I have had this idea for a documentary of rock & roll for years that would chronicle the history of rock for the past 50 years. I decided to preface it with a song title that would capture a certain mood or expression of the times, then follow it with what each era was about. I originally wanted to do it just by each decade, but I found that each decade had so many changes that I decided to do it by dividing each decade into stylistic changes in music and culture (i.e., 60's: the British Invasion, followed by the Psychedelic Era). I'm trying to find some adequate song titles, etc., for each era. One I've been trying to figure out is, what would we call the era of music AFTER Kurt Cobain's death? A time when people were devastated, and rock seemed to be eclipsed by hip-hop and teen pop? I was thinking of focusing on the trend in "nu-metal" or something. Any ideas?

If I pull this together, who knows, I might have the full documentary ready by the 50th Anniversary of "Rock Around the Clock"!!:cool:

"Episode 1: Roll Over Beethoven (or: A Whole Lotta Shakin' Goin' On) Rock & Roll Begins (or some clever title) (1955-1959)
Starting with the precursors of rock & roll, blues artists such as Robert Johnson and country/western musicians such as Hank Williams (etc.), this segment examins the explosive impact "race music" had on young people in the cloistered society of the 50's. We look at Elvis Presley, Chuck Berry, and Little Richard, and music such as Rockabilly."


"Episode 2: A Hard Day's Night: The British Invasion (1964-1967)
After a spell of musical inertia where the bright lights of the 50's rock & roll had either died or dispersed, and the assassination of President Kennedy had plunged the nation into depression, the arrival of the Beatles in America launched a revolution in music with bands like the Rolling Stones, the Who, the Kinks, and the Yardbirds."

"Episode 3: Purple Haze (or: Break On Through): The Summer of Love (1967-1970)
When folk rocker Bob Dylan inroduced the Beatles to marijuana, creative opportunities opened up in music--psychedelic drugs were seen as a gateway to a new reality, a new religion, and a new consciousness, with guitarist Jimi Hendrix, Jefferson Airplane, the Grateful Dead, and the Doors expanding musical boundaries, culminating in the Woodstock music festival--and resulting chaos at Altamont."

"Episode 4: Stairway to Heaven: The Hammer of the Gods (1970-1977)
A new crop of British bands rose from the wreckage of the 60's: the doomsday sound of Black Sabbath, the manic virtuosity of Deep Purple, and the biggest of the big, Led Zeppelin, all put heaviness on the map of music--as well as progressive rock bands such as Pink Floyd, Yes, Jethro Tull, and Emerson, Lake and Palmer, who created outsized musical opuses and stage extravaganzas, while other artists such as Elton John, David Bowie, the Eagles and Fleetwood Mac became superstars, in a time when America wanted to forget Vietnam and Watergate."

"Episode 5: Pretty Vacant: The Outrage of Punk (1977-1981)
By the mid 70's, rock and pop had become relatively safe and self-indulgent, as the Sexual Revolution of the Me Decade spun its glittering disco ball into radio-friendly frivolity of the Bee Gees, Donna Summer and the Village People--until a British band of ugly upstarts, the Sex Pistols, shook up the UK, along with other punk bands, the Clash and the Ramones, bringing rock back to its raw, simple anarchy. Meanwhile in America, similar musical rumblings spawned innovative bands such as the Talking Heads, Television, Blondie, and the Cars, forming what was to become known as New Wave, complete with synthesizers, skinny ties and simple, quirky tunes."

"Episode 6: Girls On Film (or: Money For Nothing): The Video Revolution (1981-1985)
As the country entered the Reagan Era, a new medium of promoting potential hits became the norm: Music Television, or MTV, where bands such as Duran Duran and Def Leppard became huge, as artists were judged more on how the looked and acted more than how well they played. Guitar hero Eddie Van Halen helped break racial boundaries on Michael Jackson's hit "Beat It,";video propelled Irish band U2 into prominence with its themes of social consciousness, and working-class rocker/songwriter Bruce Springsteen suffered the biggest misrepresentation of his music by the powers-that-be."

"Episode 7: Welcome to the Jungle: Parental Advisory (1985-1991)
During Reagan's second term, conservative political forces decided to clamp down on perceived obscenity and destructive messages in music after the wife of Senator Al Gore found "offensive lyrics" on a Prince album. Tipper Gore's Parents' Music Resource Center (PMRC) targeted "corrupting" artists such as Ozzy Osbourne, Madonna, Motley Crue, AC/DC, and an upcoming band that pushed heavy tempos to extremes--Metallica.
One band, Guns N' roses, crawled from the underbelly of L.A.'s blow-dired pop-metal scen of Ratt, Poison, and Dokken to become the baddest of the bad."

"Episode 8: Smells Like Teen Spirit: Alternative Nation (1991-1994)
The L.A. pop-metal hit machine ground to a halt with the rise of a grubby "grunge" band from Seattle called Nirvana and its fellow scenesters Pearl Jam, Soundgarden, and Alice In Chains, starting a trend in garage-band-like guitar playing, themes of teen alienation, and heroin use--all to end with the suicide of Nirvana lead singer Kurt Cobain, who lamented his inability to handle "stardom", and killing the joy for all other aspiring rock artists in pursuit of success. At that time, Metallica had re-invented its sound into a more commercial (yet heavy) style on its self-titled album, and U2 had embraced a more electronica/dance sound on its albums in the 90's. "

"Episode 9: Baby Hit Me One More Time: The End of Rock? (1994-2001)
Now that the bright light of the 90's had snuffed out his own life, rock was crawling into a slow state of decline, perked up slightly by the "punk-pop" of Green Day, the Offspring, and Blink-182, as well as Metallica's "Load" albums. For once, rock was no longer supreme on the charts; its popularity eclipsed by rap/hip-hop, country, and the disturbing trend of teen pop stars such as Britney Spears, the Backstreet Boys, and Christina Aguilera. Their cuteness and sexiness overshadowed their vapidity of their songs. Meanwhile, "nu-metal" bads incorporating hip-hop rhythms like Korn and Limp Bizkit flourished while progressive "alt-metal" rockers Tool and hard-driving Pantera scored points for holding high the metal flag, and "shock-rocker" Marilyn Manson made headlines."

Other song titles: "Got the Time" by Korn, "Far Beyond Driven"(album) by Pantera, etc.

"Episode 10: A Beautiful Day: United We Stand (2001+)
The most imprtant event in music in the Third Millenium so far was not a musical event--but has affected music even to this day: September 11, 2001, when America was attacked on its own soil by terrorists. From the FCC banning certain songs from the airwaves (i.e., "What a Wonderful World" by Louis Armstrong and "Leaving On a Jet Airplane" by Peter, Paul, and Mary) to patriotic, even xenophobic country anthems by Toby ("Courtesy of the Red, White, and Blue--the Angry American Song") Keith, the music scen now reflected the new realities in America. Overnight, freedom of expression, so bitterly fought for by musicians, had suddeny become suspect. Angry country fans howled for the heads of the Dixie Chicks when singer Natalie Maines criticized President Bush's war in Iraq. In a complete reversal of the 60's, political dissent and protest was largely ignored in popular music, while rapping "nu-metal" bands like Linkin Park, Poppa Roach, P.O.D, and Puddle of Mudd dominated the charts. Metal superstar Ozzy Osbourne became America's favorite dysfunctional t.v. father while his Ozzfest summer concert tours revitalized interest in heavy metal."

I like your ideas so far!! Have you begun any filming or have you contacted any of the people that were around in the eras your focusing on for interviews. I would love to hear about your experiences while talking with them.

Good luck with your project!!!

:wave: :rockon:

Originally posted by Jrnygrl
I like your ideas so far!! Have you begun any filming or have you contacted any of the people that were around in the eras your focusing on for interviews. I would love to hear about your experiences while talking with them.

Good luck with your project!!!

:wave: :rockon:
I'm currently completing the screenplay for it, but I should get ready and start calling people for it and get a better idea! I'm just a busride away from EMP in Seattle, so it shouldn't be too difficult.

I think this is a great idea! And your ideas look pretty awesome. Good luck with this.

It's great! I wish they would actually broadcast it though! :cough: :cough: although you are missing :cough cough: a very important :cough: band :cough cough cough: by the name of :cough: Queen.:)

Originally posted by DianeChambers87
It's great! I wish they would actually broadcast it though! :cough: :cough: although you are missing :cough cough: a very important :cough: band :cough cough cough: by the name of :cough: Queen.:) Oh yeah, I haven't forgotten Queen, I'm going to talk about them in the "Hammer of the Gods" episode, where rock & roll became all spectacular in their songs and in concert in the mid-70's; in that paragraph above I used Led Zeppelin and Pink Floyd, etc., as examples of bands that made everything BIG. I may not have mentioned KISS and Aerosmith either, but they are definitely going to be in there as well, it just wouldn't be the 70's without them!!

Btw, my episodes are theoretically going to be two hours long and no stone will be uncovered. In the HOTG episode, I am going to make MORE than a little mention of Black Sabbath as the inventors of metal.

I also thought of a good name for the 9th episode: "Episode 9: Freak On a Leash --Something Nu", about the rise of bands like Korn, Limp Bizkit, and the nu-metal in the latter half of the 90's.

If that gets filmed and stuff, you're my new idol. That's freakin awesome.

oh ya one more thing... "Blizzard of Oz" came out in '80, right, and I know that from around '77 to about '82 was basically the "Punk" era, but maybe you should mention BOO too :D

Originally posted by Miss Karly
If that gets filmed and stuff, you're my new idol. That's freakin awesome.

oh ya one more thing... "Blizzard of Oz" came out in '80, right, and I know that from around '77 to about '82 was basically the "Punk" era, but maybe you should mention BOO too :D I thought I already was your new idol.:notworthy :king: :joke::lol:

Yeah, I was thinking about that, in 1980, a whole new crop of metal/hard rock bands came out and killed disco, like AC/DC, Van Halen, Ozzy, and Judas Priest, and technically, the first wave of punk was finished by 1980, but the one thing about the punk/new wave movement was that it gave bands the idea that it was okay to make songs that could easily fit on a playlist on the radio, and not have to be huge sprawling numbers that took up entire album sides like in the 70's. So even though my "punk" episode will be about punk, it won't be TOTALLY about punk, it will be about the rebirth of heavy metal. And I was thinking of starting the episode off with one of the reasons why punk took off in the first place: DISCO!!

(cue: "Rock And Roll" by Led Zeppelin)

Hi. I'm Captain ABlairica. I'm your captain on a journey into time...and music. We are going into the past 50 years of the greatest music the world has ever known: Rock and roll. We will look at everyone from Elvis to Eminem...Little Richard to Linkin Park. It'll be quite a trip. So hey. Enough of my yackin'. Let's boogie.

