Jerry Lee was born in Ferriday, Louisiana, on September 29, 1935 and must be counted one of the great originals of rock'n'roll amongst Chuck Berry and Bill Haley. Coming to the fore in 1957 with Sun Records of Memphis, Tennessee, he was not lost in the famous "Sun Sound" that had by then already spawned Elvis, Carl Perkins and Johnny Cash. Rather, he added his own uniquely attacking style of vocalizing and piano playing, and made the sound even better. The Lewis style is one of the most immediately identifiable in rock-and-roll.
As a showman, too, The Killer, was an original. He broke pianos, set fire on many of them, threw chairs, swore at the band and the audience, but his arrogance was compensated by his supreme talent. He has also recorded with soul, rock, C&W and New Orleans jazz backings, and, nowadays, remained in command at the aged of 80!
Richard PARKIN (under his first real surname) was born in Liverpool, Merseyside, on July 7, 1940. Despite predictions that he would suffer most from the break-up of THE BEATLES in 1970, Ringo renamed himself STARKEY from his stepfather's surname (to become STARR a few years later) and had successfully developed his cheerful, popular persona acquired in the group's seven years of stardom. Sentimental Journey, and Beaucoup Of Blues in 1970 were pleasant collections of childhood favo(u)rites and country standards respectively. Next, Ringo established himself as a major singles artist with a series of his own songs, including "It Don't Come Easy" (June, 1971 - his declaration of independence from the Beatle image). Ringo has been appointed Member of the Order of the British Empire (MBE) since 1965.
Musicians at THE SESSION : Jerry Lee, piano and vocals duet with Ringo; Jim Keltner, drums; Ken Lovelace, Jimmy Rip, Keith Allison, guitars; Nils Lofgrin, pedal steel guitar; Hutch Hutchinson, bass; Ivan Neville, organ. James Saez, engineer. Recorded at Record Plant Los Angeles. Written by Chuck Berry. Published by Arc Music Corp & Isalee Music Publishing. Ringo Starr appears courtesy of Koch Records.
Chuck Berry's signifiance lies partly in his own stylistic innovations and the vivid articulation of a spirit of rock'n'roll rebellion in his lyrics. And, partly, it lies in the fact that his career uniquely encapsulates the links between the rock'n'rollers of the Fifties and the bands of the Seventies, between blues and pop, between black and white musical cultures. His origins are, in many ways, representative of the black artists primarily responsible for hammering out the musical identity of rock. Born Charles Edward Berry in St Louis, Missouri, on October 18, 1931, he began singing in a church choir at the age of six. He learned the rudiments of guitar while still at high school, and made his debut performance at the school glee club review, playing the Chicago blues standard, "Confessin' The Blues" - which, he has recalled, was avidly welcomed for what was seen at the time as an almost risqué earthiness. Chuck Berry wrote lotsa rock'n'roll songs such as "Sweet Little Sixteen" issued on Chess 1683 dating back to January, 1958 later to become a "famous" song but it is another history...
I'm like a one-eyed (borgne in French sp.) cat peepin' in a seafood store...En français : je suis comme un chat borgne jetant un coup d'oeil dans un magasin de fruits de mer. Oups :-) Yummy, yummy ?
Joe Turner, born in Kansas City on May 18, 1911, proved the most experienced of all the singers on the R&B charts in the early Fifties. He was also a prominent part of the Kansas City jazz scene of the Thirties, often teaming up with boogie pianist Pete Johnson. Coming to New York in 1938, he made his first record, the very popular "Roll 'Em Pete"/originally "It's All Right, Baby" (with Pete Johnson on piano) for Vocalion (4607, vocal by Joe Turner [recorded Dec. 30, 1938, rel. Feb., 1939] and became a major figure in the boogie-woogie revival of 1938-1941 (sparkled off his appearance on John Hammond's legendary Spirituals to Swing concert at Carnegie Hall, one of the first instances of authentic black blues and jazz musicians winning a large white audience). By 1951, Atlantic records had signed him to a recording contract and released "Chains Of Love", the first of a string of Joe Turner and his Blues Kings hits that lasted well into the rock'n'roll era. Of these, probably his most influential was the 1954 recording of "Shake, Rattle And Roll", a Jesse Stone composition - written under the pseudonym of Charles Calhoun - that was to form the basis of Bill Haley's bowdlerized version. Whether Turner "The Boss of The Blues"s strictly a rock'n'roll singer is debatable; he never changed his style from the way it was in 1938. But then, he didn't have to. He even sounded great singing "Teenage Letter" at the age of 46. No other artist from the Swing era became anywhere near as vital a force in the R&B music of the Fifties as Joe Turner. Also know as "Big" Joe Turner". John Vernon Turner was born on May 18, 1911 and passed away on November 24, 1985.
Bill Haley's RATC follow-up, "Shake, Rattle And Roll" (a dilution of Turner's original) reached the TOP TEN in both America and Britain and eventually sold a million. Bill felt at the relative failure of his first DECCA single. Myers came up with a nonenty of a song entitled ABC Boogie but at least Gabler picked a hot number for the top side in Joe Turner. He sent sent the lyrics to Haley with instructions to change some of the overtly sexual lines, which Bill did albeit he missed some of the more obscure ones like "I'm like a one-eyed cat peepin' in a seafood store. Panama Francis played drums on the session and the result was that Skake, Rattle And Roll had all the makings of a hit. It lived up to expectations reaching #7 in August 1954. Whislt Turner may have been a better vocalist than Haley, Milt Gabler succeeded in making a better record with SRAR than the original. (R'N'B #1 and POP #22 in April 1954). Tidbit/titbit time : The Springfield Indians, a professional ice hockey team adopted the song and played it every time they scored a goal! Shortly after the session Danny Cedrone died following a fall at home, without ever knowing the success. Bill was distraught at the loss of his friend.
One has my name (the other has my heart), 1960 from Jimmy Wakely w Mary Ford for Capitol 15162, 1/1940.
Yes indeed! , Bill haley and The Saddlemen, Transworld 718, March 1956/2d cover, London HL 8371, January 1957 from Bing Crosby & Connie Boswell with Bob Crosby and his Bobcats, DECCA 25406B, 12/1940.
Detour (1960) from Jimmy Walker acc. by Paul Westmoreland and his Pecos River Boys for Coast RECORDS 253, 1945.
El Madison by Bill Haley y Sus Cometas, 1962, from Things Ain't What They Used To Be by Charlie Barnet And & His Orchestra, vocal bu Judy Ellington, Bluebird B-10373-A, 1942.
You call everybody darling (1963) from Al Trace & his New Orchestra, REGENT 117, 1948.
Rock-a-beatin' boogie (rec. 1955/09/22 - P. 1956) given to Danny Cedrone : 1st recorded by Esquire Boys with Kay Carol for rainbow records 200, 12/1952 (dashless) then by Esquire Boys for Guyden RECORDS 705-A, 04/1954. Both recordings : same singer!
Altar of love (Guest Star 1454 LP, 1964) from The Channels for Gone records 5019, 1957.
End of part 5 (part 2, special). Enjoy if you want!
