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Recordings of Wills's from the mid s to the early s include "two beat jazz" rhythms, "jazz choruses", and guitar work that preceded early rockabilly recordings. Why, man, that's the same kind of music we've been playin' since ! But it's just basic rhythm and has gone by a lot of different names in my time.
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It's the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The rhythm's what's important. After blues artists like Meade Lux Lewis and Pete Johnson launched a nationwide boogie craze starting incountry artists like Moon Mullicanthe Delmore BrothersTennessee Ernie For Speedy WestJimmy Bryantand the Maddox Brothers and Rose began recording what was known as " Hillbilly Boogie ", which consisted of "hillbilly" vocals and instrumentation with a boogie bass line.
The Maddox Brothers and Rose were at "the leading edge of rockabilly with the slapped bass that Fred Maddox had developed". They played real loud for that time, too I mean it just wasn't us up there pickin' and singing. There was something going on all the time. Along with country, swing and boogie influences, jump blues artists such as Wynonie Harris and Roy Brownand electric blues acts such as Howlin' WolfJunior Parkerand Arthur Crudupinfluenced the development of rockabilly.
Zeb Turner 's February recording of "Jersey Rock" with its mix of musical styles, lyrics about music and dancing, and guitar solo,  is another example of the mixing of musical genres in the first half of the s. Bill Monroe is known as the Father of Bluegrassa specific style of country music.
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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 s and is often mentioned as an influence in the development of rockabilly. The Honky Tonk sound, which "tended to focus on working-class life, with frequently tragic themes of lost love, adultery, loneliness, alcoholism, and self-pity", also included songs of energetic, uptempo Hillbilly Boogie.
Hollan had been playing their music roughly ninety miles from Memphis. The Perkins Brothers Band, featuring both Carl and Jay on lead vocals, quickly established themselves as the hottest band on the cutthroat, "get-hot-or-go-home" Jackson, Tennessee honky tonk circuit. Most of the requests for songs were for hillbilly songs that were delivered as jived up versions-classic Hank Williams standards infused with a faster rhythm.
It was here that Carl started composing his first songs with an eye toward the future. Watching the dance floor at all times for a reaction, working out a more rhythmically driving style of music that was neither country nor blues, but had elements of both, Perkins kept reshaping these loosely structured songs until he had a completed composition, which would then be finally put to paper.
Carl was already sending demos to New York record companies, who kept rejecting him, sometimes explaining that this strange new style of country with a pronounced rhythm fit no current commercial trend. Later made more famous by Elvis PresleyPerkins' original version was an early rock 'n' roll standard. In the early s 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 Sam Phillips as being influential. Scotty Moore remembers that, "You could play They didn't care what instruments you had, as long as people could dance. But of more historical significance were the then-unknown artists who came to perform at the Jamboree. Every Saturday night inthe dressing rooms backstage were a gathering place where musicians would come together and experiment with new sounds-mixing fast country, gospel, blues and boogie woogie.
Guys were bringing in new "licks" that they had developed and were teaching them to other musicians and were learning new "licks" from yet other musicians backstage. Soon these new sounds began to make their way out onto the stage of the Jamboree where they found a very receptive audience.
Younger musicians around Memphis were beginning to play a mix of musical styles. Paul Burlisonfor one, was playing in nondescript hillbilly bands in the very early s. The time slot was adjacent to Howlin' Wolf 's and the music quickly became a curious blend of blues, country and what would become known as rockabilly music.
In and the Burnettes Johnny and Dorsey and Burlison played around Memphis and established a reputation for wild music. According to Burlison, " They played with Doc McQueen's swing band at the Hideaway Club but hated the type of music played by "chart musicians. The trio released " Train Kept A-Rollin' " inlisted by Rolling Stone magazine as one of the top rock songs of all timehaving been covered by the YardbirdsAerosmithand many others.
Many consider this recording to be the first intentional use of a distortion guitar on a rock song, which was played by lead guitarist Paul Burlison. Many rockabilly guitarists and historians now accept that on many of the classic recordings Johnny Burnette did in Nashville for Decca it was the legendary "A Team" of Grady Martin on guitar, Bob Moore on bass and Buddy Harmann on drums   backing Johnny and Dorsey on vocals the author of this comment has had discussions with Bob Moore where he confirms this.