Episode 1: Roll Over Beethoven: Rock and Roll Begins

So where did rock and roll begin? From some jukebox in a soda shop during the Eisenhower Era? Actually, the seeds of rock and roll were planted some twenty some odd years before, in a world quite different from L.A. or London...In a place somewhere in the Mississippi Delta. Rock and roll was a product of the Blues. Not one particular artist or song is to be credited for it, many persons, particularly musicians of African-American persuasion, were to begin its formation. One artist in particular was a young man who was to have profound impact on future generations of musicians. His name was Robert Johnson.

(Cue "Cross Roads Blues)

Cross Road Blues (take 2)

I went to the crossroad
fell down on my knees
I went to the crossroad
fell down on my knees
Asked the Lord above "Have mercy, now
save poor Bob, if you please

Mmmmm, standin' at the crossroad
I tried to flag a ride
Standin' at the crossroad
I tried to flag a ride
Didn't nobody seem to know me
everybody pass me by

Mmm, the sun goin' down, boy
dark gon' catch me here
oooo ooee eeee
boy, dark gon' catch me here
I haven't got no lovin' sweet woman that
love and feel my care

You can run, you can run
tell my friend-boy Willie Brown
You can run, you can run
tell my friend-boy Willie Brown
Lord, that I'm standin' at the crossroad, babe
I believe I'm sinkin' down

While Robert Johnson was to have recorded nearly thirty acoustic blues on guitar and harmonica, little is known about him. For what little is known about him legend and myth have compensated for the rest: He was born in Mississippi in 1911 and married young to a wife who died in childbirth. He chose music over a life of working in cotton plantations, and began to tour around the South playing juke joints where his reputation grew as amazing guitarist. So amazing, that, as legend has it, he was to have sold his soul to the Devil for his musical abilities in a Faustian bargain. The Devil seemed to have collected early, legend tells us that a jealous husband poisoned him to death for his womanizing ways. He died in August 1938 and was buried in a spot no one exactly knows where, but three separate markers announce his final resting place. His song "Hellhound on My Tail" sums up his life--and death--perfectly.

The period right after Nirvana ended was pretty much the Spice Girls (teen pop)/hip hop thing, like you said.

But also there was a *huge* explosion of female artists & female-led bands. Seemingly outta nowhere we got people like Alanis M., Veruca Salt, Paula Cole, Jewel, Fiona Apple, the whole Lilith Fair thing & all the 'riot grrls' etc etc.
The leftover 'alternative' scene was thriving at this point too.

The history of American musicis filled with many names and many songs of those who planted the seeds of rock and roll. Many classic rock artists who were popular thirty to forty years ago listened to what could be considered "classic rock" thirty to forty years before them. Many of these artists included:

Lead Belly, who was imprisoned in 1917 for killing a man, but was pardoned after composing a song to the governor
pleading for his release. His songs include "Rock Island Line," which later led to the skiffle movement many years after his death in 1949, while other songs such as "Black Betty" and "Where Did You Sleep Last Night" resurfaced on the charts decades later.

This rocks! Here's wishing you lots of luck. :)

T-Bone Walker, one of the first innovators on the electric guitar, performed wild stage antics that would later inspire
future greats Chuck Berry and Jimi Hendrix. His famous songs were "T-Bone Blues" and "Call It Stormy Monday."

John Lee Hooker, whose first hit, "Boogie Chillen", had a career spanning over fifty years. One popular song that emphasized his slappy, rhythmy style was "Boom Boom," released in 1962.

(Open "Boom Boom" clip from "Blues Brothers" movie)

Muddy Waters, an orphan raised on a sharecropper plantation, went on to become one of the greatest blues musicians of all time. With songs like "I'm Your Hoochie Coochie Man" and "Mannish Boy," he became the leader of the hard-edged, driving sound of Chicago electric blues, which was to become the motherlode that would give birth to rock and roll.

Howlin' Wolf, a Delta-born and bred guitarist so named for his captivating sing voice, was noted for songs that would become favorites in years to come: "Smokestack Lightning," "Little Red Rooster", "Back Door Man," and "Killing Floor".

Bo Diddley, with his trademark box-shaped guitar with a distinctive sound, came out with hits like "I'm a Man" and "Who Do You Love" was a definite rock & roll pioneer.

B.B. King, the "King of the Blues", with his trademark guitar nicknamed "Lucille", hit the 50's R & B charts with "Three O'Clock Blues", and later, "The Thrill Is Gone."

Willie Dixon, who was of equal imprtance to the Chicago blues scene next to Muddy Waters, did his own version of Waters' "Hoochie Coochie Man", as well as "I Can't Quit You Baby" and "Bring It On Home." The Mississippi Delta was the birthplace of the blues, but Chicago became its capital and Mecca.

What is the Blues, exactly? And why is important to rock and roll? To put it simply, rock and roll is one step, one great step in the path of American music largely created at this country's birth by African-Americans. Blues spoke of hardships, the longings, the desire to transcend those hardships. The loves, the losses, the passions. It is not just the song of the black man, it is the song of Everyman. The music was raw and sown to earth, the themes even rawer. Tales of Robert Johnson selling his soul to the Devil meant that the blues was "the Devil's music", with all its passions and tales from the dark side. Even certain musical notes were considered "evil." The fact that many songs sung by women in the late 20's, songs with lyrics so spicy they would make Christina Aguilera blush, did not help calm peoples' fears of the lusty reputation of the blues.

In spite of the preconceived notion of race and music, country & western music was birthed by the blues--black blues. There is the tendency to think that Country/Western is strictly "white", while the blues is strictly "black." The wandering white minstrels marginalized by society in the same way as their black counterparts in the Depression-Era 30's had much the same tales and came up with a distinct musical style taken directly from black acoustic blues. Jimmie Rodgers, "the Father of Country Music", in the late 20's, learned the blues from black railroad workers, as did many other early white country artists who learned from blacks. White audiences enjoyed black blues then, and likewise black audiences enjoyed white country.

In 1949, young Hank Williams, who as a child in Alabama learned music from a black musician named Rufe Payne, became the first country superstar with the song, "Move It On Over," as well as songs "Hey Good Lookin'", "Love Sick Blues," and "Long Gone Blues." Though having a deep religious faith, the pressures of stardom took countrol of his life, and he was consumed by drugs and alcohol. Williams, "the Father of Outlaw Country Blues", died New Year's Day 1953, having become the founder of Contemporary Country Music. But while many white country performers drew their inspiration from black blues performers, Country music kingpens in Nashville wanted to hide and "whitewash" this fact. But Hank Williams broke the rules with his own style, steeped in black roots.

Rock and roll apparently has had a history much like all other American popular music forms, where white artists either popularized all black styles by adopting as their own, as well as often denying outright their black musical ancestors. Rock and roll is definitely a "mulatto" child of American music.

In 1946, a little-known guitarist named Arthur "Big Boy" Crudup recorded a single called "That's All Right Mama." While not being a hit, the song did go on to change the face of music in the 20th century when a young young white truck driver made his recording debut with it.

The young man was Elvis Aaron Presley.

Hank Williams

Originally posted by Captain ABlairica
Hank Williams
Hank is a legend where I live. Most people in the sticks of Alabama love Hank.

That's All Right, Mama
(words & music by Arthur Crudup)

Well, that's all right, mama
That's all right for you
That's all right mama, just anyway you do
Well, that's all right, that's all right.
That's all right now mama, anyway you do

Mama she done told me,
Papa done told me too
'Son, that gal your foolin' with,
She ain't no good for you'
But, that's all right, that's all right.
That's all right now mama, anyway you do

I'm leaving town, baby
I'm leaving town for sure
Well, then you won't be bothered with
Me hanging 'round your door
Well, that's all right, that's all right.
That's all right now mama, anyway you do

The man who would become the greatest entertainer of all time and forever shape the course of music, Elvis Presley, was born in humble circumstances, in a two-room shack, on January 8, 1935, in Tupelo, Mississippi, to parents Vernon and Gladys Presley, both a sharecropper and a sewing machine operator. A twin brother, Jesse Garon, was stillborn. As a child, Elvis and his family were very poor, but church made up for the drudgery young Elvis lived through. He loved singing the colored Gospel spirituals, and would later take his talents to the state fair, where he would win second prize for singing a song called "Old Shep", about a boy and his dog.

In 1948, Elvis' family would move to Memphis searching for better work. While life was hard for them at first, Memphis would give young Elvis a taste for music: it was a musical Mecca full of gospel, blues, and country singers. Elvis listened to black blues musicians on the radio religiously. But he had no desire to be a bluesman, he fancied himself at least to be a crooner. In high school, he was "different" from the other kids and an outcast, by wearing pink shirts and sideburns, but remained shy.

Folks down south were generally leery of the curious mixture of black r & b and white country called "rockabilly" coming out. People were generally intolerant of music performed by black artists. What was needed was a white boy to make the crossover. After graduating from high school in June 1954, Elvis took a job as a truck driver and one day, during lunch break, went into a small recording studio to record two songs for $4.00. Months later, he received a call from Sam Phillips, head of Sun Records, who enjoyed his tapes of ballads and wanted to sing something with more youth appeal. Elvis came in and sang a revved-up version of Arthur Crudup's "That's All Right Mama." Phillips and guitarist Scotty Moore were amazed--this boy had something. "Good God! They'll run out of town when they hear this!" said Moore.

The song received tremendous airplay on WHBQ radio in Memphis and Sun Records offered a recording contract. "That's All Right Mama" hit Number One on the local country charts, and Elvis and his bandmates including Moore named themselves The Hillbilly Cat and the Blue Moon Boys and began to tour. Initially struck by stage fright, Elvis learned to soak up the spotlight and the screaming adulation of teenage girls. Elvis' second single, "Good Rockin' Tonight", landed him a spot on local t.v. to appear every Saturday night.

During his early shows, he developed his trademark sneer, flamboyant clothing, and his suggestive swivel--something that few white performers would ever dream of doing. Elvis caused riots wherever he played, and girls would strip his jacket and shirt off. The insane experiences attracted the attention of Colonel Tom Parker, a Dutch expatriate with a shady background in the circus. When he became Elvis' manager in 1956, he convinced Elvis to leave the Sun Records label for RCA Victor, which would guarantee nationwide airplay and higher earnings--much of which would end up in Parker's hands. The first hit Elvis recorded for RCA was "Heartbreak Hotel."

Heartbreak Hotel
(words & music by Mae B. Axton - Tommy Durden - Elvis Presley)

Well, since my baby left me,
I found a new place to dwell.
It's down at the end of lonely street
at Heartbreak Hotel.

