis. Listen to: Track 18 – “Yancey Stomp” by Jimmy Yancey Another key moment in the history of Rock ‘n’ Roll was the first manufacturing of a prototype electric guitar in 1933 by Adolph Rickenbacker.
Cab Calloway Count Basie The Rickenbacker 1933 “frying pan” guitar Jimmy Yancey Be-Bop and Electric Blues By the mid 1940s, both Boogie-Woogie and swing were fading out in terms of popularity and in their place was a hunger for the new jazz sound of Be-Bop, as played by Charlie Parker, Dizzy Gillespie and Thelonius Monk. Be-bop was a new hard, fast and minimal form of jazz that called for smaller bands and placed an immense importance on virtuosity. Listen to: Track 19 – “Yardbird Suite” by Charlie Parker With the introduction of commercially available electric guitars and amplification in the mid to late 1940s, blues underwent a transformation becoming electric blues. Blues musicians, in northern cities, particularly Chicago, started playing the blues with an electric guitar, creating a harder, harsher sound. They used rhythm sections, bands consisting of bass, keyboards, drums and harmonica. Vocals and harmonica were amplified, again creating a more abrasive sound. This style of blues became synonymous with Chicago as it flourished in the early 1950s, typified by the music of artists such as John Lee Hooker and Muddy Waters. Listen to: Track 20 – “Mannish Boy” by Muddy Waters Track 21 – “Boom Boom” by John Lee Hooker The Rolling Stone Encyclopaedia of Rock and Roll makes explicit connection between Electric Blues and Rock ‘n’ Roll: “The basic vocabulary of rock is the blues. The 12 bar song form, the bent notes and the basic attitude of the blues – that joyful music can come out of real pain – have filtered into rock directly. “ Country, Hillbilly and Bluegrass White Americans, to a far lesser degree, also played a part in building the road to rock ‘n’ roll. Come 1949, the style of music known to this point as “hillbilly” music was officially pronounced “country” music by Billboard. It had become popular after 1927 when Victor signed Jimmie Rodgers a.k.a “The Father of Country Music” and The Carter Family. In 1928 Victor sold in excess of 500,000 copies of Rodgers’ single “Blue Yodel”. By the time the stock market crashed in October 1929, The Carter Family had sold 700,000 records. In the early 1930s, AP Carter (fiddle & bass with The Carter Family) began heading out on long solo journeys across the Blue Ridge Mountains, searching for traditional songs and new material and by the time The Carter family disbanded in 1943 they had recorded over 300 songs. This material left a legacy that would inspire folksingers like Woody Guthrie, many of the bluegrass players and later folk revivalists like Bob Dylan and Joan Baez. Listen to: Track 22 “Wabash Cannonball” by The Carter Family Track 23 “Kisses Sweeter Than Wine” by Jimmy Rodgers
The Carter Family Jimmy Rodgers Bob Wills and the Texas Playboys The mother-in-law of instruments! After this initial wave of country music, which drew on the old narrative ballads of European immigrants, Appalachian music and newer American ballads that had been written to be backed by instruments like banjo, guitar and fiddle, hillbilly music passed through an era of so-called cowboy music (songs written for the cowboy Westerns of the 1930s and 1940s, typified by Gene Autry and Roy Rogers, who both sang and acted in Westerns), then western swing (typified by Bob Wills, western swing emerged in Texas and Oklahoma in the 1930s and combined the blues, forms of jazz, touches of steel guitar and also drums, to create a great dance music) before arriving at the Bluegrass movement. Listen to: Track 24 “Back In The Saddle Again” by Gene Autry Bluegrass grew out of 1920s hillbilly music, influenced by Appalachian mountain music, the blues, jazz and square dance tunes and was characterised by fast tempos and flashy musicianship. The star of the genre was Kentucky born Bill Monroe, who scored a country hit in 1947 with his classic “Blue Moon of Kentucky”, later covered by Elvis Presley on the B-side of his debut single, “That’s alright (Mama)”. Monroe’s bluegrass recordings would be a key influence on later country rock releases by The Eagles, The Byrds, Doobie Brothers etc. After bluegrass, came the honky tonk movement, a style of country that stepped up the volume with amplification and bands with backing singers. Honky tonk began to emerge in the 1930s, after bars sprang up after the end of Prohibition, usually on the edge of towns in the oil boom areas. These were places for the oil workers to let their hair down at the weekends, places to drink and dance to live country music. With this new music the lyrical content shifted from family and religion to tales of heartbreak, infidelity, unrequited love, drinking, gambling and wild times. To back these lyrics the music changed too and as a result of the amount of noise, country bands started to feature electric guitars, drums and piano and the style was a goodtime, rocking one. Listen to: Track 25 “Blue Moon of Kentucky” by Bill Monroe & His Bluegrass Boys Track 26 “Beer Barrel Boogie” by Mickey Finn & Big Tiny Little
Bill Rodgers Gene Autry Roy Rogers Honky Tonk Piano As the genre spread after the Second World War, new stars emerged singing hard times, cry in your beer driving country music best exemplified by artists like Hank Williams. Folk music’s preparing of the way for rock ‘n’ roll, however, also included Woody Guthrie whose talent was to bring narrative to the three minute song. Although he wasn’t the first to tell a story in song, but he certainly became a master of the art and paved the way for rock ‘n’ roll artists such as Elvis Presley, Chuck Berry and Little Richard to fill a three minute song with concise details and narratives. Rhythm and Blues (R ‘n’ B) Rhythm and blues came into being as a popular term for a certain style of music in 1947 when Jerry Wexler, then a writer for Billboard magazine, used the phrase ‘rhythm and blues’ instead of the common term for African-American popular music, ‘race music’. A year later the former race music chart was renamed the rhythm and blues chart. In rhythm and blues, all the elements fused. In its most superficial meaning, rhythm and blues was exactly what it sounded like: blues played with a lively rhythm – speeded-up blues. More simply, it came to denote any music made by African-Americans. Although segregation was still in force, within the musical community the race barriers were disintegrating. One of the first white DJs to begin actively programming rhythm and blues records for his white audience was Alan Freed, the promoter and DJ credited with coining the phrase rock ‘n’ roll. Freed started his musical career as a trombonist in various jazz big bands (including his own band the Sultan’s of Swing, which is where Dire Straits got the title for their first hit single). Freed’s musical career was cut short by a series of ear infections and so he turned his attention radio. Freed made a name for himself , playing jazz and pop at a small town radio station, WAKR in Akron, Ohio, to the extent that in 1949 he was “head-hunted” by the prestigious WXEL-TV in Cleveland. While there, ever searching for sounds to dazzle his listeners, Freed made a habit of dropping by the Cleveland record store, Record Rendezvous, the first record store in the US to exclusively brand itself as an R & B music store. Freed’s employers became nervous about his playing of “race” music on a white radio station but when he adopted the term “Rock ‘n’ Roll” (Afro-American slang for sexual intercourse) to describe the music, the radio station management, not knowing it’s connotations, were reassured and allowed the revolution to continue. In 1951, as Freed (now calling himself Moondog) began using “Rock ‘n’ Roll” as a term for a genre of music, a band went into a studio in Memphis, Tennessee, and with the assistance of a man who would in the years to come personify the production and creation of rock ‘n’ roll, not to mention discover a remarkable number of the key figures in the movement, record the song that most closely announced the sound and style and attitude of what we now mean when we talk about rock ‘n’ roll.
