Rockabilly
Rockabilly | |
---|---|
Stylistic origins | |
Cultural origins | Early to mid-1950s, Southern United States |
Derivative forms | Garage rock |
Fusion genres | |
Other topics | |
Rockabilly is one of the earliest styles of
Defining features of the rockabilly sound included strong rhythms,
History
There was a close relationship between
During the 1930s and 1940s, two new sounds emerged.
After blues artists like
After World War II, The Maddox Brothers and Rose were at "the leading edge of rockabilly with the slapped bass that Fred Maddox had developed".[13][14] They had shifted into higher gear leaning toward a whimsical honky-tonk feel, with a heavy, manic bottom end and high volume.[15] The Maddoxes were known for their lively, antic-filled shows, which were an influential novelty for white listeners and musicians alike.[16][17]
Along with country, swing and boogie influences, jump blues artists such as Wynonie Harris and Roy Brown, and electric blues acts such as Howlin' Wolf, Junior Parker, and Arthur Crudup, influenced the development of rockabilly.[5] The Memphis blues musician Junior Parker and his electric blues band, Little Junior's Blue Flames, featuring Pat Hare on the guitar, were a major influence on the rockabilly style, particularly with their songs "Love My Baby" and "Mystery Train" in 1953.[18][19]
Zeb Turner's February 1953 recording of "Jersey Rock" with its mix of musical styles, lyrics about music and dancing, and guitar solo,[20] is another example of the mixing of musical genres in the first half of the 1950s.
Bill Monroe is known as the Father of Bluegrass, a specific style of country music. Many of his songs were in blues form, while others took the form of folk ballads, parlor songs, or waltzes. Bluegrass was a staple of country music in the early 1950s and is often mentioned as an influence in the development of rockabilly, in part owing to its favoring of fast tempos.[21]
The
Tennessee
Sharecroppers' sons Carl Perkins and his brothers Jay and Clayton, along with drummer W. S. Holland, had established themselves as one of the hottest bands on the honky-tonk circuit around Jackson, Tennessee. Most of the songs they played were country standards with a faster rhythm.[23] It was here that Carl started composing his first songs. While playing, he would watch the dance floor to see what the audience preferred and adjust his compositions to suit, writing them down only when he was sure they were finished. Carl sent numerous demos to New York record companies with no success; the producers believed the Perkins' style of rhythmically-driven country was not commercially viable. That would change in 1955[24][25] after recording the song "Blue Suede Shoes" (recorded December 19, 1955) on Sam Phillips' Memphis-based Sun Records. Later made more famous by Elvis Presley, Perkins' original version was an early rock 'n' roll standard.[26][27]
In the early 1950s, there was heavy competition among Memphis area bands playing an audience-savvy mix of covers, original songs, and hillbilly flavored blues. One source mentions both local disc jockey Dewey Phillips and producer Sam Phillips as being influential.[28] An early radio show on KWEM in West Memphis, Arkansas quickly became a mix of blues, country and early rockabilly.[29][30] The Saturday Night Jamboree was a Memphis stage show held every Saturday night at the Goodwyn Institute Auditorium in downtown Memphis, Tennessee from 1953–1954. The Jamboree shows were sometimes broadcast live on KWEM. A number of future notables performed there, including Elvis Presley.[31] The performers often experimented with new sounds in their dressing rooms, incorporating the best ones into their shows.[32]
In 1951 and 1952, brothers
Elvis Presley
Elvis Presley's first recordings took place at Sun Records, a small independent label run by record producer Sam Phillips in Memphis, Tennessee.[35] For several years, Phillips had been recording and releasing performances by blues and country musicians in the area. He also ran a service allowing anyone to come in off the street and for a modest fee, record themselves on a two-song vanity record. One young man who came to record himself as a surprise for his mother, he claimed, was Elvis Presley.[36]
Presley made enough of an impression that Phillips deputized guitarist
Presley's version of "That's All Right Mama" melded country, a genre associated with European-American culture, and rhythm & blues, a genre associated with African-American culture. The resulting track was denied airplay on both country radio stations and R&B stations for being "too black" and "too white", respectively. Country deejays told Phillips they would be "run out of town" for playing it.[citation needed] When the song was finally played by one rogue deejay, Dewey Phillips,[35] Presley's recording created so much excitement it was described as having waged war on segregated radio stations.[citation needed]
All of Presley's early singles featured a blues song on one side and a country song on the other, both sung in the same genre-blending style.