You make me so lonely baby,
I get so lonely,
I get so lonely I could die.

And although it's always crowded,
you still can find some room.
Where broken hearted lovers
do cry away their gloom.

You make me so lonely baby,
I get so lonely,
I get so lonely I could die.

Well, the Bell hop's tears keep flowin',
and the desk clerk's dressed in black.
Well they been so long on lonely street
They ain't ever gonna look back.

You make me so lonely baby,
I get so lonely,
I get so lonely I could die.

Hey now, if your baby leaves you,
and you got a tale to tell.
Just take a walk down lonely street
to Heartbreak Hotel.

(cue: "Heartbreak Hotel")

"Heartbreak Hotel" would become Elvis' first nationwide hit. This led to t.v. appearances, including his first on the Dorsey Brothers' "Stage Show" on January 28, 1956, then on the Milton Berle Show, and on the Steve Allen show where Steve Allen presented him with a Bassett hound for singing "Hound Dog."
Elvis' most successful t.v. appearance would be on the Ed Sullivan show on September 9th. Sullivan was fearful of Elvis' sexually suggestive hip-swiveling, which would not sit well with his family-oriented show (Elvis claimed that he was merely moving to the music, nothing indecent about it), but realized it would bring big ratings. He ordered that Elvis only be shown only from the waist up on the air. Fifty-four million viewers tuned in to the show--more than that who watched President Eisenhower accepting the 1956 presidential nomination.

Many felt that Elvis was becoming a "moral threat" in the safe and
sanitized society of the 50's; his scandalous swivelling was bringing in a tide of "juvenile delinquency" much in the same way
young actors Marlon Brando and James Dean had done in the movies "The Wild One" and "Rebel Without a Cause." The backlash had begun, not only against Elvis but what he represented--teen rebellion, something moving away from the well-mannered, well-groomed "nice-boy" conformity of "Father Knows Best", "Ozzie and Harriet", and "Leave It to Beaver." Rock and roll through Elvis had become dangerous--it had broken down societal taboos about race, class and sex--a shocking rebellious act in the "safe" 50's. Elvis, the white boy who had "sung black", had broken down the barriers.

But Elvis didn't want to "rebel", he just wanted to sing--and act. He filmed his first movie "Love Me Tender," "Loving You," and "Jailhouse Rock", which yielded the hit of the same name. In 1957, he bought the Graceland Mansion for his loving mother.

(cue: "Jailhouse Rock")

Jailhouse Rock

The warden threw a party in the county jail.
The prison band was there and they began to wail.
The band was jumpin' and the joint began to swing.
You should've heard those knocked out jailbirds sing.
Let's rock, everybody, let's rock.
Everybody in the whole cell block
was dancin' to the Jailhouse Rock.

Spider Murphy played the tenor saxophone,
Little Joe was blowin' on the slide trombone.
The drummer boy from Illinois went crash, boom, bang,
the whole rhythm section was the Purple Gang.
Let's rock, everybody, let's rock.
Everybody in the whole cell block
was dancin' to the Jailhouse Rock.

Number forty-seven said to number three:
"You're the cutest jailbird I ever did see.
I sure would be delighted with your company,
come on and do the Jailhouse Rock with me."
Let's rock, everybody, let's rock.
Everybody in the whole cell block
was dancin' to the Jailhouse Rock.

The sad sack was a sittin' on a block of stone
way over in the corner weepin' all alone.
The warden said, "Hey, buddy, don't you be no square.
If you can't find a partner use a wooden chair."
Let's rock, everybody, let's rock.
Everybody in the whole cell block
was dancin' to the Jailhouse Rock.

Shifty Henry said to Bugs, "For Heaven's sake,
no one's lookin', now's our chance to make a break."
Bugsy turned to Shifty and he said, "Nix nix,
I wanna stick around a while and get my kicks."
Let's rock, everybody, let's rock.
Everybody in the whole cell block
was dancin' to the Jailhouse Rock.

Some of Elvis' wide variety of hits include:

All Shook Up
Are You Lonesome Tonight
Baby Let's Play House
Blue Christmas
Blue Suede Shoes
Can't Help Falling In Love
Crying In the Chapel
Don't Be Cruel
Hound Dog
I Want You, I Need You, I Love You
Kissin' Cousins
Little Sister
Love Me Tender
It's Now Or Never
Return To Sender

and many others.

Arguably the other most important performer who helped forge the sound of rock and roll was a black musician who brought both black and white audiences together, Chuck Berry.
Born on October 18, 1926 in St. Louis, Missouri, as a young man Berry served three years for attempted burglary. As a musician, he was interested in country music and led a blues trio that played local black St. Louis blues clubs. In 1955 he took his songs to blues capital Chicago where he met his idol Muddy Waters, who recommended that he record the song "Maybellene," which not only became a big hit with young audiences both black and white, but also impressed d.j. Alan Freed who helped manage his career.

Maybellene

Maybellene, why can't you be true?
Oh Maybellene, why can't you be true?
You've started back doing the things you used to do.

As I was motivatin' over the hill
I saw Maybellene in a coup de ville.
A Cadillac a-rollin' on the open road,
nothin' will outrun my V8 Ford.
The cadillac doin' 'bout ninety-five,
she's bumper to bumber rollin' side by side.

Maybellene, why can't you be true?
Oh Maybellene, why can't you be true?
You've started back doing the things you used to do.

Pink in the mirror on top of the hill,
it's just like swallowin' up a medicine pill.
First thing I saw that Cadillac grille
doin' a hundred and ten gallopin' over that hill.
Offhill curve, a downhill strecth,
me and that Cadillac neck by neck.

Maybellene, why can't you be true?
Oh Maybellene, why can't you be true?
You've started back doing the things you used to do.

The Cadillac pulled up ahead of the Ford,
the Ford got hot and wouldn't do no more.
It then got clody and it started to rain,
I tooted my horn for a passin' lead
the rain water blowin' all under my hood,
I knew that was doin' my motor good.

Maybellene, why can't you be true?
Oh Maybellene, why can't you be true?
You've started back doing the things you used to do.

The motor cooled down, the heat went down
and that's when I heard that highway sound.
The Cadillac a-sittin' like a ton of lead
a hundred and ten a half a mile ahead.
The Cadillac lookin' like it's sittin' still
and I caught Maybellene at the top of the hill.

Maybellene, why can't you be true?
Oh Maybellene, why can't you be true?
You've started back doing the things you used to do.

Johnny B Goode

Deep down Louisiana close to New Orleans
Way back up in the woods among the evergreens
There stood a log cabin made of earth and wood
Where lived a country boy named Johnny B. Goode
Who never ever learned to read or write so well
But he could play the guitar just like a ringing a bell

Go go
Go Johnny go
Go
Go Johnny go
Go
Go Johnny go
Go
Go Johnny go
Go
Johnny B. Goode

He used to carry his guitar in a gunny sack
Go sit beneath the tree by the railroad track
Oh, the engineerswould see him sitting in the shade
Strumming with the rhythm that the drivers made
People passing by they would stop and say
Oh my that little country boy could play

Go go
Go Johnny go
Go
Go Johnny go
Go
Go Johnny go
Go
Go Johnny go
Go
Johnny B. Goode

His mother told him "Someday you will be a man,
And you will be the leader of a big old band.
Many people coming from miles around
To hear you play your music when the sun go down
Maybe someday your name will be in lights
Saying Johnny B. Goode tonight."

Go go
Go Johnny go
Go go go Johnny go
Go go go Johnny go
Go go go Johnny go
Go
Johnny B. Goode

Chuck Berry

Roll Over Beethoven

I'm gonna write a little letter,
gonna mail it to my local DJ.
It's a rockin' rhythm record
I want my jockey to play.
Roll Over Beethoven, I gotta hear it again today.

You know, my temperature's risin'
and the jukebox blows a fuse.
My heart's beatin' rhythm
and my soul keeps on singin' the blues.
Roll Over Beethoven and tell Tschaikowsky the news.

I got the rockin' pneumonia,
I need a shot of rhythm and blues.
I think I'm rollin' arthiritis
sittin' down by the rhythm review.
Roll Over Beethoven rockin' in two by two.

Well, if you feel you like it
go get your lover, then reel and rock it.
Roll it over and move on up just
a trifle further and reel and rock it,
roll it over,
Roll Over Beethoven rockin' in two by two.

Well, early in the mornin' I'm a-givin' you a warnin'
don't you step on my blue suede shoes.
Hey diddle diddle, I am playin' my fiddle,
ain't got nothin' to lose.
Roll Over Beethoven and tell Tschaikowsky the news.

You know she wiggles like a glow worm,
dance like a spinnin' top.
She got a crazy partner,
oughta see 'em reel and rock.
Long as she got a dime the music will never stop.

Roll Over Beethoven,
Roll Over Beethoven,
Roll Over Beethoven,
Roll Over Beethoven,
Roll Over Beethoven and dig these rhythm and blues.

Berry also came out with hits such as "School Days", "Sweet Little Sixteen", "Rock and Roll Music", "Memphis", "No Particular Place to Go", "Rock in the U.S.A.", and "Brown Eyed Handsome Man". He also became popular for his stage moves, inspired by T-Bone Walker, known as the Duckwalk (see photo).

Berry would become the inspiration for future guitarists and songwriters in the 60's--but it would not be almost another fifteen years before he had his first #1 hit in the U.S., "My Ding-a-Ling", a old favorite.

Bill Haley and His Comets(Bill Haley at top of photo)

In the mid-1940's, Bill Haley was a flamboyant cowboy singer whose career was going nowhere. He frotned a series of struggling bands but people weren't buying his country/western cowboy "schtick". He almost considered giving up the music business all together and began a brief stint as a dj when former bandmates convinced him to reform a band in 1949. Their new name was Bill Haley and His Saddlemen. They decided to experiment with the sound and rhythm, such as percussively slapping the bass fiddle for a driving beat--which became the foundation of a musical sound called Rockabilly.

Bill Haley wrote many songs containing the word "rock" in those days, "Rock This Joint", "Rock a Beating Boogie", etc. He was impressed with the alliteration of lyrics such as "Rock, roll, roll, everybody!" (which worked better than, "Stomp, stomp, stomp, everybody!") Program director Bob Johnson at radio station WPWA in the Philadelphia-Wilmington area was so impressed with Bill's band's new sound that he suggested, "With a name like Haley, you should call your group The Comets!" To be named after the legendary heavenly body blazing through the sky struck a note with Haley--it added much-needed flash and sound catchy as well. In 1952, Bill Haley and His Comets would shed their snazzy cowboy outfits and leave country music in favor of their new style of upbeat music.