Alan “Moondog” Freed Bill Haley & The Comets Jackie Brenston Fats Domino Nobody’s quite sure what the first true rock ‘n’ roll record was. Some say Elvis Presley’s “That’s Alright Mama”, others Bill Haley & The Comets’ “Rock Around The Clock”, others Fats Domino’s rhythm and blues hit “The Fat Man”. Most point the finger to a song called “Rocket 88” recorded by Jackie Brenston & His Delta Cats, released in 1951 by Chess Records. The song was produced by Sam Phillips at his then new studio in Memphis. Listen to: Track 27 “Rocket 88” by Jackie Brenston & His Delta Cats Sam Phillips Sam Phillips started his music career as a radio engineer and as such learnt the art of recording. The skills he learnt later gave him the expertise to create the landmark Sun Records sound, a sound that is now synonymous with rock ‘n’ roll. In October 1949, Phillips took out a lease on a small commercial space located at 706 Union Avenue, in Memphis. With a loan in place, he sourced equipment and opened the Memphis Recording Service in 1950. With the help of a portable reel to reel tape recorder, he was able to record weddings, funerals, religious ceremonies – anything. With his overheads covered by this service he was able to turn his attention to recording the music he loved. He had dreamed of recording the many African-American musicians he had heard playing in the south and although there were labels in the north, like Chess, they were still not plentiful. Phillips was fairly unique in that if he heard great music that was all that mattered. He did not care about the colour of the skin of the musicians; to him it was about the music and the music only. Sam launched a service which enabled anybody to walk in off the street and record their work. The deal allowed a singer or musician or band to come in to the studio, cut two songs and make a record. The next logical step was to release the records on his own independent record label, which he did with a number of partners, particularly Chess Records. Early successes include some debut material from now legendary bluesman, BB King. In March 1951 the session with Jackie Brenston and His Delta Cats became the one that announced the birth of rock ‘n’ roll. Jackie Brenston, who sang and played saxophone on this recording, “Rocket 88”, was backed by Ike Turner’s Kings of Rhythm (Ike Turner was Tina Turner’s husband). All the defining elements were present; the boogie-woogie piano, the raw thumping drums, the cars and girls lyrics, the raunchy sax breaks, the slurred vocal delivery and the dirty distorted guitar sound. Legend has it that the distorted sound was created by accident after guitarist Willie Kizart’s amp fell off the top of his car on the way to the session. The recording was sent to Chess Records the same night and was released in April 1951 and became the biggest rhythm and blues release of 1951. As a result of a falling out with the other labels that he had used, Sam Phillips launched his own label, Sun Records.
Sun Records in Memphis An early Elvis release Sam Phillips with an Ampex tape recorder Bill Haley Bill Haley started his musical career shortly after his eighteenth birthday in the world of country and western music. It was not all glory and by the age of 21 he returned home, disillusioned and broke. In 1947 he landed a job as the musical director for a radio station called WPWA, where he spent six days a week interviewing musicians, discovering new talent and hosting live sessions. By 1948 he was ready to form a new band, The Four Aces of Swing. With them, he released a series of regionally successful western swing country singles. Then in 1950 Haley disbanded The Four Aces of Swing and formed a new band The Saddlemen. At first, they carried on with the same style, recording various western swing songs. Then in 1951, the year that “Rocket 88” broke, Haley signed a deal with Holiday Records. They renamed themselves first, Bill Haley with Haley’s Comets and then Bill Haley and his Comets. With the name change Haley announced that they were going to ditch their cowboy look and realign themselves with the emerging rhythm and blues image and sound. The first recording was a version of “Rocket 88” which to Haley’s surprise became a major regional hit and sold 75,000 copies. Their first nationally released single “Crazy Man Crazy” was the first rock ‘n’ roll Top 20 US hit. Track 28 “Crazy Man Crazy” by Bill Haley And His Comets After signing to Decca Records in April 1954, Haley recorded a series of songs with the Comets that were historically crucial to bringing rock ‘n’ roll to the world. The next recording was “Rock Around The Clock” and was initially a B side, quite unlike anything that had been heard before it was only a minor hit. The next release was “Shake Rattle & Roll” which also made the US Top 20. This was another seminal work, whose jive-style lyrics and brilliant employment of saxophone and upright bass brought a new sound into the US Top 20. Haley then enjoyed a number of minor hits during the rest of the year. Track 29 “Shake Rattle & Roll” by Bill Haley And His Comets Then, in the spring of 1955, his career took a dramatic upswing when the previously issued “Rock Around The Clock” was included in the controversial film “The Blackboard Jungle”. Suddenly the world woke up to the importance of “Rock Around The Clock” and it became the first rock ‘n’ roll anthem and a rallying cry. It soared to the top of both the US and UK charts and went on to sell over 25 million copies worldwide. When “The Blackboard Jungle was shown in the UK, enthusiastic youths jived in the isles and ripped up the seats in their excitement.