Picadilly rock (1958) - original title "London Bridge Is Falling Down" [17th century], nursery rhyme, kid song.
Stop beatin' 'round the mulberry bush (originally called "Here we go round the mulberry bush") : nursery rhyme, kid song published 'round 1840. For the first time; reworded by Bickney Reichner, music by Clay Boland.
Juke Box Cannonball (1952/1954) : original title "The Great Rock Island Route!", 1882 aka Wabash Cannonball then Juke Box Cannonball =>reworded by Jesse Rogers, Arcade Records, 1951.
First recorded on shellac (10") in 1938 by (to name but a few) : Count Basie And His Orchestra (James Rushing, vocal) for DECCA 2004 A (1938).
Tommy Dorsey and his Orchestra, vocal by Edythe Wright for HMV Victor 26012-B, 1938.
Al Donahue and his Orchestra, vocal by Paula Kelly for Vocalion 4318, 1938.
George Scott Wood & His Six Swingers for REGAL ZONOPHONE MR 1771, December 1938 and years later, a very good old rockabilly by Bill Haley's with Haley's Comets for ESSEX Records 45-310 in September 1952.
Jarrito Twist by Bill Haley y Sus Cometas, 1962 from The Little Brown Jug by Joseph Eastburn Winner for Meade 2002 in 1869. Probably from Glenn Miller and His Orchestra, RCA/Bluebird, 1939.
Pretty Alouette (Be My Only One) by Bill Haley and His Comets, 1957 from Alouette by Edouard Le Bel (LeBel) for Victor 3619, Canadian-French folklore, Montreal, 1906 (rec. 6 Nov. 1906).
Ida, sweet as apple cider (1958) from Ida! Sweet as apple cider by Earl Fuller Rector Novelty Orchestra for Columbia Records A2403, US, 1917/05/09.
(I'll be with you in) Apple blossom time, 1957 from I'll be with you in apple blossom time by Reed Miller for Medallion 8193, 1920.
Anytime (1951) from Anytime by Emmett Miller accompanied by his Georgia Crackers, Okeh 40239, late 1924.
Trouble in mind (first recorded in 1960 but remained unissued until 1979 (EP CLAIRE DEP 4779) from Trouble in mind (blues) by Thelma La Vizzo [Richard M. Jones, piano], Paramount 12206, rec. May 15, 1924, released 1924.
(What can I say) After I say I'm sorry (1963) from After I say I'm sorry by Sam Lanin & his orchestra w Red Nichols on vocal for Gennett 3243-B, P. 1926/02/01.
Dance with a dolly (With a hole in her stockin'), 1953 by Bill Haley and The Saddlemen, ESSEX 45-305 from Terry Shand and his orchestra (vocals by Evelyn Knight & Jesters), Decca 18614, 1944 via Round Town Gals by Al Hopkins and His Buckle Busters, Vocalion 103, 1926/10/22 adapted from Lubly Fan which became Buffalo Gals (women following buffalo hunters), fully an American tune - of German-origin (Im Grunewald, im Grunewald ist Holzauktion/Otto Teich's lyrics, Rhineland, 1890), written and composed by John Hodges alias Cool White who presented his song in 1844 (sheet only). Tidbit time : a 1960 hit by Ray Smith, Rockin' Little Angel for Judd 1016 (rec. 08/1959) was also based on the same melody.
One sweet letter from you (1960) from Ted Lewis and his Band, Columbia 988-D, 1927
End of this special Part 1.
Bill Haley "Rareties" LP, Malaysia, AMBASSADOR A 98100 (completely unknown of origin? : I'm not quite sure at all !)
This LP compilation in 1979 is still completely unknown of origin. I remember when I bought it, in early January 1980, the record dealer told me it was coming from Malaysia. No, it wasn't. This tremendous LP has been manufactured and released in the USA (America) in 1979. J'appelle ça de la basse vengeance : j'en ai par dessus la tête que les anglais et les français (ces derniers ont purement et simplement supprimé une bonne discographie toutefois considérée comme un torchon irrécupérable!] me prennent pour un rigolo ou simplement pour un imbécile. ["you're the expert"! My foot! (English-speaking Wikipedia)] sous le fallacieux prétexte - parce que je n'hésite pas à (d)écrire la vérité - qu'ils se croient les uniques papes de Bill Haley alors qu'en Belgique nous sommes bien mieux informés qu'eux!). De toute façon, s'ils ne détiennent pas l'info avant quiconque, elle est considérée comme fausse, voire pourrie! Il y a des articles qui dérangent beaucoup de monde: tant mieux! La vérité n'est pas toujours bonne à dire. Il est hors de question de fausser la vérité et de toute façon, je n'en ai rien à fiche!...***I call that low revenge: I have some over my head which Englishmen [(Pommies :-)] take me as a funny guy or simply as a nunskull. ["you're the expert"!] My foot! (English-speaking Wikipedia which destroyed the DECCA Sessions as well as the other ones) under the fallacious pretext - because I don't hesitate to write/tell the truth as true as possible - that they believe they are the quite unique popes on Bill Haley (it's not bad, but I've seen much better!!) whereas in Belgium we got a better information (early 1970 for me and Alain Darmor 20 years beforehand!!) than them!)! In any event, if they don't hold information before whoever, it is regarded as false, rotten! There are articles which disturb many people: hardest the better! Chris (G.): just have a look! Convinced? Think, you might have to update and correct your own discography. So, the truth is not always good to say… ! Anyway, it is out of question to twist the truth and I couldn't care less what they're up to! Pure de papas, it's quite hot here in Belgium...(today June 1, 2013, the sky is blue ;-) http://youtu.be/t6LDwZSyYHA : Viva la rock r 'n' roll from the German motion Picture by Werner Jacobs "Hier Bin Ich, Hier Bleib' Ich" (Here I am, here I stay). Première : 8. Januar 1959 im Stuttgarter Gloria-Palast.
First recorded by Bill Haley & His Comets on the DECCA DL-8964 LP/album Strictly Instrumental released in December 1959. ***He was accompanied i.a. by Johnny Grande on piano and Ralph Jones on drums and different with the one recorded for the Mex Orfeón/Dimsa LP/album DML 8381 Bill Haley A Go-Go in 1966 as by Bill Haley and The Comets (aka y Sus Cometas) were we found i.a. Julian Bert on piano; John "Bam Bam" Lane on drums; mariachis Diego Romero & Luis Sanchez playing trumpets.***Also known as "Skokiaan A Go-Go" for the latters.***Skokiaan (Tsaba Tsaba Dance) had been composed in Southern Rhodesia (now, Zimbabwe) by August Macon Msarurgwa (in fact, Musarurwa of the village of the same name in Zwimba Reserve) in the late 1949.***The original version has been released in early 1950 (b/w Karekwangu) and interpreted by the African Dance Band of The Cold Storage Commission of Southern Rhodesia fronted by leader August Macon Msarurgwa.***Reference: Gallotone Jive GB. 1152., 1950***My special thanks go to Mr. Peter Bowbrick from Great Britain who has provided me with bright help seeing he had known the composer and his sister in his early teens.***This instrumental has been also recorded and released later in 1954 by The Bulawayo Sweet Rhythm Band (in Bulawayo) also fronted by Msarurgwa.***Both cover versions/songs were available on CD's i.a. The Magic Collection (a division of Telesonic Holland), ARC records MEC 949078 in 1983 and also on M next CDES 61 released in France in 2002 under license to San Juan, 2001.***Here 's another history from Goldworthy and Disa: A.M. could only have joined the AFDB of TCSC of SR in 1950 saying that Hugh Tracey also put the tune on tape on 8 June 1951.***This version has been issued (SWP032/HT21) on June 8, 2006 by Sharp Wood. http://www.disa.ukzn.ac.za/samap/content/skokiaan***A sung version also exists in Shona Zezuru. Skokiaan was also published on DECCA (red label FM 6142) b/w In The Mood later on.