In 1954, as Haley and his band prepared to launch a much-publicized campaign for his music through Decca Recoeds, they recorded a favorite live staple (in fact a cover of a tune by Sunny Dae and His Knights) which would change the musical landscape faster than an atomic bomb--"Rock Around the Clock".

Rock Around The Clock
Max C. Freedman & Jimmy de Knight - 1953 Myers Music USA

One, two, three o'clock, four o'clock, rock,
Five, six, seven o'clock, eight o'clock, rock,
Nine, ten, eleven o'clock, twelve o'clock, rock,
We're gonna rock around the clock tonight.

Put your glad rags on and join me, hon,
We'll have some fun when the clock strikes one,
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'til broad daylight.
We're gonna rock, gonna rock, around the clock tonight.

When the clock strikes two, three and four,
If the band slows down we'll yell for more,
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'til broad daylight.
We're gonna rock, gonna rock, around the clock tonight.

When the chimes ring five, six and seven,
We'll be right in seventh heaven.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'til broad daylight.
We're gonna rock, gonna rock, around the clock tonight.

When it's eight, nine, ten, eleven too,
I'll be goin' strong and so will you.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'til broad daylight.
We're gonna rock, gonna rock, around the clock tonight.

When the clock strikes twelve, we'll cool off then,
Start a rockin' round the clock again.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'til broad daylight.
We're gonna rock, gonna rock, around the clock tonight.

If Elvis was the King of Rock and Roll, then Little Richard was its "Queen". Richard (Penniman) was one of the first flamboyant, manic showmen of rock and roll, with his screaming vocal style and piano-pounding. He got his style from observing singing and shouting street preachers in his hometown of Macon, Georgia. The black gospel rubbed off on him as he joined vocal groups early on. Not only was Richard hyperactive but his homosexuality caused much friction with more conservative folks. In 1952, after a few flop singles, a musician named Esquirita taught him piano and encouraged him to play in local clubs. Richard dressed flashy, put on makeup, and wowed audiences everywhere. In 1955 he recorded "Tutti Frutti" after cleaning up a few lewd lyrics, as well as "Long Tall Sally". For the next few years, Little Richard was a singing sensation, howling his hits and dancing about with his piano, shocking audiences everywhere with his insane showmanship. But in 1957, after a plane scare, Richard re-evaluated his life and decided to quit rock and roll to become a preacher in the Seventh Day Adventist church. This would become one of the first of many of his on-again, off-again stints in rock and roll and religious training, as rock and roll appeared to be a moral conflict in his life.

Tutti Frutti (Richard Penniman, Dorothy La Bostrie, Joe Lubin)

Wop bop a loo bop a lop bam boom!

Tutti frutti, oh rutti,
Tutti frutti, oh rutti,
Tutti frutti, oh rutti,
Tutti frutti, oh rutti,
Tutti frutti, oh rutti,
Wop bop a loo bop a lop bam boom!

I got a gal, named Sue, she knows just what to do,
I got a gal, named Sue, she knows just what to do,
She rocks to the East, she rocks to the West,
She is the gal that I love best,
Tutti frutti, ...

I got a gal, named Daisy, she almost drives me crazy,
Got a gal, named Daisy, she almost drives me crazy,
She knows how to love me, yes indeed,
Boy you don't know what she's doin' to me,
Tutti frutti, ...

Long Tall Sally(Enotris Johnson, Richard Penniman, Robert Blackwell)

Gonna tell aunt Mary, 'bout uncle John,
He claim he has the misery but he's havin' a lot of fun,
Oh baby, yes baby, woo baby, havin' me some fun tonight.

Well, long tall Sally, she's built for speed,
She's got everything that uncle John need,
Oh baby, yes baby, woo baby, havin' me some fun tonight.

Well, I saw uncle John with bald headed Sally,
He saw aunt Mary coming and he ducked back in the alley,
Oh baby, yes baby, woo baby, havin' me some fun tonight.

We're gonna have some fun tonight,
We're gonna have some fun tonight,
Woo, have some fun tonight,
Everything's all right,
Have some fun, have me some fun tonight!

Alan Freed was the one man most noted for popularizing the term rock and roll for the new sound in music. In high school, Freed played trombone in a band called the Sultans of Swing, but an ear infection prevented him from pursuing a career in music. He became a dj and announcer to radio stations in Ohio and Pennsylvania in the 1940's and on June 11, 1951, went on to broadcast an r & b program on station WJW, calling himself "Moondog." He began to notice at record stores many young white people buy black r & b singles in large numbers, and decided to give these records a push on his program. At his Moondog Coronation Ball, 20,000, fans crashed the gates to the Cleveland Arean in March 1952. Two-thirds of the attendees and gate-crashers were white who wanted to see black r & b groups onstage.

In September 1954, Freed was at station WINS in New York. Hoping to make r & b more palatable to white audiences, he called it an even more scandalous term--rock and roll, a black euphemism for sex! Freed lined up a series of well-attended rock and roll shows, as well as starring in movies such as "Rock Around the Clock", "Rock, Rock, Rock", and "Don't Knock the Rock".
Unfortunately, his own nationally televised show on ABC-TV was cancelled when affiliates in the South were angered by young black singer Frankie Lymon dancing with a white girl. Horrors!

Soon Freed's rock and roll shows caused riots onthe East Coast. Then the broadcasting payola scandals engulfed him. He was accused of taking money offered by record companies to play hit singles, but he responded by claiming the money was merely for "consultation." His star was fading as his later years were mired in legal troubles and alcoholism.

Eddie Cochran was a young man from Minnesota who took up guitar after he refused to play clarinet in the high school orchestra. He and his family moved to Los Angeles, where he continued to become very proficient in his guitar playing. He played in various bands, dreaming of one day making it to Nashville as a country performer. He teamed up with a country singer named Hank Cochran (no relation) and the two called themselves the Cochran Brothers. After a string of minor singles, Eddie ventured more into rock & roll territory after seeing Elvis perform in Dallas. Eddie began to sing on his own as a rock and roller, coming out with hits such as "Summertime Blues" and "C'mon Everybody". He also appeared in what is considered the greatest rock & roll film, "The Girl Can't Help It".

SUMMERTIME BLUES
(Eddie Cochran - Jerry Capehart)
EDDIE COCHRAN (LIBERTY 55144, 1958)

I'm a-gonna raise a fuss, I'm a-gonna raise a holler
About a-workin' all summer just to try to earn a dollar
Well one time I called my baby, tried to get a date
My boss says, no dice son, you gotta work late
Sometimes I wonder, what I'm a-gonna do
But there ain't no cure for the summertime blues

Oh well my main and papa told me
Son you gotta make some money
If you wanna use the car to go ridin' next sunday
Well I didn't go to work, told the boss I was sick
Now you can't use the car 'cause you didn't work a-late
Sometimes I wonder, what I'm a-gonna do
But there ain't no cure for the summertime blues

I'm gonna take two weeks, gonna have a fine vacation
I'm gonna take my problem to the United Nations
Well I called my congresman and he said quote
I'd like to help you son, but you're too young to vote
Sometimes I wonder, what I'm a-gonna do
But there ain't no cure for the summertime blues

C'MON EVERYBODY/LET'S GET TOGETHER
(E. Cochran - J. Capehart)
EDDIE COCHRAN (LIBERTY 55166, 1958)

Well c'mon everybody and let's get together tonight
I got some money in my jeans
And I'm really gonna spend it right
Well, I been doin' my homework all week long
Now the house is empty and my folks are gone
Ooh, c'mon everybody (Let's get together)

Well my baby's number one
But I'm gonna dance with three or four
And the house will be a-shakin'
From the bare feet a-slappin' on the floor
Hell when you hear the music you just can't sit still
If your brother won't rock, then your sister will
Ooh, c'mon everybody (Let's get together)

Hell we'll really have a party
But we gotta put a guard outside
If the folks come home, I'm afraid they gonna have my hide
There'll be no more movies for a week or two
No more running 'round with the usual crew
Who cares?
C'mon everybody ... c'mon everybody

Gene Vincent and the Blue Caps were a band most known for the hit "Be Bop a Lula". Gene Vincent was a victim of a car accident in 1955 where he suffered a badly fractured leg while serving in the Navy. He was released from the Navy to undergo recuperation, during which time he spent practicing on guitar. In the fall of that year he played with the house band of country station WCMS, the Virginians, when he came up with a tune called "Be Bop a Lula". Gene formed his own band with the Virginians' guitarist Cliff Gallup, one of the first guitar heroes of the 50's who used amplified echo in his playing. Their manager pitched their songs to Capitol Records. They were about to fly out to Nashville when fog grounded them at the airport in Norfolk. The band seized the opportunity to play in the middle of airport while waiting for their flight. They made it to their recording session, which produced two of their major numbers, "Be Bop a Lula" and "Race With the Devil" (a song which almost received no airplay for having the word "devil" in the title).

Be Bop a Lula

Well be bop a lula she’s my baby
Be bop a lula I don’t mean maybe
Be bop a lula she’s my baby
Be bop a lula I don’t mean maybe
Be bop a lula she’s my baby doll, my baby doll, my baby doll.

Well, she’s the gal in the red blue jeans
She’s the queen of all the teens
She’s the woman that I know
She’s the woman that (scream) loves me so.
Be bop a lula she’s my baby
Be bop a lula I don’t mean maybe
Be bop a lula she’s my baby doll, my baby doll, my baby doll.
(let’s rock)

Well, now she’s the woman that’s got that beat
She’s the woman with the flyin’ feet
She’s the woman that walks around the store
She’s the woman that yells (scream) more, more, more, more.
Be bop a lula she’s my baby
Be bop a lula I don¹t mean maybe
Be bop a lula she’s my baby doll, my baby doll, my baby doll.
(let’s rock again, now)

Well be bop a lula she’s my baby
Be bop a lula I don’t mean maybe
Be bop a lula she’s my baby
Be bop a lula I don’t mean maybe
Be bop a lula she’s my baby doll, my baby doll, my baby doll.

Pat Boone, a direct descendant of the legendary pioneer Daniel Boone, was a teen singer who, perhaps more than most rock and roll singers of his era, according to his critics, did more to popularize black r & b/rock and roll hits to white audiences--by making them sound as "white" as possible. His covers of hits by Little Richard and Fats Domino, such as "Tutti Frutti" and "Ain't That a Shame", were decent enough renditions, but his reputation of being "Mr. Clean-Cut" with his white buck tennis shoes and well-scrubbed looks took the rebellious, forbidding edge out of the original songs and made them "safe" and palatable to mainstream audiences. Pat was also a born again Christian who lived out his beliefs and was known to be a kind individual with an infectious good-hearted vibe toward all. He made many television and film appearances, and would continue his musical legacy long after his moment in the teen idol spotlight was over.