Scenes from the film “The Blackboard Jungle” Track 30 “Rock Around The Clock” by Bill Haley And His Comets Haley was crowned the king of rock ’n’ roll and dominated the US / UK charts throughout 1955 & 1956 with such songs as “Rock A Beatin’ Boogie”, “See You Later Alligator”, “The Saints Rock ‘N’ Roll”, “Razzle Dazzle”, “Rip It Up” and “Rudy’s Rock”. Track 31 “See You Later Alligator” by Bill Haley And His Comets Fats Domino After “Rocket 88”, one of the next significant recordings to bear hallmarks of the developing rock ‘n’ roll sound was “The Fat Man” released by Fats Domino. Track 32 “The Fat Man” by Fats Domino Antoine “Fats” Domino came from New Orleans and grew up one of nine children, in a musical family. He picked up the basics of piano playing from his brother in law and made his first public appearance at the age of 10. He dropped out of high school at 14 and went to work in a factory, while building a reputation playing at local clubs, bars and honkey-tonks. In 1949, he caught the attention of Imperial Records, who put him in a studio in December of that year, where he recorded eight songs including “The Fat Man”, released in 1950. The tale of a neighbourhood drug dealer, a fact few listeners were aware of at the time, “The Fat Man” became his first hit, selling over a million copies and peaking at number two on the rhythm and blues chart. On account of its urgent, rugged delivery and boogie-woogie piano style, there are many that consider “The Fat Man”, not “Rocket 88” to be the first rock ‘n’ roll record. But in essence, “The Fat Man” is the archetypal rhythm and blues song. Track 33 “My Blue Heaven” by Fats Domino In 1952, Domino scored his first number one on the rhythm and blues chart with “Goin’ Home”. It was to be the first of nine singles to top this chart between 1952 and 1959. Alan Freed was a big fan of Domino and championed his music on his Moondog show and in doing so, created a substantial white fan base. During his heyday, which hit a peak in 1956 and lasted until 1960, he sold an astonishing 65 million records. Only one artist sold more records in the 1950s and that was Elvis Presley. Track 34 “Ain’t That A Shame” by Fats Domino Track 35 “Blueberry Hill” by Fats Domino
Elvis Presley Elvis Presley was born in January 1934, in a very poor district of Tupelo, Mississippi. He was one of twins, however his brother Jesse was stillborn. Elvis’ introduction to music was through the Pentecostal church where the Presleys worshipped. The gospel music that he heard struck a church with him as did the blues, which was abundant in the state of Mississippi. He also developed a fondness for country, the third genre of music that captured his attention. He liked the beat of country, the lilt and gallop of its rhythm and the earthiness of its lyrics. Elvis became fascinated with music at an early age. When he was 10, he made his first public appearance, winning $5 in a talent contest. For his 11th birthday his mother bought him a guitar, which his uncle taught him to play. In 1948 the family moved to Memphis, Tennessee once again to a poor part of town where the same musical influences were around him. Elvis was teased at school because he had a stutter and, because of his fascination with the actor Tony Curtis, his sideburns and ducktail hairstyle made him a target for both conservative teachers and students. Elvis graduated from high school in 1953 and went to work in a local factory. He heard talk of Sam Phillips’ Memphis Recording Service and that Phillips didn’t care much about segregation when it came to music, that he heard great music and bad music. In July 1953 Elvis, shaking nervously, decided to go for it and for the sum of $3.25 cut his first disc as a present for his mother’s birthday. Elvis’s mother couldn’t have had any idea that within three years, her son’s fans would be camping outside their home and plucking blades of grass from the front lawn as souvenirs. Although Sam Phillips was not present at this first recording, his attention was drawn to Elvis by his assistant and felt that there might be something worth pursuing. Track 36 “That’s When Your Heartaches Begin” by Elvis Presley (A later recording of one of the two first songs that he cut in July 1953) The path to stardom was not a smooth one. Phillips put Elvis to the back of his mind, and Elvis took on a new job as a truck driver. Around this job he regularly called into the Memphis Recording Service to talk to the staff and to ask if anyone knew of any bands looking for singers, to which the answer was always, no. All the while Elvis continued to study the music of his favourite artists: the white gospel groups The Blackwood Brothers and The Statesmen Quartet, the rhythm and blues singers Billy Eckstine and Bill Kenny along with old blues singers like Arthur “Big Boy” Crudup, country singers like Jimmie Rodgers