Karekwangu ? Badly called "In The Mood" !!! What a good joke! http://youtu.be/jhEBzhBLdHc
In The Mood by the Bulawayo Sweet Rhythm Band : http://youtu.be/uI6VqzdelLA
How to play or reproduce the famous guitar solo played by Danny Cedrone on (We're Gonna) Rock Around The Clock ?***With the left hand, Cedrone is hammering-on and pulling-off with his third finger, while still maintaining a position fretted with his first finger. Meanwhile he is playing 16th notes with his right hand, followed by a glissando rubato — chromatically descending in half-step increments — also played at 16th note speed.***Avec la main gauche Cedrone martèle continuellement et attaque avec le 3ème doigt pendant qu'il maintient la position "frettée" (position particulière du doigt sur une corde) avec le 1er doigt. Pendant ce temps il joue 16 notes avec la main droite suivi par un frottement glissé (glissando rubato) - une descente chromatique par augmentation par demi degré — en jouant aussi à la vitesse de la 16ème note.***Danny Cedrone and his Gibson ES-300: pictures used by friendly permission. (C) 2006 by The Cedrone Family. Lotsa thanks, Danny.
Probably recorded for radio-1947-1950 under the name Bill Haley & The Four Aces of Western Swing.
***(1) I gotta have my baby back: from Floyd Tillman, COLUMBIA CO41790=1, 10/1949.
***(2) I wasted a nickel last night: from I wasted a nickel by Hawkshaw Hawkins, KING K2935, 09/1949.
***(3) Sunday down in Tennessee: from Red Foley, Decca 5936, Nov.21, 1949.
***(4) Easy rockin' chair: from Eddie Arnold, RCA Victor 20-2481, 10/1947.
***(5) I dreamed of an old love affair: from Jimmie Davis, Decca 6070, 1942.
***(6) I love you so much it hurts: from Floyd Tillman, RCA Victor 20-7157, 1948.
***(7) I already talked about I didn't hear anybody pray aka The wreck on the highway from The Dixon Brothers, RCA Victor/Bluebird 7440, 1938.
***These songs were available in the 90's on Hydra Records and Bear Family Records both based in Germany.***The Rovin' Eyes: from Dr. Louis Menaker, late 40's (CD Xtra, Delta Music PLC, Germany, 20/06/2005.)
Where on earth did Bill Haley discovered those incredible songs from?:Orfeón-Dimsa-Roulette-Guest Star-Logo Sessions (30/05/2009)
14-08-2006 THE BEATLES BELGIAN HOME PAGE - UPDATED.***Discos Orfeón belonged to Don Rogerio Azcárraga and the musical director was Paco de la Barrera.***Roulette Records was formed in 1956 and belonged to Morris Levy, Phil Kahl and George Goldner [1918-April 15, 1970].***An adjunct to their music publishing operations, with Goldner, into whose Rama and Tico organisation it was slotted.***In 1957, Hugo Peretti and Luigi Creatore more or less took over the company, leaving Goldner to concentrate on his new enterprises, Gone and End, which were distributed through Roulette.***Distributed labels : Gee, Gone, End, Rama and Tico (all belonging to Goldner).***Bill Haley And His/The Comets (1966, known as Mr. Go Go); y sus Cometas, 1961 :***Al Compás Del Reloj (sung in English), 1961 : from "Rock Around The Clock", May 1954, May 1955, January 1960 and March 1961 .***La Tierra De Las Mil Danzas/live 1966 : from Land Of Thousand Dances by Chris Kenner, Atlantic, 1963.***The Green Door (Puerta Verde) (I), 1961 : from The Green Door by Jim Lowe and His High Fives, DOT, US #1, 1956.***Memphis Tennessee : from Memphis, Tennessee by Chuck Berry, Chess 1729, Feb. 1959.***Tren Nocturno, 1961 (I) : from Night Train by Jimmy Forrest, United, 1952 [originally from Happy Go Lucky Local by Duke Ellington, 1946.***El Blues Del Cometa Azul / Blues Del Cometa Azul (I's), 1961 : from Blue Comet Blues by Bill Haley And His Comets, 1956.***De Buen Humor (I), 08/1962 : from In The Mood by Edgar Hayes And His Orchestra, Decca, 02/1938 [Jazz riff borrowed to Wingy Manone (aka Mannone) and his Orchestra's "Tar Paper Stomp", Vocalion, 1930" via Major Glenn Miller and His AEF Band, Bluebird/RCA Victor, 1939 and Mongo Santamaria, Columbia, US #10, 1961.***Whole Lotta Shakin' Goin' On, 1961 : from Big Maybelle, Okeh 7060, 1955 via Chubby Checker, 11/1960 [B-side of The Hucklebuck] Jerry Lee Lewis, SUN 267, July 1957 [not hitting his #3 chart peak until September but topped C&W and R&B charts simultaneously - Jerry Lee was related with country and r'n'r singer Mickey Gilley (who had recorded Down The Line too) and TV evangelist Jimmy Swaggart].***Negra Consentida, 1961 : composed by Joaquín Pardavá Bernal y Delfina Arce for Julian Solér's movie Negra Consentida, 1948.***Lado A Lado, 1962 : original version in 1927 probably by duet Aileen Stanley and Johnny Marvin as Side By Side via Ray Charles and Betty Carter, 1961.***I Want A Little Girl, 1962 : from McKinney's Cotton Pickers, Victor, 1930.***En Un Pueblito Español (I), 1962 : from Paul Whiteman And His Orchestra's (In A Little Spanish Town) 'T was On A Night Like This, 1926.***Down By The Riverside Twist, 1962 : from Down By The Riverside, an African-American traditional folksong (black spiritual-blue gospel) 'round 1867 in New Orleans aka Ain't Goin' To Study War No Mo' (alternative titles: I ain't going to study war no more / I ain't gonna study war no more...) sung by slaves after the American Civil War beginning in 1861.***First recording by the Fisk University Jubilee Singers in 1920, released by COLUMBIA in 1922 from John J. Nolan's sheet music, 1902, (C)1902.***Cielito Lindo, 1962 : from a popular trad. song of Mexico, written in 1882 by Quirino Mendoza y Cortés via (José) Pedro Infante (Cruz), Mexico, 1942; El Mariachi Vargas de Tecalitlán, 1956. [De la sierra morena, Cielito lindo, vienen bajando un par de ojitos negros Cielito lindo, de contrabando...].***Madison Del Azul (I), 10/1963 : from The 'C' Jam Blues by Duke Ellington, 1941.***Lullaby Of Birdland Twist, 1962 : from Lullaby Of Birdland by George Shearing Quintet feat. Sarah Vaughn on vocal, Verve Records, 1942.