Nobody was sure what to call Presley's music, so Elvis was described as "The Hillbilly Cat" and "King of Western Bop". Over the next year, Elvis would record four more singles for Sun. Rockabilly recorded by artists prior to Presley can be described as being in the long-standing country style of Rockabilly. Presley's recordings are described by some as quintessential rockabilly for their true union of country and R&B, which can be described as the true realization of the Rockabilly genre. In addition to the fusion of distinct genres, Presley's recordings contain some traditional as well as new traits: "nervously up tempo" (as Peter Guralnick describes it), with slap bass, fancy guitar picking, much echo, shouts of encouragement, and vocals full of histrionics such as hiccups, stutters, and swoops from falsetto to bass and back again.[43][44]
In 1955, Elvis asked
North of the Mason-Dixon Line
In 1951 a
Maine native and Connecticut resident Bill Flagg began using the term rockabilly for his combination of rock 'n' roll and hillbilly music as early as 1953.[55] He cut several songs for Tetra Records in 1956 and 1957.[56] "Go Cat Go" went into the National Billboard charts in 1956, and his "Guitar Rock" is cited as classic rockabilly.[55]
In 1953, 13-year-old Janis Martin was performing at the Old Dominion Barn Dance on WRVA out of Richmond, Virginia.[57][58] Martin performed a mix of country songs for the show peppered with rhythm and blues hits in a style that has been described as "proto-rockabilly".[59] She later stated, "the audience didn't know what to make of it. They didn't hardly allow electric instruments, and I was doing some songs by black artists."[59]
Cash, Perkins and Presley
In 1954, both Johnny Cash and Carl Perkins auditioned for Sam Phillips. Cash hoped to record gospel music, but Phillips was not interested. In October 1954, Carl Perkins recorded Perkins's original song "Movie Magg", which was released in March 1955 on Phillips's all-country label Flip.[60] Cash returned to Sun in 1955 with his song "Hey, Porter", and his group the Tennessee Two, consisting of Marshall Grant on bass, and Luther Perkins (no relation to Carl Perkins) on lead guitar. This song and another Cash original, Cry! Cry! Cry! were released in July.[61] Cry! Cry! Cry! managed to crack Billboard's Top 20, peaking at No. 14.[62]
Presley's second and third singles were not as successful as his first.[63] His fourth release, "Baby, Let's Play House", was released in May 1955, and peaked at number five on the national Billboard Country Chart.[64] In August, Sun released Elvis's versions of "I Forgot to Remember to Forget" and "Mystery Train". "Remember to Forget" spent a total of 39 weeks on the Billboard Country Chart, five at the number one spot. "Mystery Train", peaked at number 11.[citation needed]
Through most of 1955, Cash, Perkins, Presley, and other Louisiana Hayride performers toured through Texas, Arkansas, Oklahoma, Louisiana and Mississippi. Sun released two more Perkins songs in October: "Gone, Gone, Gone" and "Let the Jukebox Keep on Playing".[65] Perkins and Presley in particular competed as the premier rockabilly artists.[66]
1955 was also the year in which Chuck Berry's hillbilly-influenced single "Maybellene" reached high in the charts as a crossover hit, and Bill Haley and His Comets' "Rock Around the Clock" was not only number one for eight weeks, but was the number two record for the year.[53] Rock and roll in general, and rockabilly in particular, was at critical mass and the next year, Elvis Presley's Heartbreak Hotel and Don't Be Cruel would top the Billboard Charts as well.[67]
Rockabilly goes national: 1956
In January 1956, three now-classic rockabilly songs were released: "
Sun and RCA were not the only record labels releasing rockabilly music in 1956. In March Columbia released "
In April and May 1956,
Late 1950s and beyond
There were thousands of musicians who recorded songs in the rockabilly style, and many record companies released rockabilly records.[84] Some enjoyed major chart success and were important influences on future rock musicians.