and the bluegrass singer Bill Monroe. In June 1954 Sam Phillips had received an acetate of a new song called “Without You” from Nashville. Sam liked the song but not the way it was sung, so on the suggestion of Sam’s assistant Marion Keisker, Elvis was called in to re-record the track. After a whole afternoon of recording the song still didn’t work so frustrated, determined and impatient all at the same time Sam told Elvis to sing anything, whatever came into his head and felt right. There was still no conclusion and the session ended, Sam however had seen enough to know that he had to pursue this. In July 1954 Phillips decided to team up Elvis with local guitarist Scotty Moore and bassist Bill Black. That night by chance, in a fit of spontaneity and improvisation, rock ‘n’ roll as a global popular music was born. At first the session was dull and flat and Sam started to wonder if Elvis had that magic quality at all. Sam left the room to consider his options and out of nowhere Elvis started fooling around singing an old blues song “That’s Alright Mama”, originally written and sung by one of his favourite blues singers, Arthur “Big Boy” Crudup. Bill Black picked up on the energy and added a walking bass line then Scotty piled in and the sound was born. Track 37 “That’s Alright Mama” by Elvis Presley The appeal of Elvis is in the ability to harness mass markets, fans of blues, rhythm and blues, country, gospel and bluegrass all saw the appeal. Most importantly, Elvis became the face of rock ‘n’ roll. Even though Bill Haley had a greater initial success, a 30 year old father of three with a kiss curl was not the rebellion that teenagers in the 1950s were looking for. With his snappy cool way of dressing and his fussed-over hair and pouting and lip curling, the sideburns and unlit cigarette dangling from his mouth (even though he didn’t smoke), Elvis was the first rock ‘n’ roll star, Marlon Brando and James Dean rolled into one, standing on a stage before a microphone. Track 38 “Jailhouse Rock” by Elvis Presley Track 39 “All Shook Up” by Elvis Presley Track 40 “Hound Dog” by Elvis Presley Track 41 “A Little Less Conversation” by Elvis Presley In 1956 Elvis signed a management contract with Col. Tom Parker. Parker is responsible for Elvis’ rise to worldwide stardom, fame and wealth Bo Diddley In 1955 Elvis was not alone. Legend has it that Bo Diddley a.k.a The Originator stumbled across his famous shuffling beat while struggling to play one of Gene Autry’s songs. In the near miss of covering that song he created something new which he went on to use to great effect on his debut single “Hey Bo Diddley”, released in March 1955. The beat has since been much imitated by bands such as U2 (“Desire”), The Who (“Magic Bus”) and the Rolling Stones (“Don’t Fade Away”). Track 42 “Hey Bo Diddley” by Bo Diddley
Bo Diddley and the famous Gretsch oil can guitar Track 43 “Bo Diddley” by Bo Diddley Track 44 “Roadrunner” by Bo Diddley Chuck Berry John Lennon once famously said, “If you tried to give rock ‘n’ roll another name, you might call it Chuck Berry”, and he’s right. No other African-American artist so succinctly put together the elements that, once assembled, match what we talk about when we talk about rock ‘n’ roll. Welding country and western guitar licks to a Chicago influenced rhythm and blues beat while throwing over the top, cocky, rebellious, mischievous lyrics, packed with lusty innuendo and metaphor. Track 45 “Maybellene” by Chuck Berry His debut single “Maybellene”, named after the US cosmetics manufacturer, sold over 1 million copies and rose to the US Top 5 in August 1955. Track 46 “Roll Over Beethoven” by Chuck Berry (1956) Track 47 “Johnny B Goode” by Chuck Berry (1958) Track 48 “My Ding-a-ling” by Chuck Berry (1972)
Chuck Berry & his Gibson ES 355 Guitar Little Richard In the autumn of 1955 Little Richard was ready to give up his ambitions in the music business. In November of that year he came up with a jewel of a song in “Tutti Frutti”, a thrilling, frenetic gospel meets boogie-woogie single. Little Richard brought an entirely new look to rock ‘n’ roll, with his moustache and pompadour hair, his camp, mischievous and ecstatic delivery and his acrobatic piano technique which blazed the way for artists like Prince, Elton John and David Bowie later on. Track 49 “Tutti Frutti” by Little Richard (1955) From there on his career was like living inside a hurricane and for 18 months he toured and performed around the world. Something snapped within him in October 1957 and he walked off stage and out of rock ‘n’ roll. In January 1958 Little Richard Pennington became a preacher and although his last single “Good Golly Miss Molly” was a global hit after his retirement, he was indifferent to it and continued his theological studies unimpressed. Track 50 “Good Golly Miss Molly” by Little Richard (1958)