***Twist Lento, 1962 : from Slow twistin', a duet with (uncredited) labelmate Dee Dee Sharp and Chubby Checker, Parkway, 1961, US #3, April 1962.***Spanish Twist, September 1961 : from Twist Español (lyrics: Antoño de la Villa - music : Pepe Negrete) by Bill Haley - on Spanish vocal - y Sus Cometas, Orfeón, May 1961.***Desafinado, 1962 : from Joáo Gilberto, Odeon, Brazil, 1958.*** Actopan / Actopan Twist (I's), 1961/1962 : from The Hucklebuck by Paul Williams And His Hucklebuckers, Savoy 683, 1949, US r'n'B chart #1, April 1949, originally from Lucky Millinder's D' Natural Blues, RCA Victor 20-3351, date of recording Jan.3, 1949 [a hit for the Tommy Dorsey Orch. feat. Charlie Shavers on vocal, US #5, 1949], the latter borrowed to Now's The Time by Charlie "Bird" and/or "Yardbird" Parker's Reboppers, Savoy 4508, 12/1945.***Paul Williams : "We were playing the Royal in Baltimore (Maryland) together with Lucky Millinder Band. We were sitting out front listening to them rehearse and they played this title tune D Natural Blues". The night we played the same tune (...) I asked one guy, "What kind of dance is that?" and he said, "This is the Hucklebuck!" And that was it. Eventually we recorded it and called it The Hucklebuck and it hit", via Chubby Checker, Parkway Records P 813, 11/1960, US #14.***La Paloma, 1961 : from La Paloma Adieu, canción americana, 1859 via Chubby Checker's La Paloma Twist (B-side of Slow Twistin'), US #74, March 1962.***Rambunchas twist, 1961 : from Ram-bunk-shush via Bill Doggett, King 45-5020, 1957 or The Ventures (originally by Lucky Millinder and his orchestra, King 4534, 1952).***Caravana Twist / Caravan Twist, 1961 / Cip A Vanna, 1966 : from Barney Bigard and His Jazzopators, early 1937 via Duke Ellington's Caravan, 1937.***Mas Twist, 1961 : from Let's Twist Again by Chubby Checker (aka Ernest Evans), Parkway, 08/61, US #8, 08/1961.***Limbo Rock (I), 1962 : from The Champs, Challenge, US #2, 1962 then recorded by Checker the following November.***Pure De Papas, 1962 : from Nat Kendrick (alias Carlton "King" Coleman, James Brown's drummer) and The Swans' [(Do The)] Mashed Potatoes (Pt.1-Pt.2), Dade 45-1804, 11/1959/Mashed Potatoes, Atlantic, 1960 via Joey Dee (alias Joseph DiNicola) and The Starlighters, Roulette, 1961 and Chubby Checker, 1961.***Jarrito Twist, 1962 : from Little Brown Jug by Glenn Miller And His Orchestra / Captain Glenn Miller Army Air Force Band, 1939.***A Noche (I), 1962 : from Last Night by The Mar-Keys, Stax, 1961.***Florida Twist (Instr. original backing track and some vocals provided by Billy Williamson/live), 1962 : from Florida Twist (Mex #1) by Bill Haley y sus Cometas, back-up vocals in Spanish by "sus Cometas", Orfeón 78-1047, 1961 [the biggest selling single in Mexican history].***Twist Marie/live, 1962 : from Oh Marie by Louis Prima with Sam Butera and The Witnesses, Capitol, 10/1956.***Marie Twist, 1962 : from Marie (I) in the movie "The Awakening", 1928, via the Tommy Dorsey Orch. feat. Jack Leonard on vocal, 1937.***Eight More Miles To Louisville : from (Louis Marshall) Grandpa Jones, Brunswick 5676, 1957.***Reunion De Etiqueta, 1963 : from Tuxedo Junction by Erskine Hawkins And His Orchestra, Jubilee 107, 1940 via Glenn Miller and his Orchestra.***El Quelite, 1963 : originally a Mexican traditional, Public Domain, "canción ranchera" probably from the 18th century via El Mariachi Vargas de Tecalitlán, 1961 [El Quelite is located 20 miles north of Mazatlan just across the Tropic of Cancer between the Sierra Madre Mountains and the Pacific Ocean; ï¿½acaso hemos olvidado también la popular canción mexicana El quelite? "que es un tipo de amaranto" - "it's a type of amaranth"].***Adios Marquita Linda, 1963 : from Adiós, Mariquita Linda by Marcos A. Jiménez, Argentina, 1937***El Poney, 1963 : from Pony Time by Don Fardon and The Goodtimers, Arnold 1002, 1961 [a re-write of "Boogie Woogie" by Clarence "Pinetop" Smith, 1928] via Chubby Checker, Parkway, 01/1961, US #1, 02/1961 - Checker's second million-seller, setting off a new dance craze for the Pony.***I've got news for Hugh (or sometimes spelled as"you"), Mex LP Madison, Orfeón 12339, 10/1963 from themselves (s) B. Haley-Frank Pingatore) ! Nothing to see with the eponym I've got news for you by Ray Charles, Impulse LP Genius & Soul = Jazz, 03/1961 - single: 06/1961.***Pepito, 1965 / Pepito Mi Corazón, 1966 : from Elena Madera, DECCA 9-30835, 01/1959.***Estomago Caliente / No Matter What Shape (Your Stomach's in)/live, 1966 : from The T-Bones, Liberty 55836, 1965.***Harlem Nocturne / Harlem Nocturno / Harlem A Go Go/live, 1966 : from Ray Noble And His American Orchestra, COLUMBIA, 1939.***Justine/live, 1966 : from Don And Dewey, Specialty 631, 05/1958.***El Septimo Hijo / The Seventh Son/live, 1966 : from Willie Mabon, Chess 1608, 1955.***Mohair Sam/live, 1966 : from Charlie Rich, Mercury/Smash S-1993, 1965.***New Orleans / Nueva Orleans/live, 1966 : from Gary "US" Bonds, LeGrand records 1009, US #6, 1960.***Hi-Heel Sneakers/live 1966 : from Tommy Tucker, Chess/Checker 1075, 1964.***Yakety Sax, 1964: from Randy "Boots" Randolph, Monument records 45-804, 1963; original Randolph's on RCA Victor EPA-9678 in 10/1958.***Baja California Sun / California Sun/live, 1966 : from The Rivieras [formed in South Bend, Indiana], Riviera R-1401 (Sheldon), US POP #5, 1964 [originally by Joe Jones And His Orchestra, US #77, Roulette, 1961.***La Cucaracha/live, 1966 : Mexican song, 1893 [cucaracha = bulky carriage, Pancho Villa].***Hambone/live (Pancho), 1966 (I) : via Rayburn Anthony, SUN, 1960 [originally by Red Saunders and his orchestra with Dolores Hawkins and The Hambone Kids, Okeh 6862, 02/1952).***Mish Mash, 1964 : from Carrie Grant And The Grandeurs (The Grandeurs = The Comets), Newtown, 1963.***Ella Cree Que La Amo Aun, 1964 : from She Thinks I Still Care by George Jones, US #1, United Artists, March 1962.***Surf De La Sandia, 1964 : from Herbie Hancock Trio's Watermelon Man, Blue Note, 1962.