Sun also hosted performers, such as Billy Lee Riley, Sonny Burgess, Charlie Feathers, and Warren Smith. There were also several female performers like Wanda Jackson who recorded rockabilly music long after the other ladies, Janis Martin, the female Elvis Jo Ann Campbell, and Alis Lesley, who also sang in the rockabilly style. Mel Kimbrough -"Slim", recorded "I Get Lonesome Too"[85] and "Ha Ha, Hey Hey" for Glenn Records along with "Love in West Virginia" and "Country Rock Sound" for Checkmate a division of Caprice Records.[86]
Gene Summers, a Dallas native and Rockabilly Hall of Fame inductee, released his classic Jan/Jane 45s in 1958–59. He continued to record rockabilly music well into 1964 with the release of "Alabama Shake".[87] In 2005, Summers's most popular recording, School of Rock 'n Roll, was selected by Bob Solly and Record Collector Magazine as one of the "100 Greatest Rock 'n' Roll Records".[88]
Tommy "Sleepy LaBeef" LaBeff recorded rockabilly tunes on a number of labels from 1957 through 1963.[89] Rockabilly pioneers the Maddox Brothers and Rose continued to record for decades.[90][91] However, none of these artists had any major hits and their influence would not be felt until decades later.[92]
In the summer of 1958
Rockabilly music enjoyed great popularity in the United States during 1956 and 1957, but radio play declined after 1960. Factors contributing to this decline are usually cited as the 1959 death of Buddy Holly in an airplane crash (along with Ritchie Valens and the Big Bopper), the induction of Elvis Presley into the army in 1958, and a general change in American musical tastes. The style remained popular longer in England, where it attracted a fanatical following right up through the mid-1960s.
Rockabilly music cultivated an attitude that assured its enduring appeal to teenagers. This was a combination of rebellion, sexuality, and freedom—a sneering expression of disdain for the workaday world of parents and authority figures. It was the first rock 'n' roll style to be performed primarily by white musicians, thus setting off a cultural revolution that is still reverberating today.[93][94] "Rockabilly" deviance from social norms, however, was more symbolic than real; and eventual public professions of faith by aging rockabillies were not uncommon.[95]
Use of the term "rockabilly"
Early rockabilly singer
One of the first written uses of the term rockabilly was in a press release describing Gene Vincent's "Be-Bop-A-Lula".[96] Three weeks later, it was also used in a June 23, 1956, Billboard review of Ruckus Tyler's "Rock Town Rock".[97]
The first record to contain the word rockabilly in a song title was "Rock a Billy Gal", issued in November 1956.[98] The Burnette brothers had been playing a song called "Rock Billy Boogie" since 1953, but did not record or release it until 1956 and 1957, respectively.[33][34]
Characteristic sound and techniques
Some effects and techniques strongly associated with rockabilly as a style include slapback,
The distinctive reverberation on the early hit records such as "Rock Around The Clock" by Bill Haley & His Comets was created by recording the band under the domed ceiling of Decca's studio in New York, located in an echoing former ballroom called The Pythian Temple. This same studio would also be used to record other rockabilly musicians such as Buddy Holly and The Rock and Roll Trio.[33][99] Memphis Recording Services Studio, where Sam Phillips recorded, had a sloped ceiling covered with corrugated tiles. This created some of the desired resonance, but Phillips used technical methods to create additional echo: the original signal from one tape machine was fed through a second machine with a split-second delay.[100][101] The echo effect was noticeable on Wilf Carter records from the 1930s and in Eddy Arnold's "Cattle Call" (1945).[101] When Elvis Presley left Phillips' Sun Records and recorded "Heartbreak Hotel" for RCA, the RCA producers placed microphones at the end of a hallway to achieve a similar effect.[citation needed] The echoing sound created the impression of a live show.[102]
In comparison to country songs, rockabilly songs generally have simplified form, lyrics, chord progressions and arrangements, faster tempos, and amplified percussion. There is greater variability in lyrics and melodies, and the singing style is more flamboyant.[103] Compared to rhythm and blues, fewer instruments are used, but percussion is amplified to fill in the sound. The singing style is less smooth and mannered.[103]
Influence on the Beatles and the British Invasion
The first wave of rockabilly fans in the United Kingdom were called
The most notable of these bands was The Beatles. When John Lennon first met Paul McCartney, he was impressed that McCartney knew all the chords and the words to Eddie Cochran's "Twenty Flight Rock". As the band became more professional and began playing in Hamburg, they took on the "Beatle" name (inspired by Buddy Holly's band The Crickets[104]) and they adopted the black leather look of Gene Vincent. Musically, they combined Holly's melodic songwriting sensibility with the rough rock and roll sound of Vincent and Carl Perkins. When The Beatles became worldwide stars, they released versions of three different Carl Perkins songs, more than any other songwriter outside the band, except Larry Williams, who also added three songs to their discography.[105] (Curiously, none of these three were sung by the Beatles' regular lead vocalists—"Honey Don't" (sung by Ringo) and "Everybody's Trying to be my Baby" (sung by George) from Beatles for Sale (1964) and "Matchbox" (sung by Ringo) on the Long Tall Sally EP (1964)).