RICK NELSON! He was doing Rockabilly at the same time as the others even though he started a few years later. He never gets the credit he deserved becasue he never went on packaged tours or was poor. Even the Beatles, Roy Orbison and other rockers said they always waited for the next Rick Nelson record to come out to see what was new and exciting.

Also, if it wasn't for Rick singing rock and roll on the family TV show, most parents in the 1950s would have thought it was evil. Ozzie and Rick made it acceptable since he was the boy next door that didn't promote it with gimmicks. In addition, he gave James Burton, Glen Campbell and others their start.

Next, Rick's counrty-rock sound and intrumentation in the ealry 1970s was the basis for what other performers copied. For example using steel guitar (Tom Brumley) on rock and roll.

JUST BE SURE YOU HAVE A SEGMENT ON RICK!!!!!!

Originally posted by mcgwirefan
RICK NELSON! He was doing Rockabilly at the same time as the others even though he started a few years later. He never gets the credit he deserved becasue he never went on packaged tours or was poor. Even the Beatles, Roy Orbison and other rockers said they always waited for the next Rick Nelson record to come out to see what was new and exciting.

Also, if it wasn't for Rick singing rock and roll on the family TV show, most parents in the 1950s would have thought it was evil. Ozzie and Rick made it acceptable since he was the boy next door that didn't promote it with gimmicks. In addition, he gave James Burton, Glen Campbell and others their start.

Next, Rick's counrty-rock sound and intrumentation in the ealry 1970s was the basis for what other performers copied. For example using steel guitar (Tom Brumley) on rock and roll.

JUST BE SURE YOU HAVE A SEGMENT ON RICK!!!!!!

Oh, I haven't forgotten about the Rickster!!!:cool: I have been looking over all the influential artists of the 50's and there are so many, I am going to include as many as I can!! I decided to first post the photos and then add the texts, because it seemed to take too long to write out the text and follow it with the pictures. OMG, can't forget Roy Orbison, Ray Charles, Carl Perkins, even a few British 50's rock idols....

Rick Nelson was the son of t.v.'s Ozzie and Harriet Nelson and would become "The Nelsons" star, especially when the plotline of one episode would involve him becoming a "new Elvis" to impress his girlfriend. When he performed a cover of Fats Domino's "I'm Walkin'" on the show, ratings soared and a new rock & roll career was born. Demand for the single was huge, selling a million copies in one week. He soon played a song in every episode, making "scandalous and salacious" rock and roll more palatable to mainstream t.v. audiences. When Rick did it on the show, the seedy stigma of rock and roll was removed. "Fandemonium" over Rick went out of control and disrupted the lives of the Nelsons as he had become a teen idol.

Rick teamed up with musicians such as guitar legend James Burton and other rockabilly performers to record rocking tunes that were often the flip side of the crooner ballads prefered by his father. Ozzie Nelson wanted his son to stick with tunes that reflected his more "respectable" image. From 1957 through the next several years, Rick had an impressive 36 tunes in the Top 100 charts, including "Traveling Man" and "Hello Mary Lou", his biggest hit. He would continue to play an important part in music in the decade ahead.

Hello Mary Lou
Written by - Gene Pitney

I said, "Hello Mary Lou
Goodbye heart
Sweet Mary Lou
I'm so in love with you
I knew Mary Lou
We'd never part
So hello Mary Lou
Goodbye heart"

You passed me by one sunny day
Flashed those big brown eyes my way
And ooh I wanted you forever more
Now I'm not one that gets around
I swear my feet stuck to the ground
And though I never did meet you before

I said, "Hello Mary Lou
Goodbye heart
Sweet Mary Lou
I'm so in love with you
I knew Mary Lou
We'd never part
So hello Mary Lou
Goodbye heart"

I saw your lips I heard your voice
believe me I just had no choice
Wild horses couldn't make me stay away
I thought about a moonlit night
My arms about good an' tight
That's all I had to see for me to say

I said, "Hello Mary Lou
Goodbye heart
Sweet Mary Lou
I'm so in love with you
I knew Mary Lou
We'd never part
So hello Mary Lou
Goodbye heart"

Johnny Cash was an "outlaw" country singer who joined the roster of Sam Phillips' Sun Records with hits such as "Folsom Prison Blues" and "I Walk the Line". The young man who would become "The Man In Black" lived out a life that would become the stuff of legend and would make him one of the most prolific performers in American music.

Born of cotton farmer parents on February 26, 1932, in Arkansas, Cash absorbed all the folk and gospel songs he heard around him. As a young man he joined the army and formed his first band in Germany, the Landsberg Barbarians. In 1954, after his discharge, he flew back to America where he married his first wife, Vivian Liberto, and moved to Memphis for work and to break into the music scene. He caught the attention of Sam Phillips who blew off Johnny's desire to sing gospel. Instead he sang songs such as "Hey Porter," "Cry, Cry, Cry", "Folsom Prison Blues"
and other songs reflecting his hard life in rural Arkansas. His following song, "I Walk the Line", hit #1 on the charts. His other great songs include "A Boy Named Sue" and "Ring of Fire".

I Walk the Line
I keep a close watch on this heart of mine
I keep my eyes wide open all the time.
I keep the ends out for the tie that binds
Because you're mine,
I walk the line

I find it very, very easy to be true
I find myself alone when each day is through
Yes, I'll admit I'm a fool for you
Because you're mine,
I walk the line

As sure as night is dark and day is light
I keep you on my mind both day and night
And happiness I've known proves that it's right
Because you're mine,
I walk the line

You've got a way to keep me on your side
You give me cause for love that I can't hide
For you I know I'd even try to turn the tide
Because you're mine,
I walk the line

Folsom Prison Blues

I hear the train a comin'; it's rollin' 'round the bend,
And I ain't seen the sunshine since I don't know when.
I'm stuck at Folsom Prison and time keeps draggin' on.
But that train keeps rollin' on down to San Antone.

When I was just a baby, my mama told me, "Son,
Always be a good boy; don't ever play with guns."
But I shot a man in Reno, just to watch him die.
When I hear that whistle blowin' I hang my head and cry.

I bet there's rich folk eatin' in a fancy dining car.
They're prob'ly drinkin' coffee and smokin' big cigars,
But I know I had it comin', I know I can't be free,
But those people keep a movin', and that's what tortures me.

Well, if they freed me from this prison, if that railroad train was mine,
I bet I'd move on over a little farther down the line,
Far from Folsom Prison, that's where I want to stay,
And I'd let that lonesome whistle blow my blues away.

Fats Domino came out of New Orleans with the song "Ain't That a Shame" which only went to #10 while Pat Boone's version went to #1. He fared better with a Glenn Miller 40's cover of "Blueberry Hill" which went to #2. His other hits included "Blue Monday" and "I'm Walkin'". About the popularity of rock and roll, he said that people had been playing it for years before 1955.

Ain't That a Shame

You made me cry when you said goodbye
Ain't that a shame?
My tears fell like rain
Ain't that a shame?
You're the one to blame

You broke my heart when you said we'll part
Ain't that a shame?
My tears fell like rain
Ain't that a shame?
You're the one to blame

Farewell, goodbye, although I'll cry
Ain't that a shame?
My tears fell like rain
Ain't that a shame?
You're the one to blame

You made me cry when you said goodbye
Ain't that a shame?
My tears fell like rain
Ain't that a shame?
You're the one to blame

Farewell, goodbye, although I'll cry
Ain't that a shame?
My tears fell like rain
Ain't that a shame?
You're the one to blame

Blueberry Hill

I found my thrill
On Blueberry Hill
On Blueberry Hill
When I found you

The moon stood still
On Blueberry Hill
And lingered until
My dream came true

The wind in the willow played
Love's sweet melody
But all of those vows you made
Were never to be

Though we're apart
You're part of me still
For you were my thrill
On Blueberry Hill

The wind in the willow played
Love's sweet melody
But all of those vows you made
Were never to be

Though we're apart
You're part of me still
For you were my thrill
On Blueberry Hill

Carl Perkins was one of the very first rockabilly stars on Sun Records and considered one of the founders of rock and roll. His song "Blue Suede Shoes" was his biggest hit, but when a car crash severely injured him, it stalled his career while giving Elvis a chance to make it a bigger hit. His song, "Honey Don't", was later covered by the Beatles. Paul McCartney claimed that "without Carl Perkins, there would be no Beatles."

Blue Suede Shoes

Well it's one for the money, two for the show
Three to get ready now go cat go.
But don't you, step on my blue suede shoes.
You Can do anything but lay off of my blue suede shoes

You can knock me down, step on my face
Slander my name all over the place.
Do anything that you wanna do
But uh uh honey lay off of my shoes.
You can do anything but lay off of my blue suede shoes.

You can burn my house, you can steal my car
Drink my liquor from an old fruit jar
Do anything that you wanna do
But uh uh honey lay off of my shoes
But don't you, step on my blue suede shoes.
Well you can do anything but lay off of my blue suede shoes.

Well it's one for the money, two for the show
Three to get ready, Now go cat go
But don't you, step on my blue suede shoes.
You can do anything but lay off of my blue suede shoes.

Well it's blue, blue, blue suede shoes
Blue, blue, blue suede shoes yeh!
Well blue, blue, blue suede shoes
Blue, blue, blue suede shoes
Well you can do anything but lay off of my blue suede shoes.

Big Joe Turner, a blues singer from Kansas City, was known as the "Boss Of the Blues" in the 30's. Known for his lusty vocal improvisations, his mid-50's hit "Shake, Rattle, and Roll" became a pioneering rock and roll hit which ahd an impact on Elvis, Chuck Berry, and Bo Diddley.

Shake, Rattle, and Roll
Get outta that bed, wash your face and hands
Get outta that bed, wash your face and hands
Well, you get in that kitchen, make some noise with the pots 'n pans

Way you wear those dresses, the sun comes shinin' through
Way you wear those dresses, the sun comes shinin' through
I can't believe my eyes, all that mess belongs to you

I believe to the soul you're the devil and now I know
I believe to the soul you're the devil and now I know
Well, the more I work, the faster my money goes

I said shake, rattle and roll, Shake, rattle and roll
Shake, rattle and roll, Shake, rattle and roll
Well, you won't do right to save your doggone soul

Yeah, blow Joe!