***Cerca (wrongly spelled as "circa") Del Mar, 1964 : nothing to see with Beyond The Sea by Bobby Darin, Atlantic, Jan. 1960 and La Mer, a hit for well known French songwriter/singer Charles Trenet, Magic Notes Columbia, 1946].***Movendiose, 1964 : from Movin' n' Groovin' by Duane Eddy And His "Twangy Guitar", Jamie 1101, 1958.***A Gusto Contigo, 1964 : from Je Me Sens Bien (Auprès De Toi)!!! by Petula Clark, disque Vogue EPL 8.078, France, 1963 [adapted from Dance On by The Shadows, EMI/Columbia 45 DB 4948, UK, 12/1962!!!].***No Tu Puedes Sentar, 1964 : from [(You)] Can't Sit Down by The Bim Bam Boos feat. i.a. Cornell Muldrow, Phil Upchurch, Dasher D 500, 1959 via The Dovells, Parkway, US #5, 06/1963 and possibly via a trumpet instrumental by Phil Upchurch Combo, Boyd 1026 DJ, 1961.*** Madero Y Gante, 1964 : from Washington Square by The Village Stompers, EPIC N7-26078, US #2, 1963.***Surf Del Elefante, (I), 1964 : from Baby Elephant Walk by Henri Mancini And His Orchestra, RCA Victor, US DNC, 1961.***Surf Del Monkey, 1964 : from The Monkey Shine by Carl Perkins, DECCA 9-31709, 1964.***All these songs were available on his 8 Mexican LP's [Twist, 1961; Bikini Twist, 1962; Twist En México, 1962; Madison, 1963; Carneval De Ritmos Modernos, 1963; Surf Surf Surf, 1964; Whisky A Go-Go (live), 1966; Bill Haley A Go-Go, 1966].***The only one LP record released by Roulette was "twistin' knights ("twistin' nights"!) AT THE ROUNDTABLE [live at the nightclub], 1962.***Tidbit time : at that time, Morris Levy is at the head of the Roundtable nightclub. In March 1962, Bill Haley & The Comets occur in a row eleven evenings with an aim of recording a live album. On injunction of his wife, Franny Beecher had left the group a few months earlier (giving up his third of the benefit). One will especially pick up him at home in a limousine to play lead guitar on the forthcoming album. Sticks Evans (aka Samuel Smith), African drums, is recruited because the content of the LP is supposed to be very twisty and, as Evans plays with The Starliters of Joey Dee (Roulette star-house, a firm directed successively by Levy and Goldner), he is thus regarded as THE specialist in the dance craze/rhythm à la mode.***UK Ember LP, "P.1969" (in fact, June 1968) : originally Whisky A Go Go released in Mexico on the Orfeón/DIMSA label (12478) in 1966.***Like all true professionals, Haley's greatest asset is his ability to take his music out of the recording studio and perform it LIVE.***Mainly the accent is on the kind of rock'n'Roll that Bill Haley and the Comets have made their own since April 1954.***"When you will have heard this album you will know why Bill Haley wore the crowns!***At that time, Mexico, 1966, the Bill Haley legend started nearly 15 years ago...There followed a series of int'l smash-hits which included Shake, Rattle and Roll, RATC and many others. In fact, the list of Bill's record successes went on to read like a one-man chart took-over bid !***Mariachi Vargas were formed by Don Gaspar Vargas in Tecatlitán, Jalisco, Mexico back in 1898.***CD : from the LP "Twistin' Knights At The Roundtable - Roulette R-25174, ca. April 1962" recorded live on-the-spot in New York City in March 1962 and released in US in 1999 by Rhino/Soundies, ref. SCD 4113.
...discovered these incredible songs from ?***.***Is It True What They Say About Dixie? : from Jimmy Dorsey And His Orchestra feat. Bob Eberly on vocal, 1936.***Carolina In The Morning : from Broadway musical "The Passing Show of 1922" via Al Jolson, Decca 24109, 1947. [originally by Willie & Eugene Howard, 09/1922.***The Dipsy Doodle : from Tommy Dorsey And His Orchestra featuring Edythe Wright on vocal, 1937 via Larry Clinton And His Orchestra feat. Bea Wain on vocal, Associated Transcriptions, December 1937.***Ain't Misbehavin' (I'm Savin' My Love For You) : from musical "Hot Chocolates", first performed at Connie's Inn in Harlem in May 1929 by Margaret Simms & Paul Bass via Fats Waller and his Rhythm, Associated Transcriptions, Jan. 1938; Victor, 08/1939; Jazz Selection, 01/1943.***Moon Over Miami : from the Dorsey Bothers Orchestra featuring Connee/Connie Boswell on vocal, Decca/Brunswick, US # 19, 1935.***One Sweet Letter From You : from Ted Lewis And His Band, July 1927***(I'll be with you in) Apple blossom time from : Artie Shaw and his orchestra, 1937 via Glenn Miller.***Somebody Else Is Taking My Place, (C) 1937: from Russ Morgan And His Orchestra [Decca 25398], "Strictly In The Groove" OST, Decca, US #5, 1942.***How Many?: from Jim Reeves, RCA Victor, 1957 (also recorded by Eddy Arnold on the same label)***Move It On Over : from Hank Williams (Sr.) And His Drifting Cowboys, MGM 10033-A, 1947.***(New) Rock The Joint : from Rock The Joint by Jimmy Preston And His Prestonians, Gotham [owned by Sam "Goody" Goode and Ivin Ballen] JP-12, Philadelphia, Sep. 24, 1949.***Pretty Alouette (Be My Only One) : from a Canadian-French folklore, Montréal, 1946.***Rockin' Rollin' Schnitzlebank from : (Ei du schöne,) Schnitzelbank, 1890 (C) 1890 by Johannes Brahms [humorous drinking song of Austro-Hungarian origin.*** Rockin' Matilda : from Waltzing Matilda [which means "Auf der Walz" (is a German expression that means traveling on the job) and "bed-roll" or slang "swag"], originally based on a traditional entitled "Thou Bonny Wood Of Craigie Lee", Australia, a poem written in January 1895 by Andrew Barton "Banjo" Paterson [Oh! There once was a swagman camped in the Billabong, under the shade of a Coolabah tree; and he sang as he looked at his old billy boiling, “Who’ll come a-waltzing Matilda with me...].*** He heard a tune played by Miss Christina MacPherson of Dagworth Station. He added the words of Waltzing Matilda to the music.***Eventually published as a song in 1903 then copyrighted as a song in Scotland in 1936***"Vive la rock and roll": from on a French novelty tune (1811) and the French lullaby "Frère Jacques", 1869 ("Bruder Jakob"; "Brother Jake").***It's A Sin : from Eddy Arnold (15/05/1918-8/05/2008), RCA Victor, US C/W #1, 1947.***Mary, Mary Lou: from The Sparks' Merry, Merry Lou, DECCA 9-30378, July 1957.***Come Rock With Me : from O Sole Mio [(C) 1898 by Eduardo di Capua, Alfredo Mazzuchi, Giovanni Capurro] by tenor man Enrico Caruso, Naples, Italy, 1903.***Wooden Shoe Rock: from "LA CENERENTOLA" 's [Cinderella's/French fairy tale "Cendrillon"] Gretchen And The Wooden Shoe, music composed by Gioacchino Rossini and libretto written by Jacopo Ferretti, 1817.***Joey's Song : from Joe Reisman And His Orchestra, DECCA, 1957.***Chiquita Linda: from Un Poquito De Tu Amor by Julio Guttiérez y su Orquesta, Cuba, 1948.***