In all likelihood both Paul Burlison and Grady Martin played on some of the Nashville recordings, with who played what lost in the mists of time. The use of distortion on a rock'n'roll record was more accurately "Rocket 88" by Jackie Brenston and the Delta Cats.
The legend of how the sound came about says that guitarist Willy Kizart's amplifier was damaged on Highway 61 when the band was driving from Mississippi to Memphis, Tennessee. An attempt was made to hold the cone in place by stuffing the amplifier with wadded newspapers, which unintentionally created a distorted sound; Phillips liked the sound and used it.
Robert Palmer has written that the amplifier "had fallen from the top of the car", and attributes this information to Sam Phillips. However, in a recorded interview at the Experience Music Project in Seattle, Washington, Ike Turner stated that the amplifier was in the trunk of the car and that rain may have caused the damage; he is certain that it did not fall from the roof of the car.
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Presley's first recording, a blues song titled " That's All Right Mama ", was previously recorded in by Arthur Crudup. Record Producer Sam Phillips was told by country deejays that Presley's "That's Alright Mama" was "black music" and lamented they would be "run out of town" for playing it.
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When the song was finally played by one rogue deejay, Dewey Phillips Presley's recording created so much excitement it was described as having waged war on segregated radio stations. All of Presley's early records combined a blues song on one side and a country song on the other, but both sung in the same vein.
Whether you like it or not, there will always be an Elvis Presley. Presley's first, historical recordings took place at Sun Recordsa small independent label run by Sam Phillips in Memphis, Tennessee.
For several years, Phillips had been recording and releasing performances by blues and country musicians in the area. One young man who came to record himself as a surprise for his mother, he claimed, was Elvis Presley.
According to Phillips, "Ninety-five percent of the people I had been working with were black, most of them of course no name people.
Elvis fit right in. He was born and raised in poverty. He was around people that had very little in the way of worldly goods. Presley made enough of an impression that Phillips deputized guitarist Scotty Moorewho then enlisted bassist Bill Blackboth from the Starlight Wranglers, a local western swing band, to work with the green young Elvis.
During a break on July 5,Elvis "jumped up Scotty and Bill began playing along. Excited, Phillips told them to "back up and start from the beginning. Presley's Sun recordings feature his vocals and rhythm guitar, Bill Black's percussive slapped bass, and Scotty Moore on an amplified guitar. Slap bass had been a staple of both Western Swing and Hillbilly Boogie since the s. Commenting on his own guitar playing, Scotty Moore said, "All I can tell you is I just stole from every guitar player I heard over the years.
Put it in my data bank.
An' when I played that's just what come out. Scotty Moore described their first session, resulting in the recording of "That's Alright Mama":.
We were taking a break and, all of sudden, Elvis started singing this song, jumping around and acting the fool. Then Bill Black picked up his bass and began acting the fool too, and I started playing with them.
Sam had the door to the control room open, and stuck his head out and said, 'What are you doing? He said, 'Well, back up. Try to find a place to start, and do it again'. So we kinda talked it over and figured out a little bit what we were doin'.
We ran it again, and of course Sam is listenin'. It was basically a rhythm record. It wasn't any great thing. It wasn't Sam tellin' him what to do. Elvis was joking around, just doing what come naturally, what he felt. Tillman Franks has been quoted as saying, "I want you to give Bill Black the credit. Some have claimed that the sound of "That's Alright" was not entirely new, "It wasn't that they said 'I never heard anything like it before.
Not because Elvis had expressed something new, but he expressed something they had all been trying to express.
And many echo the sentiment that it was a sound like no other they had heard: "When I first heard Elvis singing 'That's Alright Mama'. The time just stood still. It knocked my socks off. Rockabilly recorded by artists prior to Presley can be described as being in the long-standing country style of Rockabilly.
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 itwith slap bass, fancy guitar picking, lots of echo, shouts of encouragement, and vocals full of histrionics such as hiccups, stutters, and swoops from falsetto to bass and back again.
By end of Elvis asked D. Fontanawho was the underutilized drummer for the Louisiana Hayride"Would you go with us if we got any more dates? In a western swing bandleader named Bill Haley recorded a version of " Rocket 88 " with his group, the Saddlemen. It is considered one of the earliest recognized rockabilly recordings. Haley and his bandmates crafted a rockabilly sound during this period as the Saddlemen. When first released in May"Rock Around the Clock" made the charts for one week at number 23, and sold 75, copies.