----- saxophone -----

I'm like a one-eyed cat peepin' in a seafood store
I'm like a one-eyed cat peepin' in a seafood store
Well I can look at you till you ain't no child no more

Ah, shake, rattle and roll, Shake, rattle and roll
Shake, rattle and roll, Shake, rattle and roll
Well, you won't do right to save your doggone soul

I get over the hill and way down underneath
I get over the hill and way down underneath
You make me roll my eyes, even make me grit my teeth

I said shake, rattle and roll, Shake, rattle and roll
Shake, rattle and roll, Shake, rattle and roll
Well, you won't do nothin' to save your doggone soul

Shake, rattle and roll!

Ruth Brown was the one of the greatest icons of r & b who launched the success of Atlantic Records, with hits such as "Mama He Treats Your Daughter Mean", "Mambo Baby", and "Lucky Lips". With a superb vocal style, she would later influence future r & b singers such as Aretha Frankin and Stevie Wonder.

Frankie Lymon and the Teenagers was an r & b vocal group who yielded the first black teen singing idol. His song
"Why Do Fools Fall In Love?" became an instant hit, as well as "I
Want You to Be My Girl". The Teenagers' appeal lie in their squeaky clean appeal that would sit well with white parents. But not all was so "clean" with young Frankie. By the old age of 15, his career was starting to splinter. He experimented with heroin and later joined the army. While on leave at his mother's house, he was found dead from a heroin overdose in 1968. In the 80's, several women came forward claiming they were his wives.

Paul Anka, a young Canadian, was fond of sneaking into rock and roll shows as a fan. But when he became a young crooner, fans would clamor to see him perform such songs as "Put Your Head On My Shoulder", "Lonely Boy", and "Puppy Love." He would later go on to star in movies and t.v. in a long and successful career.

Hey, this is a cool documentary here, Awesome job!


Dont forget buddy Holly!

I'm definitely not going to forget Buddy Holly!!:cool:

Jerry Lee Lewis, a musician related to country star Meg Tilley and evangelist Jimmy Swaggart, was a wild pianist, who, like Little Richard, felt trapped between the higher path of godly righteousness and the passions of the flesh. He was known to claim, "I got the devil in me! If I didn't, I'd be a Christian!" He pounded out hits such as "Great Balls of Fire" and "Whole Lotta Shakin' Goin' On", and hopped around his piano like a mand possessed. His rise to the top was rocked by scandal when, during a tour of Britain, the British press inquired about the young girl accompanying him. He replied it was his 13-year-old cousin whom he had just married--while still married to his other wife. This effectively blacklisted him on both sides of the Atlantic. He was later able to pursue his stardom in Britain, but his stardom would forever suffer in America. Controversy and scandal would constantly plague the original bad boy of rock and roll, "The Killer".

Great Balls Of Fire
You shake my nerves and you rattle my brain
Too much love drives a man insane
You broke my will, oh what a thrillGoodness gracious great balls of fire
I learned to love all of Hollywood money
You came along and you moved me honey
I changed my mind, looking fine
Goodness gracious great balls of fireYou kissed me baba, woo.....it feels good
Hold me baba, learn to let me love you like a lover should
Your fine, so kind
I'm a nervous world that your mine mine mine mine-ine
I cut my nails and I quiver my thumb
I'm really nervous but it sure is fun
Come on baba, you drive me crazy
Goodness gracious great balls of fire
Well kiss me baba, woo-oooooo....it feels good
Hold me baba I want to love you like a lover should
Your fine, so kind
I got this world that your mine mine mine mine-ine
I cut my nails and I quiver my thumb
I'm real nervous 'cause it sure is fun
Come on baba, you drive me crazy
Goodness gracious great balls of fire
I say goodness gracious great balls of fire...oooh...

WHOLE LOTTA SHAKIN GOIN ON

Come on over baby
Whole lotta shakin' goin' on
Yes I said come on over baby
Baby you can't go wrong
We ain't fakin'Whole lotta shakin' goin' on

Well I said come on over baby
We got kickin' in the barn
oooh huh.
Come over baby baby
Baby got the bull by the horn
We ain't fakin' it
Whole lot of shakin' goin' on

Well I said shake it Baby shake
I said shake it Baby shake
I said shake it Baby shake it
Said shake, baby shake
Come on over
Whole lot of shakin goin' on
Ahhhhh
Let's go !!!

Well I said come on over baby
We got kickin' in the barn
Whose barn what barn my barn
Come on over baby
Baby got the bull by the horn
We ain't fakin' it
Whole lot of shakin' goin' on
Easy Now Shake
Ahhhh Shake it babe
Yeah You can shake one time for me
Do the hula hussy
Whole lot of shakin' goin' on
Now let's get real low one time now
Shake baby shake
All you gotta do honey is kinda stand in one spot
Wiggle around just a little bit
That's what you gotta do, yeah
Oh babe whole lotta shakin' goin' on
Now let's go one more time

Shake it, Baby, shake ......
Shake it, Baby, shake ......
shake baby, come on baby shake baby shake
come on over, whole lot of shakin goin on

Duane Eddy had a hit with "Rebel-'Rouser" in 1958 and went on to become one of the great rock and roll guitar instrumentalists, even playing in t.v. theme songs such as "Peter Gunn". In the 60's he married Jessi Colter, who later married Waylon Jennings and went on to perform "I'm Not Lisa." Eddy has been known for playing guitar and movie and t.v. scores such as "Have Gun, Will Travel." In the 80's, he would work with a cover of "Peter Gunn" with the band Art of Noise.

The Coasters were a vocal group who performed hits by the successful songwriting duo of Leiber and Stoller, such as "Charlie Brown" and "Yakety Yak".

Yakety Yak

Take out the papers and the trash
Or you don't get no spendin' cash
If you don't scrub that kitchen floor
You ain't gonna rock and roll no more
Yakety yak (don't talk back)

Just finish cleanin' up your room
Let's see that dust fly with that broom
Get all that garbage out of sight
Or you don't go out Friday night
Yakety yak (don't talk back)

You just put on your coat and hat
And walk yourself to the laundromat
And when you finish doin' that
Bring in the dog and put out the cat
Yakety yak (don't talk back)

Don't you give me no dirty looks
Your father's hip; he knows what cooks
Just tell your hoodlum friend outside
You ain't got time to take a ride
Yakety yak (don't talk back)

Yakety yak, yakety yak
Yakety yak, yakety yak
Yakety yak, yakety yak

Charlie Brown

Fe fe fi fi fo fo fum
I smell smoke in the auditorium

(chorus):
Charlie Brown, Charlie Brown
He's a clown, that Charlie Brown
He's gonna get caught; just you wait and see
(Why's everybody always pickin' on me?)

That's him on his knees, I know that's him
Yeah, from 7 come 11 down in the boys' gym

(chorus)

Who's always writing on the wall?
Who's always goofin' in the hall?
Who's always throwin' spit balls?
Guess who (Who, me?) Yeah, you!

Who walks in the classroom, cool and slow?
Who calls the English teacher Daddy-O?

(chorus)

The Everly Brothers, Don and Phil, were befriended by guitarist great Chet Atkins who recognized their musical abilities in the country field and felt they could translate it into pop success. Their hit "Bye Bye Love" hit the top of both the country and r & b charts. "Wake Up Little Suzie" was their next chart-topper, as was their ballad, "All I Have to Do Is Dream," "When Will I Be Loved", and "Cathy's Clown."

Bye Bye Love
Bye bye love
Bye bye happiness, hello loneliness
I think I'm-a gonna cry-y
Bye bye love, bye bye sweet caress, hello emptiness
I feel like I could di-ie
Bye bye my love goodby-eye

There goes my baby with-a someone new
She sure looks happy, I sure am blue
She was my baby till he stepped in
Goodbye to romance that might have been

CHORUS

I'm-a through with romance, I'm a-through with love
I'm through with a'countin' the stars above
And here's the reason that I'm so free
My lovin' baby is through with me

CHORUS

Bye bye my love goodby-eye
Bye bye my love goodby-eye

FADE: Bye bye my love goodby-eye
Bye bye my love goodby-eye

Wake Up Little Suzie

Wake up, little Susie, wake up
Wake up, little Susie, wake up
We’ve both been sound asleep, wake up, little Susie, and weep
The movie’s over, it’s four o’clock, and we’re in trouble deep
Wake up little Susie
Wake up little Susie, well

Whatta we gonna tell your mama
Whatta we gonna tell your pa
Whatta we gonna tell our friends when they say “ooh-la-la”
Wake up little Susie
Wake up little Susie, well

I told your mama that you’d be in by ten
Well Susie baby looks like we goofed again
Wake up little Susie
Wake up little Susie, we gotta go home

Wake up, little Susie, wake up
Wake up, little Susie, wake up
The movie wasn’t so hot, it didn’t have much of a plot
We fell asleep, our goose is cooked, our reputation is shot
Wake up little Susie
Wake up little Susie, well

Whatta we gonna tell your mama
Whatta we gonna tell your pa
Whatta we gonna tell our friends when they say “ooh-la-la”
Wake up little Susie
Wake up little Susie
Wake up little Susie

Dick Clark, "America's Oldest Teenager", was actually in his late 20's when he started his successful "American Bandstand" t.v. show in 1956. The show brought the forbidden phenomenon of rock and roll into America's living room and ended up further legitimizing it. With his youthful appeal, he made these dangerous artists look wholesome and fun for skeptical parents. His show ran for six days a week, featuring songs and at least two top acts live. He was a true business enterpreneur, knowing a good thing (financially) when he saw it.

Chuck Berry, Johnny Cash, Sam Cooke, Buddy Holly, Fats Domino, Jerry Lee Lewis and countless others all had their t.v. start on the show. In the 50's precursor to MTV, a teen's view could potentiall make or break a song. "I'd give it a 39, but you can't dance to it."

When the show wasn't featuring hot new acts, it spent the rest of the time showing young people dancing, including many new hot dance fads. The show was an astounding success--it ran for decades.

But in 1960, the congressional payola scandal threatened to stall the machine of rock and roll, accusing businessmen such as Clark and Alan Freed of taking illicit bribes and payment from record companies for the exchange of rock and roll records. While Dick Clark emerged unscathed and innocent of the charges, Alan Freed did not. He would end up broke and alcoholic, dying in 1965.

Here is a picture of the set of American Bandstand
with its dancing teens.