...discoverd these incredible songs from ?***The DECCA Sessions moved from 8th Aug. 2006.***.***Dinah : originally recorded by Al Handler and his Alamo Cafe Orch. for Gennett in 1925 but apparently rejected via Ethel Waters, COLUMBIA 487-D, 1926 via Jean Goldkette And His Famous Victor Record Orchestra with vocal chorus by "The Kentucky Boys", Victor 19947, 1926 via Fats Waller And His Rhythm, Electrola, June 1935.***Ida, Sweet As Apple Cider (I) (C) 1903) : from Red Nichols And His Five Pennies, Brunswick, 1927 via Glenn Miller and his orchestra, Bluebird, 1941 [originally by Eddie Cantor and his orchestra in 1903, a song dedicated to his wife Ida Tobias].***MARIE : from a waltz composed by Irving Berlin for an early sound movie called The Awakening in 1928 via the original vocal version by Tommy Dorsey A.H.O. feat. Jack Leonard on vocal in 1937.***Corrine, Corrina : from Big Joe Turner, US POP 41, 13th June 1941 & Joe Turner with Chorus and Orchestra, Atlantic, US R'N'B #23, 24th Feb. 1956 [originally by Bo Carter (alias Armenter Chatmon), November 1928.***Sweet Sue, Just You : from Sweet Sue by Fat Waller and his Rhythm, HMV (NY City), June 1935 [originally by Bennie Krueger And His Orchestra, 1928.***CHARMAINE : from the 1926 Raoul Walsh's movie "What Price Glory ?" (a part of the) soundtrack-signed Ernö Rapée-Lew Pollack- based on a piano solo composed by Johannes Brahms via Edmund Eysler "Der Lachende Ehemann", an exerpt of the operetta soundtrack-premiere at Wien Bürgertheater on 19/03/1913 (literally, the laughing married man-premiere in London as The Laughing Husband in 1913).***A.B.C. Rock : from Sally Starr aka Sally Belair, (Mrs. Jesse Rogers), Clymax CR-EP-1002, late 1958 or early 1959.***I Got A Woman : from Ray Charles' I' Ve Got A Woman, Atlantic 1050, December 1954, a rewording of a spiritual (P.D./unknown songwriter(s) called "Ain't that good news", 1940***It was also derived from the tune of a gospel song by Professor Alex Bradford's "Jesus is all the world to me", Specialty, 1954 and it is said Ray Charles was also influenced by Alex Brown or the Bailey Gospel Singers (COLUMBIA, 1951) "I've Got A Savior [(Across Town)].***(Now And Then) There's A Fool Such As I : from Hank Snow, The Singing Ranger and his Rainbow Ranch Boys, RCA Victor 47-5034, 15th/11/1952.***"Caldonia" : from Louis Jordan and His Tympany Five's "Caldonia (What Makes Your Big Head So Hard?), DECCA, January 1945.***"Ooh! Look-A There, Ain't She Pretty" : Looka-there, ain't she pretty from Clarence Williams and his Orchestra, Vocalion 2616-B, 1933, via Buddy Greco and his Three Sharps including Francis Beecher on/to the guitar, Musicraft 515, 1947.***(Thanks For The) Summer Souvenir : from Summer Souvenirs by Larry Clinton And His Orchestra feat. Bea Wain on vocal, US #3, 1938 via Bing Crosby, Decca, Oct. 1938.***Puerto Rican Peddler : from Puerto Rican Pedlar by Johnny Brandon With The Phantoms, Polygon, UK, 1955.***
Avec sa boucle, et son invitation à «Rock Around The Clock" et la gymnastique de ses musiciens, Bill Haley l'a écrite lui-même dans les livres pops de l'histoire pour toujours. Il transmet sur disque ce que quelques autres ont pu faire également, le style musical d'une époque qui a changé le visage de la musique populaire. Le style du rock and roll a évolué grâce à la musique qu'il a joué dans l'ouest du pays avec les groupes et la musique qu'il aimait. Il a combiné deux styles de cette musique pour créer le son qui était de changer la scène musicale pour la génération du début des années 50. Comme beaucoup d'autres, Haley a expérimenté plusieurs manières de jouer ce 'Cowboy Jive' ou 'Hillbilly Jive' et ses premiers efforts sur des firmes mineures de disques américaines ont rencontré peu de réponse. Avec son groupe les "Comets" Haley a marqué son premier vrai succès, "Shake, Rattle and Roll" en 1954 qui fait irruption dans les deux charts américain et britannique. L'année suivante, sa plus grande et plus familière chanson "Rock Around The Clock" (sortie le 20 mai 1954) a servi de générique dans le (MGM) film sur la violence chez les adolescents, "(The) Blackboard Jungle" sorti en première à New York City en mars 1955. Ce fut un hit mondial qui a déclenché une "hystérie" Haley qui a fait les manchettes nationales lorsque lui et ses Comets apparurent dans le film "Rock Around The Clock". Sa popularité à l'époque, était remarquable et une tournée européenne a confirmé que Haley est bien le "roi du Rock'n'Roll" - cependant, son règne a coïncidé avec l'émergence d'Elvis "The Pelvis/Le Bassin" Presley comme une force majeure dans la musique rock (Presley était 10 ans plus jeune que Haley mais n'a rien inventé dans le rock and roll et Jimmy Cavallo/Cavello And His House Rockers jouaient déjà du rockabilly depuis 1951 avec Rock The Joint sorti sur BSD Records 1005) et Haley peu à peu a perdu son emprise sur les charts américains en général mais est resté très populaire au Royaume-Uni. Pourtant, Bill Haley a gardé une popularité qu'il conserve encore aujourd'hui comme le roi incontesté du r'n'r et il reste sans doute le meilleur représentant du rock and roll. *** Rock Around The Clock restera à jamais l'un des "evergreens" de tous les temps.
