Rock-a-beatin' boogie : tribute to Danny Cedrone (20/06/1920 - 17/06/1954). C'est la vie.
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