Long after the band broke up, the members continued to show their interest in rockabilly. In 1975, Lennon recorded an album called Rock 'n' Roll, featuring versions of rockabilly hits and a cover photo showing him in full Gene Vincent leather. About the same time, Ringo Starr had a hit with a version of Johnny Burnette's "You're Sixteen". In the 1980s, McCartney recorded a duet with Carl Perkins, and George Harrison collaborated with Roy Orbison in the Traveling Wilburys. In 1999, McCartney released Run Devil Run, his own record of rockabilly covers.[106]
The Beatles were not the only
Rockabilly revival: 1970–1990
The 1968 Elvis "comeback" and acts such as
The Blasters, who emerged from the Los Angeles punk scene, included rockabilly among their roots rock influences. The song "Marie Marie", first appearing on their 1980 debut album American Music, would later become a breakthrough hit for Shakin' Stevens.
Also in 1980, Queen scored a number-one hit on the Billboard Hot 100 with the rockabilly-inspired single "Crazy Little Thing Called Love".[112]
Soon EMI picked them up, their first videos appeared on MTV, and they stormed up the charts stateside. Their third LP, Rant 'N' Rave with the Stray Cats, topped charts across the US and Europe as they sold-out shows everywhere during 1983. However, personal conflicts led the band to break up at the height of their popularity. Brian Setzer went on to solo success working in both rockabilly and swing styles, while Rocker and Phantom continued to record in bands both together and singly. The group has reconvened several times to make new records or tours and continue to attract large audiences live, although record sales have never again approached their early '80s success.[113]
The Jime[114] entered the rockabilly scene in 1983, when Vince Gordon formed his band. The Jime[115] was a Danish Band. The Jime was the band of Vince Gordon, rockabilly guitarist. Not only was he the nerve of the band, Vince Gordon was the band. He composed nearly all its songs and hits. Vince Gordon also left his mark on the rockabilly scene in many ways. Expert Fred Sokolow[116] talks about the Vince Gordon style in Rockabilly due to his composing. Vince Gordon had many different musicians in his band. The lifetime of the Jime ended with the death of Vince Gordon in 2016.
The revival was related to the "
In 1983,
Neo-rockabilly (1990–present)
While not true rockabilly, many contemporary
Irish rockabilly artist Imelda May has been partly responsible for a resurgence of European interest in the genre, scoring three successive number one albums in Ireland, with two of those also reaching the top ten in the UK charts.
UK artist Jimmy Ray incorporated themes and aesthetics of rockabilly music into his image as well as his 1998 hit, Are You Jimmy Ray?, which Ray described as "popabilly hip hop".[129]
Singer-songwriter and actor Drake Bell recorded an album of rockabilly covers, Ready Steady Go!, in 2014. The album was produced by Brian Setzer, frontman of the rockabilly revival band The Stray Cats. The album sold over 2,000 copies in its first week of release, peaking at #182 on the Billboard 200, and received positive reviews from critics.
Neo-rockabilly UK band Restless, have played neo-rockabilly since the early 1980s. The style was to mix any popular music to a rockabilly set up, drums, slap bass and guitar. This was followed by many other artists at the time in London. Today, bands like Lower The Tone are more aligned to neo-rockabilly that suits popular music venues instead of the dedicated rockabilly clubs that expect only original rockabilly.[130][131]
Rockabilly Hall of Fame
The original Rockabilly Hall of Fame was established by Bob Timmers on March 21, 1997, to present early rock and roll history and information relative to the original artists and personalities involved in this pioneering American music genre. It is headquartered in Nashville.[132]
In 2000, an International Rock-A-Billy Hall of Fame Museum was established in Jackson, Tennessee.[133]
See also
- List of rockabilly musicians
- Bluegrass music
- Boogie rock
- Folk music
- Folk rock
- Gothabilly
- Psychobilly
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