Bill Haley: 1979 Malaysian compilation (rewritten and completed) + Cappy Bianco (10/12/1927-25/12/2001)
This LP compilation released in late 1979 is still completely unknown of origin. I remember when I bought it, in early January 1980, that the record dealer told me it was coming from Malaysia.***One word about Cappy Bianco alias Frenchman Joe Olivier born 10 Dec. 1927 in Maastricht, Holland/d. 2001/12/25 in Marcy, NY: he was translator-interpreter and the 2nd guitarist too on Haley's Me Rock A Hula; Rockin' Rita; Jamaica, D.J.; Piccadilly Rock; Pretty Alouette (Be My Only One); Rockin' Rollin' Schnitzlebank; Rockin' Matilda; Vive La Rock And Roll; It's A Sin; Mary, Mary Lou; El Rocko; Come Rock With Me; Oriental Rock and Wooden Shoe Rock [DECCA Sessions between Nov.8 and 21, 1957.]***This single The Cat (comprising a few words in French![Paris à cinq heures moins le quart du matin]) / La Donna Riccia was three times released on three different labels: Casa Blanca 5501, Philadelphia, 1959 (label shot with kind courtesy of Terry Gordon (Rocking Country Style); ABC-Paramount 45-10044 (09/59) & DR Records 16, 1959? (originally Drexel, West Chester/Drexel Hill, Pa.), a Philadelphian tiny label.
Parfois le destin est vraiment tragique...Ou comment se tuer "bêtement" à l'âge de 33 ans suite à une chute et en faisant un vol plané dans des escaliers [il s'était brisé la nuque et mourut instantanémént]. Danny Cedrone, lead guitar Gibson ES-300 (né Donato Cedrone le 20 juin 1920) commence à enregistrer avec les Saddlemen à Chester, banlieue de Philadelphie, PA, en juin/juillet 1951.*** English-speaking translation: sometimes the destiny is really tragic… Or how to be killed at the age of nearly 34 years while slipping and falling into the staircases [he broke his neck]. Danny Cedrone (born Donato Cedrone on June 20, 1920) started recording with The Saddlemen in Chester, suburb of Philadelphia, Pa. , in June/July 1951.(Sundown Boogie [a proto-rockabilly original] and later Rock The Joint [from Jimmy Preston and His Prestonians, GOTHAM JP-12, G-188-A, Philadelphia, 24th Sep. 1949] et, Rocking Chair On The Moon [co-signé avec HARRY BROOMHALL (fidèle garde du corps/bodyguard et supporter de Bill), Dance With A Dolly (With A Hole In Her Stockin') [from a 19th century minstrel song "Lubly Fan" (aka Buffalo Gals) by Cool White (alias John Hodges) and The Virginian Serenaders, 1844 [As I was walking down the street, down the street, down the street, a pretty gal I chance to meet under the silvery moon. Buffalo gals, won't you come out tonight? Come out tonight, come out tonight? Buffalo gals, won't you come out tonight, and dance by the light of the moon...] via Lubly Fan and/or Round Town Gals by Al Hopkins and His Buckle Busters (hillbilly), Okeh, 1926 and, via Terry Shand and His Orchestra's "Dance With A Dolly", January 1940) et, Real Rock Drive un peu plus loin dans cette même année 1951 (a little bit later in the same year, then practically "disappears" leaving only one single) puis "disparaît" quasiment ne laissant qu'un autre single. Danny will also play lead guitar on Crazy Man, Crazy in 1953.***On le retrouvera ce fameux jour du 12 avril 1954 à la session de RATC puis sur Shake, Rattle And Roll le 7 juin suivant. Il se tue 10 jours plus tard.***Guyden Records [to become a Jamie subsidiary, the latter founded back in 1958 by Harold Lipsius in Philadelphia, Pa.] was owned by Bob Cordell. B/W (backed with) St. Louie Blues from Wayne Christopher Handy's original St. Louis Blues, Swaggie JCS-33787, Chicago, 26th Feb., 1929 (instrumental). Rock A-Beatin'-Boogie charted (with Kay Carol on vocals) #42 in the Cash Box TOP 50 on 30th Oct.1954. W.C. Handy made also the original version of "Say Yeah" (RENOWN XY-102, 10/1957 [Renown Records and Publications, Inc., Durham, North Carolina]) as Wayne Handy / Jim Thornton And His Band. Who made the original version of RABB? That's the question...See ya next 17th July, 2006 for the response..[maybe I have one, :-)]. 'Course. Just a small idea, Steph? Dunno, just wait like the others. However, Bill Haley who wrote this song, recorded it a full four years later. Bill Haley used to say that this was the song which inspired Alan Freed.***, producer of American Bandstand, Tony Mammarella, in particular signed Butterfly (originally written by Kal Mann and Bernie Lowe) under the pseudonym of Anthony September, [US #7, 2 March 1957] (Charlie Gracie - nice to met you in Liège a few years ago) and certain songs of Connie Francis without having taken part under the pseudonym of Anthony September too. He was, in May 62, accused in the scandal “payolas” (Eng-sp. "bribes" at the same time as Alan Freed. Six other D.J.'S known are fallen in the same business. Alan Freed was never raised some and died on January 20, 1965 in In 1960, the United States Senate investigated payola, the practice of music-producing companies paying broadcasting companies to favor their product, at Palm Springs hospital aged 43 completely ruined. Dick Clark (Richard Augustus Wagstaff, music-producing companies paying broadcasting companies to favor their product. As a result, Clark's personal investments in music publishing and recording companies were considered a conflict of interest, and he sold his shares in those companies.) : when the payola crisis had hit rock at the time, he's been called "the single most influential person"in the popular music industry and made to divest himself of some business interests after the Congressional probe. Despite that, ABC kept on the Dick Clark Show, a syndicated newspaper column, working as a tour emcee and the ill-fated World Of Talent.***He was the first to use the terms of rock'n' roll and signed lyrics in particular with Chuck Berry (.***His troubles constituted in kinda revenge of the good adult white American society of the Fifties which hated rock'n'roll, the white and black mixture and from there, Alan Freed.***He was inducted into the rock'n'roll hall of fame in 1986 for his participation in the explosion and the expansion of r'n'r. It is a historical certainty...