Rock 'n' rollan expansive term coined a couple years earlier by DJ Alan Free had now been to the pop mountaintop, a position it would never quite relinquish. 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  He cut several songs for Tetra Records in and Although Martin performed mostly country songs for the show, she also did songs by Rhythm and blues singers Ruth Brown and LaVern Bakeras well as a few Dinah Washington songs.
Cash hoped to record gospel music, but Phillips immediately nixed that idea. Cash did not return until Phillips recorded Perkins's original song Movie Maggwhich was released early March on Phillips's Flip label, which was all country. Presley's second and third records were not as successful as the first. Cash returned to Sun in with his song Hey, Porterand his group the Tennessee Threewho became the Tennessee Two before the session was over.
This song and another Cash original, Cry! Elvis was more like an Adonis. But as a rockabilly, Carl was the king of that. Perkins's "Blue Suede Shoes" sold 20, records a day at one point, and it was the first million-selling country song to cross over to both rhythm and blues and pop charts.
Both songs topped the Billboard charts.
Sun and RCA weren't the only record companies releasing rockabilly music. They won all three times and guaranteed them a finalist position in the September supershow. Capitol would release nine more records by Jackson, some with songs she had written herself, before the s were over. The first record by Jerry Lee Lewis came out on December 22, and featured the song "Crazy Arms" which had been a 1 hit for Ray Price some twenty weeks earlier in the year  along with "End of the Road".
There were thousands of musicians who recorded songs in the rockabilly style. An online database lists musicians with names beginning with "A". 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 Campbelland Alis Lesleywho also sang in the rockabilly style.
He continued to record rockabilly music well into with the release of "Alabama Shake".
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In the summer of Eddie Cochran had a chart-topping hit with " Summertime Blues ". Cochran's brief career included only a few more hits, such as "Sitting in the Balcony" released in early" C'mon Everybody " released in Octoberand " Somethin' Else " released in July Then in Aprilwhile touring with Gene Vincent in the UK, their taxi crashed into a concrete lamp post, killing Eddie at the young age of The grim coincidence in this all was that his posthumous UK number-one hit was called " Three Steps to Heaven ".
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Rockabilly music enjoyed great popularity in the United States during an but radio play declined after Factors contributing to this decline are usually cited as the death of Buddy Holly in an airplane crash along with Ritchie Valens and the Big Bopperthe induction of Elvis Presley into the army inand a general change in American musical tastes. The style remained popular longer in England, where it attracted a fanatical following right up through the mids.
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. In an interview that can be viewed at the Experience Music ProjectBarbara Pittman states that, "It was so new and it was so easy. It was a three chord change. Rockabilly was actually an insult to the southern rockers at that time.
Over the years it has picked up a little dignity. It was their way of calling us 'hillbillies'. The first record to contain the word rockabilly in a song title was issued in November "Rock a Billy Gal"; although, Johnny and Dorsey Burnette recorded "Rock Billy Boogie" for the Coral label on July 4, The song had been written and performed much earlier, and refer to the birth of Johnny's son Rocky and Dorsey's son Billy, who were born around the same time inand were firstborns for each of the brothers.
The song was part of their repertoire in when they were living in New York City and performing with Gene Vincent.
It's easy to understand how the New York audience might have thought the Burnettes were singing "Rockabilly Boogie," but they never would, because the term hillbilly was derogatory and would never have been used by the artists themselves.
Rocky Burnettewho later would become a rockabilly artist himself, has stated on his website that the term rockabilly derives from that song. It's also interesting that this song has been covered by hundreds of artists in the years since, and it is always called "Rockabilly Boogie". Slapback, slapback echoflutter echotape delay echoechoand reverb are some of the terms used to describe one particular ct of rockabilly recordings.
It was a big, barn-like building with great echo.
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This same facility would also be used to record other rockabilly musicians such as Buddy Holly and The Rock and Roll Trio. The shape of the ceiling, corrugated tiles, and the setup of the studio were augmented by "slap-back" tape echo which involved feeding the original signal from one tape machine through a second machine.
According to Cowboy Jack Clement, who took over production duties from Sam Phillips, "There's two heads; one records, and one plays back. The sound comes along and it's recorded on this head, and a split second later, it goes to the playback head. But you can take that and loop it to where it plays a split second after it was recorded and it flips right back into the record head.
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