It is in the minds of many today that rock and roll, the cultural event of the 50's, is rather tepid by today's standards. We wax nostalgic over the tunes jamming on the soda pop jukebox while guys in greased-up pompadours and gals in billowing poodle skirts bop to these happy, carefree tunes, when in fact, rock and roll in the 50's was deadly--it was poison--it was blamed for everything from youth violence, delinquency, riots, to illicit sex and immorality. It was sending kids into hell, and awakening the primal savage beast within with its jungle drums. The society of the 50's huddled under the shadow of mushroom clouds and communist infiltrators. Two things provided a "generation prison break" in those days; one was the introduction of Hugh Hefner's Playboy magazine, which was designed to appeal to young single suburban guy looking for the sophisticated good life, with its tasteful (yet "shocking!!") photographic pinup images of the girl-next-door as well as quality literature; and two was rock and roll. While Playboy to most Americans had a certain "plain-brown-wrapper" stigma, rock and roll was a tiger ready to go cat, go!! out of the paper bag of social acceptance. It was wild, it was loose, it was crazy, man, crazy. Folks like Sam Phillips of indie-label Sun Records and d.j. Alan Freed scandalized the country with black music--or black-style music performed by whites. In the American apartheid of the 50's, rock and roll was a danger to the moral safety of youth. Why, rock and roll was bringing white kids and black kids together: "How would you like it if a young black male were looking at your pristine white daughter??" Or, "Your white son seduced by the charms of a young colored female??" According to the minds of white parents, people of color were not respectable enough or "safe" enough to mingle with proper white youngsters, and rock and roll, named after a sexual slang term, awakened those fevered libidos, as evidenced by make-up-wearing Little Richard hammering away at his piano and stripping off his shirt to his bare chest for all the white gals to ogle.

But it was the great success of rock and roll--the breaking down of racial and social barriers. None of the kids cared who was who, black, white, green or purple, the music was good and so alive. Who cared if the Big Bomb dropped--we had tonight,
Time to rock and roll, Daddy-O!

Awesome!

\
I love The Coasters and all the others you posted! (( except American Bandstand, havent seen that LOL )

Sam Cooke was one of the most important r & b singers who blended gospel music with themes of romantic love in what would become the basis of soul music. The son of a minister, he sang with a gospel group, the Highway Q.C.'s until he was recruited for the lead spot in the Soul Stirrers. His first single with the group, "Jesus Gave Me Water", in 1950, displayed his suave singing style and led to his superstardom in gospel music--as well as his chance at singing for the mainstream. This also led to tension: in the black community, gospel singers were to sing only religious themes, and nothing but. The temptations of worldly success were powerful. Cooke recorded a song, "Lovable", under the name Dale Cooke--but gospel fans were outraged and booed the Soul Stirrers for singing a "secular, worldly". Cooke left the Soul Stirrers and later recorded the huge hit outside the gospel circuit, "You Send Me." Cooke demonstrated how singing about the love for God could reach a farther audience by singing about the love for a girl.

You Send Me

Darling you send me
I know you send me
Darling you send me
Honest you do, honest you do
Honest you do, whoa-oh-oh-oh-oh-oh

You thrill me
I know you, you, you thrill me
Darling you, you, you, you thrill me
Honest you do

At first I thought it was infatuation
But woo, it's lasted so long
Now I find myself wanting
To marry you and take you home
Whoa-oh-oh-oh-oh-oh

You, you, you, you send me
I know you send me
I know you send me
Honest you do

Whoa-oh-oh, whenever I'm with you
I know, I know, I know when I'm near you
Mmm hmm, mmm hmm, honest you do, honest you do
Whoa-oh-oh, I know-oh-oh-oh

I know, I know, I know, when you hold me
Whoa-oh-oh-oh-oh, whenever you kiss me
Mmm hmm, mmm hmm, honest you do

At first I thought it was infatuation
But woo, it's lasted so long
Now I find myself wanting
To marry you and take you home

I know, I know, I know, you send me
I know you send me
Whoa-oh-oh-oh, you you you you send me
Honest you do

His later hits would include, "Everyone Likes to Cha Cha Cha", "Only Sixteen", "Wonderful World", "Nobody Loves Me Like You", and "Twistin' Night Away."

America was not alone in the rock and roll mania sweeping the Free World, Britain was also caught up the craze.Tommy Steele was Britain's first great rock and roll idol. He got his start by singing in skiffle groups. He was not a wildcat like his American counterparts, but rather a decent, likable teen star with good looks and sex appeal to boot. He sang on such UK hits as "Singing the Blues", "Rebel Rock", "Take Me Back Baby", "Will It Be You?" "Rock With the Caveman", "Water Water", and "Rock Around the Town". His photogenic looks brought him to star in teen movies which later would lead him to a career in movies and musicals in the years to come.

Cliff Richard was the biggest British teen idol in the late 50's. Fronting the group called the Drifters in 1958, they changed their name after the popular American soul group came to their attention, thus naming themselves the Shadows. His first hit was "Move It", hitting the UK charts at #2. This marked the start of "Cliff Hysteria", where he became the idol of thousands of screaming girls. Americans had their teen idols and pop stars, but now it was time for Britain to have one of their own. His later hits included "Livin' Lovin' Doll" and "Travelling Light", both at UK #1, as well as "Please Don't Tease" and "I Love You". The sexy dreamboat with the dark, mysterious eyes became a hit on British television and films and received many music awards. Later the British press claimed that he made more money than the Prime Minister.

Great job! Amazing thread :notworthy

I love this thread!

Originally posted by King Juke "N" Jive
I love this thread!

Me too! :rock:

Originally posted by Colonel Juke "N" Jive
Me too! :rock: :D

Back in America, Bobby Darin was another major teen idol who sang hits such as "Splish Splash" and "Dream Lover." He achieved stardom in spite of frail health: he suffered from rheumatic fever which damaged his heart and plagued him all his life. In 1958, he sang his signature hit, "Mack the Knife", one of the top-selling songs of all time. Adults as well as young fans both enjoyed the multi-talented singer. He would later head for Las Vegas as a sought-after nightclub entertainer in the company of George Burns, Sammy Davis Jr., Andy Williams, Elvis, and many others. He married actress Sandra Dee in 1960.

Mack The Knife

Oh, the shark, babe, has such teeth, dear
And it shows them pearly white
Just a jackknife has old MacHeath, babe
And he keeps it, ah, out of sight
Ya know when that shark bites with his teeth, babe
Scarlet billows start to spread
Fancy gloves, oh, wears old MacHeath, babe
So there's never, never a trace of red

Now on the sidewalk, huh, huh, whoo sunny morning, un huh
Lies a body just oozin' life, eek
And someone's sneakin' around the corner
Could that someone be Mack the Knife?

There's a tugboat, huh, huh, down by the river dontcha know
Where a cement bag's just a'drooppin' on down
Oh, that cement is just, it's there for the weight, dear
Five'll get ya ten old Macky's back in town
Now d'ja hear about Louie Miller? He disappeared, babe
After drawin' out all his hard-earned cash
And now MacHeath spends just like a sailor
Could it be our boy's done somethin' rash?


Now Jenny Diver, ho, ho, yeah, Sukey Tawdry
Ooh, Miss Lotte Lenya and old Lucy Brown
Oh, the line forms on the right, babe
Now that Macky's back in town

I said Jenny Diver, whoa, Sukey Tawdry
Look out to Miss Lotte Lenya and old Lucy Brown
Yes, that line forms on the right, babe
Now that Macky's back in town.....

Look out, old Macky's back!!

Splish Splash

Splish splish, I was takin' a bath
Long about a Saturday night
A rub-a-dub, just relaxin' in the tub
Thinkin' everything was alright
Well, I stepped out the tub, put my feet on the floor
I wrapped the towel around me and I
Opened the door, and then I
Splish, splash... I jumped back in the bath.
Well how was I to know there was a party going on?

They was a-splishin' and a'splashin'
Reelin' with the feelin', movin' and a'groovin'
Rockin' and a'rollin', yeah

Bing bang, I saw the whole gang
Dancin' on my living room rug, yeah!
Flip flop, they was donin' the bop
All the teens had the dancin'
But there was lollipop with a Peggy Sue
Good Golly, Miss Mally was-a even there, too!
A- well-a, splish splash, I forgot about the bath
I went and put my dancin' shoes on, yay...

I was a rollin' and a strollin', reelin' with the feelin',
Moving and a groovin', splishin' and a splashin', yeah!

Yes, I was a-splishin'' and a splashin'...
I was a-rollin' and a-strollin'...

Yeah, I was a-movin' and a-groovin'
We was a-reelin' with the feelin'
We was a-rollin' and a-strollin'
Movin' with the groovin' splish splash, yeah!

Dion and the Belmonts were one of the most successful white doo-wop teen idol groups. As a young man, he spent time in a gang called the Fordham Daggers who would sing on street corners at night. On Valentine's Day, Dion DiMucci recorded a demo as a present for his mother. The demo soon reached t.v. and record producers who wanted to market his talent. While his first singles went nowhere, they soon attracted the attention of Laurie Records, who would record his first hit, "I Wonder Why". The single took off, and then came t.v. appearances, concert appearances--and drugs, including heroin.

Other hits followed, "A Teenager In Love", "Tell Me Why", "Run Around Sue" and "The Wanderer." In February 1959, in the midst of his whirlwind concert tour schedule, he turned down a plane ride with rock and roll stars Buddy Holly, Ritchie Valens, and the Big Bopper. His career would continue long into the 60's.

I WONDER WHY

Dont' know why I love you like I do, don't know why I do.

Don't know why I love you, don't know why I care
I just want your love to share

I wonder why, I love you like I do
is it because I think you love me too
I wonder why, I love you like I do, like I do.

I told my friends that we would never part
they often said that you would break my heart
I wonder why they think that we will part, we will part

When you're with me, I'm sure you're always true
when I'm away, I wonder what you do
I wonder why I'm sure you're always true, always true

don't know why I do.

The Wanderer
Oh well, I'm the type of guy who will never settle down
Where pretty girls are, well you know that I'm around
I kiss 'em and I love'em 'cause to me they're all the same
I hug 'em and I squeeze 'em they don't even know my name
They call me the wanderer, yeah the wanderer
I roam around-around-around

Oh well, there's Flo on my left and there's Mary on my right
And Janie is the girl well, that I'll be with tonight
And when she asks me which one I love the best
I tear open my shirt and I show her "Rosie" on my chest
'Cause I'm a wanderer, yeah the wanderer
I roam around-around-around
Oh well, I roam from town to town
I go through life without a care
And I'm as happy as a clown

A-with my two fists of iron, but I'm going nowhere, aah
I'm the type of guy that likes to roam around
I'm never in one place, I roam from town to town
And when I find myself I'm a-fallin' for some girl
Yeah, I hop right into that car of mine
I drive around the world
Yeah, I'm a wanderer, yeah the wanderer
I roam around-around-around

Oh yeah, I'm the type of guy that likes to roam around
I'm never in one place, I roam from town to town
And when I find myself a-fallin' for some girl
I hop right into that car of mine
Drive around the world
'Cause I'm a wanderer, yeah a wanderer
I roam around-around-around-around-around
'Cause I'm a wanderer, yeah a wanderer
I roam around-around-around-around-around

Originally posted by Captain ABlairica
Dion and the Belmonts :cool: :D

Ray Charles is one of America's musical icons. Born in a very poor black family in the Depression-Era 30's, young Ray would have several years of enjoying the sights of sunshine, fire, lightning, and his countryside before blindness would overtake him at the age of seven. His mother enrolled him in a blind school where he learned Braille, typing--and playing the piano. He was very intelligent, being able to conceptualize musical mathematical patterns in his head. After his mother's death, he started out on a lonely, hungry road to being a professional musician. In Seattle, he met young Quincy Jones and the two began a musical partnership which led them to Los Angeles.