The ultimate showman, Little Richard Carl Perkins Sam Phillips struck gold again in December 1955, this time with a song called “Blue Suede Shoes”, recorded and performed by Sun Records latest signing, Carl Perkins. Track 51 “Blue Suede Shoes” by Carl Perkins Gene Vincent Gene Vincent was Capitol Records answer to Elvis. He sung like Elvis and his records were often mistaken for Elvis. His best known hits were “Be Bop A Lula” and “Race With The Devil” Track 52 “Be Bop A Lula” by Gene Vincent Track 53 “Race With The Devil” by Gene Vincent
Carl Perkins Gene Vincent Jerry Lee Lewis Buddy Holly Eddie Cochran Jerry Lee Lewis The musical career of Jerry Lee Lewis is rather eclipsed by his tempestuous life. Much of his music was branded as obscene, he was married at least six times, his third wife was his 13 year old cousin, he suffered from alcohol and drug addiction, his son Jerry lee Jnr. was killed in a road accident, he accidently shot his bass player, his fourth wife drowned in a swimming pool and his fifth wife died from a methadone overdose. His music is frenetic and exciting and based around his own pianistic virtuosity. Track 54 “Whole Lotta Shakin’ Going On” by Jerry Lee Lewis Track 55 “Great Balls of Fire” by Jerry Lee Lewis Buddy Holly Buddy Holly was one of the first major groundbreakers, he wrote his own songs, recorded with a self contained guitar-bass-drums combo (The Crickets), experimented in the studio and even changed the image of what a rock singer could look like (glasses). As is often the case in rock music, Holly’s popularity increased after his death in a plane crash in 1959. Holly’s hiccupping vocal style and mature melodic compositions inspired many future artists such as The Beatles, Bob Dylan and The Hollies. Track 56 “That’ll Be The Day” by Buddy Holly Track 57 “Rave On” by Buddy Holly Track 58 “Peggy Sue” by Buddy Holly Eddie Cochran Although Eddie Cochran’s career was brief, during which time he only had one major hit in the US (Summertime Blues) and topped the UK charts only once (Three Steps To Heaven), he is now recognised as one of the finest rock ‘n’ roll artists and an outstanding rhythm guitarist. Eddie was sadly killed in 1960 (aged 21) in a car crash just outside Chippenham, Wiltshire whilst on tour in the UK. Track 59 “Summertime Blues” by Eddie Cochran Track 60 “Somethin’ Else” by Eddie Cochran Track 61 “C’Mon Everybody” by Eddie Cochran Other Notable Rock ‘n’ Roll Song Track 62 “Chantilly Lace” by The Big Bopper - The Big Bopper toured with Buddy Holly and died in the same plane crash as Buddy Holly. Track 63 “Tequila” by The Champs – The first saxophone solo hit. Track 64 “Move It” by Cliff Richard- August 1958 saw the start of Cliff’s six decades in popular music, this track helped to give him the nickname of “The British Elvis”. Track 65 “Yakety Yak” by The Coasters – A novelty hit from The Coasters, others included “Charlie Brown” and “Poison Ivy”. Track 66 “At The Hop” by Danny & The Juniors- A minor band who had a number of hits including “Do The Bop” and “Rock ‘n’ Roll Is Here To Stay”. Track 67 “Rebel Rouser” by Duane Eddy – An instrumentalist Eddy was the first artist to have a signature guitar made by Guild in 1960. His was career briefly resurrected in 1982 when he appeared on a single “Peter Gunn” by The Art Of Noise. Track 68 “Wake Up Little Susie” by The Everly Brothers – Don & Phil Everly had a string of “soft” rock ‘n’ roll and country hits from 1958 to 1982. Other notable songs include “Bye Bye Love”, “Dream”, “’Til I Kissed Her” and “Cathy’s Clown”. Track 69 “Bony Moronie” by Larry Williams – One of three hits the others being “Short, Fat Fannie” and “Dizzy Miss Lizzy”. Track 70 “La Bamba” by Ritchie Valens – His career lasted only eight months before he was the third artist to die in the plane crash with Buddy Holly and The Big Bopper. This is one of the only two singles released in his lifetime and was originally a “B” side. Musical Analysis Rock and roll combined boogie-woogie rhythms, song forms and vocal styles from both the blues and Tin Pan Alley popular song, hillbilly yelping and the ecstatic shouts of gospel. Increasingly, electric guitar solos replaced the honking saxophone solos of rhythm and blues, and straight quaver rhythms became an alternative to swing rhythms, with either option providing strong rhythmic drive. Classic rock and roll is played with one or two electric guitars (one lead, one rhythm), a string bass or (after the mid-1950s) an electric bass guitar, and a drum kit. In the earliest rock and roll styles of the late 1940s and early 1950s, either the piano or saxophone was often the lead instrument, but these were generally replaced or supplemented by guitar in the middle to late 1950s. The beat is essentially a boogie-woogie blues rhythm with an accentuated backbeat, the latter almost always provided by a snare drum.