***[traduction française: Tony Mammarella, producteur de l'American Bandstand a signé notamment Butterfly (écrite à l'origine par Kal Mann et Bernie Lowe), (Charlie Gracie) et certaines chansons de Connie Francis sans y avoir participé sous le pseudonyme de Anthony SEPTEMBER. Il a été, en mai 62, inculpé dans le scandale des "payolas" (pots-de-vin) en même temps que Alan Freed. Six autres D.J.'s connus sont tombés dans la même affaire. Alan Freed ne s'en est jamais relevé et est mort complètement ruiné en janvier '65. Il avait été le premier à utiliser les termes de rock'n'roll et a signé des textes notamment avec Chuck Berry (pas du tout content parce que Freed n'avait strictement rien à voir avec cette chanson!). Ses ennuis constituaient en sorte une revanche de la bonne société blanche adulte américaine des années 50 qui détestait le rock, le mélange blanc et noir et de là, Alan Freed mais Berry n'en avait rien à fiche! Il a été introduit au rock'n'roll hall of fame en 1986 pour sa participation à l'explosion et l'expansion du r'n'r. C'est une certitude historique / to come up with "rock'n'roll" as a name for the new music.; Bill was some two years adrift in his timing but Freed certainly liked and plugged THE TRENIERS (COLUMBIA/Okeh 7023, March 1954 as the B-side of Trapped In A Web Of Love) then issued on an EPIC E.P. EG 7103 in 1955 [feat. Don Hill on Alto Sax / Orch. under dir. of Quincy Jones]. They, in return, dedicated "MOONDOG" 'S ROCK 'N'ROLL PARTY [White, of Welsh-Lithuanian descent, Freed chose the new name to avoid the racial stigmate thought inherent in existing names like "rhythm & blues" and "race music". Freed was the catalyst throughout his radio show] on Cleveland's WJW in June 1951. RABB written for them by Bill Haley [however, even if the latter wrote that the song had been especially written for his friend Danny Cedrone (issued in December 1952 (see other topic) and the same record in April 1954 - Cedrone hesitating to record it! [maybe was it his firm Guyden records to hesitate?] : The Treniers beat (???) Cedrone [the song was recorded in December 1953]. Nevertheless, his version was much better than the latter, anyway!) in his book "Sound And Glory" published by his eldest son in 1990 (Bill Haley was quite unable to distinguish the lie from the truth: did his memory fail?)] was another fine example of the genre that enslaved Freddie Bell(o) and a young Charlie Graci(e) , ex-Paul Whiteman's Orchestra.***http://www.the-jime.dk/Rockabilly_Guitar/Rock_Around_the_Clock_Solo.htm
Image Rattle My Bones label shot: photo by Terry Gordon, Rocking Country Style Webmaster, Atlanta, U.S.A. (thanks a lot, Terry). ***http://rcs.law.emory.edu/rcs/index.htm***Both songs are featured among the 26 ones featured on this quite fantastic UK Rockstar CD released in 1994 featuring Bill Haley's songs as well. In fact, Rattle my bones was rearranged by Jesse Stone from Nappy Brown with Teacho Wilshire and His Orchestra's "Open Up That Door (And Walk Right In My Heart)" issued on Savoy 1196 early 1956.Photo: left to right: Bob Simpson, Marshall Lytle, Jim Buffington, Joey D'Ambrosio, Dick Richards, Charlie "Chuck" Hess" (circa 1955). US promo label shots: May and August 1956.
Bill Haley: after awhile, crocodile (rock!) (1956); En voiture, Simone! : the 1950 Hydra Matic Drive V-8 Oldsmobile 88 built by General Motors
The "female" voice on "Crocodile" is Franny Beecher's one! b/w The Paper Boy (On Main Street U.S.A.). Keep on rocking!!! . "See you later" charted US #6, 02/1956; UK #7, 03/56 and the re-issue UK #12, 09/1956.***"Step into my rocket and don't be late, baby, we're pullin' out about half past eight"... The real Rocket 88 - the car you can see below, advertised as "the lowest priced car with "rocket engine" - was a chrome sparkling symbol of the American postwar prosperity that even poor people were getting a taste of at the time. General Motors billed the Olds 88 engine as "Futurmatic". Even a young black man in the segretated South could dream about driving a rocket, movin'on out and cruisin' along. BTW, not the Delta 88 built for rich folks...
Back in the olden days with Bill Haley and His Comets (Birth + Hot dog [yum-yum with ketchup & mustard] + a UK EP)
Birth of the Boogie featured "The Jodimars". This is the Belgian pressing (9.61 009, 03/1955) completely unknown in England :-).It was originally released in March 1955 ( US Decca 9-29418, US #17, 04/1955)*****This EP "RATC" including (We"re Gonna) RATC/Mambo Rock (UK #14, 1956 [US #17, 04/1955]) and R-O-C-K/See You Later Alligator on the B-side.Brunswick OE 9250 (1956).Hot Dog Buddy Buddy (US #60, 06/1956) (b/w Rockin' through the rye), US Decca 9-29948, June 1956.
R-O-C-K (#29, USA, 04/1956) "from" Columbia Picture "Rock Around The Clock". En français: "Les Rois Du Jazz" (USA, 1956).Both songs [the 2nd one "The Saints Rock 'N Roll"] hitted US and UK charts US #29 and, US #18 & UK #5.This single version is not the one heard in the movie.Tidbit time: "The Saints..." (Bill Haley-Milt Gabler) should read "arr. B.H.-M.G.".In fact, it was a very old gospel/spiritual from Cincinatti, Ohio, entitled "When The Saints Come (or Are) Marching In", 1896.
Quite terrible! Terrible? What do you mean by "terrible", Stephen?....My goodness! I wanted to say that it was terrific! The former word means "terrific" in English. Don't you think so? Impeccable condition...:-). BTW, the 1st issue was released back in 1954 as a 78 rpm b/w "Pinball Boogie" by Red Foley.RATC charted US #1, 06/55; UK #1, 10/55, UK #5, 09/56; UK # 25, 01/57; UK #20, 04/68; UK #34, 05/68 and finally UK #12 & US #39, 04/1974.***Tidbit time: the Belgian pressing which got a rotten sound had a different intro/different mix!. I'm quite sure seeing I'm still holding both US and Belgian singles.
JO = JOey D'Ambrosia/JOey Ambrose alias Joseph D'Ambrosio, tenor sax***DI = DIck Richards alias Richard Boccelli, drums, some vocals***MARS = MARShall Lytle alias Tom Page, double bass (lotsa thanks for the real names [15th Feb.2006], Marshall, anyway) of the 1955 Bill Haley's Comets.These three young men were at the Decca Sesions for the recording of (We're Gonna) Rock Around The Clock. Hope I'll see the Bill Haley's Original Comets in Belgium at Spirit of 66 in Verviers one day or another. I told Francis Géron about that fact: if you can return, it's okay for him. No problem! Adding members until 1958: Max Daffner, drums too; Bob Simpson, piano; Jim Buffington, drums, Charles "Charlie" and/or "Chuck" Hess, guitar.From left to right: Joey D'Ambrosia; Charlie Hess; Max daffner; Marshall Lytle, Dick Richards and sitting below James E. Myers a.k.a. Jimmy DeKnight. [thanks again, Marshall].The pic cover is the one of the UK Bulldog LP releases (1970 and 1979; CD in 1989 (France)..Bill Haley's Original Comets featuring THE JODIMARS themselves feat. Marshall Lytle on RABB, JOHNNY GRANDE, piano; FRANNY BEECHER, gtr and from England JACKO BUDDIN, gtr, lead vcls, drums on Well now dig this.*****DVD image: from left to right are Jacko Buddin, Dicks Richards, Marshall Lytle, Johnny Grande, Franny Beecher and Joey D'Ambrosio. Gala concert recorded live at Heide Volm - Planegg/München, Germany, 9th Nov. 2003. P.2004.
Today, 13 June 2015 : Marshall Lytle has passed away a few years ago. R.I.P.