Rock and Roll Timeline 1877 Thomas Edison invents the phonograph for playing back stored sounds. The first recording he makes is "Mary Had a Little Lamb." 1915 The Chicago Automatic Machine and Tool Company invent the jukebox that plays records (as opposed to the cylinder recordings type of player that had been around since 1889). 1917 In 1917, the first jazz record was issued in the U.S. when Nick La Rocca’s Original Dixieland Jazz Band released "The Dixieland Jazz Band One-Step." 1929 The 78 rpm record is introduced. 1931 Adolph Rickenbacker invents the electric guitar 1936 Billboard puts out its first record sales chart in 1936. 1938 Bluesman Robert Johnson records his first record Boom of boogie-woogie in Chicago Telefunken helps develop magnetic tape for use with tape recorders. 1939 Leo Mintz founds a record store in Cleveland, the "Record Rendezvous", specializing in black music 1943 King Records is founded in Cincinnati by Syd Nathan to record hillbilly. In 1946 adds race music. 1945 Les Paul invents "echo delay", "multi-tracking" and many other studio techniques 1946 Muddy Waters cuts the first records of Chicago's electric blues Lew Chudd founds Imperial Records in Los Angeles, specializing in black music 1947 Billboard writer Jerry Wexler invents the term "rhythm and blues" for electric blues Chess Records is founded in Chicago by two Polish-born Jews, Leonard and Phil Chessm to promote blues and later rhythm and blues
1948 Detroit R&B saxophonist Wild Bill Moore releases "We're Gonna Rock We're Gonna Roll" John Lee Hooker records Boogie "Chillen'" for Modern Records, a a single, which topped the R&B charts in 1949. Columbia introduces the 12-inch 33-1/3 RPM long-playing vinyl record Homer Dudley invents the Vocoder (Voice Operated recorder) Memphis' radio station WDIA hires Nat Williams, the first black disc jockey The magazine Billboard introduces charts for "hillbilly" and "race" records 1949 Fats Domino cuts "The Fat Man," a new kind of boogie Hank Williams' "Lovesick Blues" reaches the top of the country charts RCA Victor introduces the 45 RPM vinyl record The Billboard chart for "race" records becomes the chart for "rhythm and blues" records Aristocrat changes its name to Chess Dewey Phillips (white) deejays race music show 'Red Hot and Blue' in Memphis (Delta blues, Chicago blues, boogie) 1951 The white Cleveland disc jockey Alan Freed decides to speculate on the success of Leo Mintz's store and starts a radio program, Moondog Rock'n'Roll Party, that broadcasts black music to an audience of white teenagers The first rock and roll record, Rocket 88, is released The first juke-box that plays 45 RPM records is introduced 1952 Bill Haley Saddlemen become the Comets The Cleveland disc jockey Alan Freed (aka Moondog) organizes the first rock and roll concert, the Moondog Coronation Ball Les Paul invents the first solid-body electric guitar, named the 'Les Paul', for the Gibson Guitar Company Sam Phillips founds Sun Records and declares "If I could find a white man who sings with the Negro feel, I'll make a million dollars" Little Richard's first records released 1953 Bill Haley's "Crazy Man Crazy" is the first rock and roll song to enter the Billboard charts The Orioles' "Crying in the Chapel" is the first black hit to top the white pop charts Leo Fender invents the Stratocaster guitar Sam Phillips records the first Elvis Presley record in his Sun studio of Memphis using two recorders to produce an effect of "slapback" audio delay The black market constitutes 5.7% of the total American market for records Elvis Presley makes his first (private) recordings 1954 Bill Haley's "Rock Around the Clock" is the first rock song used in a movie soundtrack The record companies switch from 78 RPMs to 45 RPMs Japanese electronic company TTK (later Sony) introduces the world's first transistor radio Ray Charles forms his band In 1954, Big Joe Turner recorded the original version of the 1950s Bill Haley hit, Shake, Rattle and Roll. 1955 Chuck Berry cuts his first rock and roll records, the first ones to have the guitar as the main instrument, and invents the descending pentatonic double-stops (the essence of rock guitar) Bo Diddley invents the "hambone" rhythm Ray Charles creates "soul" music with "I Got A Woman," a secular adaptation of an old gospel Ace Records is formed by Johnny Vincent in New Orleans, specializing in black music The Blackboard Jungle is released featuring Bill Haley and His Comets " Rock Around the Clock" RCA signs Elvis Presley The Everly Brothers make their first studio recordings Alan Freed's Rock 'n' Roll Ball" draws huge, half-white audience Carl Perkins records "Blue Suede Shoes" Sales of 45 rpm records finally outsold 78s. 1956 Colonel Tom Parker signed on as Elvis Presley’s manager Heartbreak Hotel starts Presley-mania Presley's first film, Love Me Tender The rock 'n' roll music of white rockers is called "rockabilly" (rock + hillbilly) The popularity of rock and roll causes the record industry to boom and allows independent labels to flourish In impromptu recording session occurs at Sun Studios with the million dollar quartet consisting of Jerry Lee Lewis, Carl Perkins, Elvis Presley and Johnny Cash Elektra pioneers the "compilation" record, containing songs by different musicians Buddy Holly had his first official recording session in 1956. It was held in Nashville at producer Owen Bradley’s, Barn Studio. Gene Vincent made his first appearance on national TV by performing on The Perry Como Show
1957 Chuck Berry releases "School Day" and "Rock and Roll Music" Link Wray's Rumble invents the "fuzz-tone" guitar sound Buddy Holly recorded, That’ll Be the Day, at a Norman Petty's New Mexico studio. Billboard begins the Hot 100 singles chart Buddy Holly and Sam Cooke made their first appearances on the same The Ed Sullivan Show 1958 Elvis is drafted into the Army Carl Perkins left Sun Records in 1958, becoming the first big rockabilly artist on the Columbia label. Golden age of instrumental rock Eddie Cochran overdubs all instruments and vocals on "Summertime Blues" and "C'mon Everybody " Lowman Pauling invents guitar distortion and feedback on the Five Royales' "The Slummer" RCA introduces the first stereo long-playing records David Seville's "The Witch Doctor" and the Tokens' "Tonite I Fell In Love" are the first novelty hits Little Richard quit rock and roll in 1958 to attend Bible college. Jerry Lee Lewis had 34 of his 37 concert dates in the U.K. cancelled in 1958 when it was discovered that his new bride with him was also his 13 year old cousin. Buddy Holly makes his final studio recordings "It Doesn’t Matter Any More," "Moondreams," " Raining In My Heart" and "True Love Ways" 1959 The Drifters' "There Goes My Baby" introduces Latin rhythm to pop music Berry Gordy founds Tamla-Motown in Detroit to release pop-oriented soul records 600 million records are sold in the USA Buddy Holly dies at 22 in a plane crash Since 1955, the US market share of the four "majors" has dropped from 78% to 44%, while the market share of independent record companies increased from 22% to 56% Since 1955, the US market has increased from 213 million dollars to 603 million, and the market share of rock and roll has increased from 15.7% to 42.7% 1960 Elvis appears on the Ed Sullivan Show following his release from the Army. Twist is the biggest dance-craze in the year of the dance-crazes Larry Parnes, Britain's most famous impresario, arranges a show for the Silver Beetles in Liverpool The British producer Joe Meek uses the recording studio like an instrument for "I Hear a New World " Eddie Cochran dies at 22 Ray Charles has his first #1 hit "Georgia On My Mind " 1961 Dick Dale uses the term "surfing" to describe his instrumental rock and roll Stax begins to produce soul records in Memphis The Peppermint Lounge opens in New York Roy Orbison has his first number #1 hit, "Running Scared" Phil Spector and partner Lester Sill released the "Oh Yeah Maybe Baby" on their new label Philles 1962 The Supremes first recordings are released. James Brown record his famous Live At the Apollo album 1963 Surf music rules the airwaves Little Stevie Wonder recorded his first #1 hit, "Fingertips – Pt. 2," 1965 Alan Freed, the man who gave rock ‘n’ roll its name, died in 1965 at the early age of 43
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