He played with bands and eventually recorded such hits as "I Got a Woman", "Born To Lose", "Georgia", as well as one of his most popular hits, "What I'd Say." As a musician of multiple styles, he was able to gain mainstream acceptance for rock and roll.

As was the case with many black entertainers in the 50's, segregation entered into his career. In Georgia, blacks and whites were to be separated at one venue. Charles insisted that blacks be allowed to in front to watch him--it made little sense that a black audience be forced to sit in the back to watch a black performer. When the promoter denied his demand, Charles refused to play. At this point, Charles joined the ranks of fighters for civil rights such as Martin Luther King Jr.

What I'd Say

Hey mama, don't you treat me wrong
Come and love your daddy all night long
All right now, hey hey, all right

See the girl with the diamond ring
She knows how to shake that thing
All right now now now, hey hey, hey hey

Tell your mama, tell your pa
I'm gonna send you back to Arkansas
Oh yes, ma'm, you don't do right, don't do right
Aw, play it boy

When you see me in misery
Come on baby, see about me
Now yeah, all right, all right, aw play it, boy

When you see me in misery
Come on baby, see about me
Now yeah, hey hey, all right

See the girl with the red dress on
She can do the Birdland all night long
Yeah yeah, what'd I say, all right

Well, tell me what'd I say, yeah
Tell me what'd I say right now
Tell me what'd I say
Tell me what'd I say right now
Tell me what'd I say
Tell me what'd I say yeah

And I wanna know
Baby I wanna know right now
And-a I wanna know
And I wanna know right now yeah
And-a I wanna know
Said I wanna know yeah

Spoken: Hey, don't quit now! (c'mon honey)
Naw, I got, I uh-uh-uh, I'm changing (stop! stop! we'll do it again)
Wait a minute, wait a minute, oh hold it! Hold it! Hold it!

Hey (hey) ho (ho) hey (hey) ho (ho) hey (hey) ho (ho) hey

Oh one more time (just one more time)
Say it one more time right now (just one more time)
Say it one more time now (just one more time)
Say it one more time yeah (just one more time)
Say it one more time (just one more time)
Say it one more time yeah (just one more time)

Hey (hey) ho (ho) hey (hey) ho (ho) hey (hey) ho (ho) hey

Ah! Make me feel so good (make me feel so good)
Make me feel so good now yeah (make me feel so good)
Woah! Baby (make me feel so good)
Make me feel so good yeah (make me feel so good)
Make me feel so good (make me feel so good)
Make me feel so good yeah (make me feel so good)

Huh (huh) ho (ho) huh (huh) ho (ho) huh (huh) ho (ho) huh

Awh it's all right (baby it's all right)
Said that it's all right right now (baby it's all right)
Said that it's all right (baby it's all right)
Said that it's all right yeah (baby it's all right)
Said that it's all right (baby it's all right)
Said that it's all right (baby it's all right)

Woah! Shake that thing now (baby shake that thing)
Baby shake that thing now now (baby shake that thing)
Baby shake that thing (baby shake that thing)
Baby shake that thing right now (baby shake that thing)
Baby shake that thing (baby shake that thing)
Baby shake that thing (baby shake that thing)

Woah! I feel all right now yeah (make me feel all right)
Said I feel all right now (make me feel all right)
Woooah! (make me feel all right)
Tell you I feel all right (make me feel all right)
Said I feel all right (make me feel all right)
Baby I feel all right (make me feel all right)

Buddy Holly was one of the most well-loved founders of rock and roll. A resident of Lubbock, Texas, as a young lad he showed his love for guitar and began to play some kind of music called "Western Bop" as well as country music with his friend Bob Montgomery. When the two performed as a duo opening for Bill Haley's Comets, a Decca Records scout discovered the young man and encouraged him to form a band and keep working on his songs. Holly formed the Crickets and returned to Decca with a batch of fresh tunes, including "That'll Be the Day."

Buddy Holly's career took off with hits such as "Maybe Baby", "Oh Boy!", "It's So Easy", and "Peggy Sue", tunes which captured the fresh zeal in Holly's unique, "excited" singing style, with songs delivered in a rhythmy, "hiccup-y", joyous and exhuberant voice.

When the Crickets ventured into playing rhythm and blues, they were mistakenly booked as a "black act" at the Apollo theater. They endured booing but by the third day of performing, the black audiences cheered them on. They made an even bigger storm in England where fans went wild when they toured in 1958.

Holly met a receptionist for a receptionist for a New York City music publisher, Maria Elena Santiago, and were soon married. Tensions flared in the group when Holly decided to leave long time record prodcer Norman Petty to produce themselves. The other band members wanted to remain with Petty, so Holly went solo. Holly would soon have a backup musician who would go on to greater fame, future country singer Waylon Jennings.

Oh, Boy!

All of my love
All of my kissin'
You don't know what you've been a-missin'

Oh boy, when you're with me
Oh boy, the world can see
That you, were meant, for me

All of my life
I've been a-waitin'
Tonight there'll be no...hesitatin'

Oh boy, when you're with me
Oh boy, the world can see
That you, were meant, for me

Stars appear and shadows are falling
You can hear my heart a-calling
A little bit a-lovin' makes everything right
I'm gonna see my baby tonight

VERSE 1

Dum-dee-dum-dum
Oh boy
Dum-dee-dum-dum
Oh boy

GUITAR SOLO (ooh-ooh-ooh-oooooh)

VERSE 2

BRIDGE

VERSE 1

PEGGY SUE
Buddy Holly & The Crickets

If you knew Peggy Sue, then you'd know why I feel blue
About Peggy, 'bout Peggy Sue
Oh, well, I love you gal, yes, I love you Peggy Sue

Peggy Sue, Peggy Sue, pretty, pretty, pretty, pretty, Peggy Sue
Oh, my Peggy, my Peggy Sue
Oh, well, I love you gal, and I need you, Peggy Sue

I love you Peggy Sue, with a love so rare and true
Oh, Peggy, My Peggy Sue
Oh, well, I love you gal, yes, I want you, Peggy Sue

Peggy Sue, Peggy Sue, Oh how my heart years for you
Oh, Pa-he-ggy, my Pa-he-ggy Sue
Oh, well, I love you gal, and I need you, Peggy Sue
Oh, well, I love you gal, yes, I want you, Peggy Sue

Originally posted by Captain ABlairica
Buddy Holly and the Crickets :D:D:D:D!!!!!!!!!!!!!!!!!!

Actually, theyre from my home state!

Originally posted by Captain ABlairica
Buddy Holly and the Crickets :D

Originally posted by Captain ABlairica
Bobby Darin :D

Richie Valenswas one rock and roll pioneer who, like many black performers transcended ethnic cultural barriers to find success and fame in the white mainstream--in this case, he was the first Latino-American rock and roll star. He, like many other rock and roll performers, was able to succeed in his brush with greatness in a very short time--in just a year and a half before fate would cruelly interrupt.

n May 1958, Bob Keane, head of DEL-FI Records in Studio City, Los Angeles, California, was delivered a messge to go see a young man dubbed "the Little Richard of San Fernando" perform at a kiddie theater matinee. Keane went and was completely bowled over by the teen jamming on a beat-up guitar and amp setup, singing with such a strong commanding voice. He decided to take the young Ritchie Valensuela under his wing and urged him to shorten his name to Valens. Next he had Ritchie record "Donna", a song written for his girlfriend, and "La Bamba",
two songs that would have impact far beyond their time on the rock and roll hit charts. "Donna" would be covered or alluded to by many artists, and "La Bamba" would have a long-lasting impact in the following decades, even affecting the L.A. punk scene in the late 70's. Another song he recorded was "Tell Laura I Love Her".

LA BAMBA

Para bailar la bamba,
Para bailar la bamba,
Se necesita una poca de gracia.
Una poca de gracia pa mi pa ti.
Arriba y arriba
Y arriba y arriba, por ti sere,
Por ti sere.
Por ti sere.

Yo no soy marinero.
Yo no soy marinero, soy capitan.
Soy capitan.
Soy capitan.

Ba-ba-bamba,
Ba-ba-bamba,
Ba-ba-bamba,
Ba...

Para bailar la bamba,
Para bailar la bamba, se necesita una poca de gracia.
Una poca de gracia pa mi pa ti.
Arriba, arriba.

R-r-r-r-r, Ja! Ja!

Para bailar la bamba,
Para bailar la bamba,
Se necesita una poca de gracia.
Una poca de gracia pa mi pa ti.
Arriba y arriba
Y arriba y arriba, por ti sere,
Por ti sere.
Por ti sere.

Ba-ba-Bamba...

The Big Bopperaka J.P. Richardson, was a radio d.j. in East Texas who had set a record for being on the air for 122 hours. he decided he wanted to do a little something more famous than that, so he began to record his own songs, including "Chantilly Lace" and "Big Bopper's Wedding". "Chantilly Lace" went to #6 on the charts.

CHANTILLY LACE

(telephone rings)
Hello baby, Yeah, this is the Big Bopper speakin
Ha ha ha ha ha, oh you sweet thing
Do I what?
Will I what?
Oh baby you know what I like

CHORUS: Chantilly lace and a pretty face
And a pony tail a hangin down
That wiggle in the walk
And giggle in the talk
Makes the world go round
There ain't nothin in the world
Like a big eyed girl
That makes me act so funny
Make me spend my money
Make me feel real loose like a long necked goose
Like a girl, oh baby that's what I like

What's that baby, but, but, but
Ohhhhhh honey
But?.oh baby you know what I like

CHORUS

What's that honey
Pick you up at 8 and don't be late
But baby, I ain't got no money honey
Ha ha ha ha ha
Oh alright baby, you know what I like

CHORUS

:crying:

In 1959, Buddy Holly toured with Ritchie Valens and the Big Bopper as part of a travelling rock show. They had just finished a show at the Surf Ballroom at Clear Lake, Iowa. The next morning, February 3rd, they rode out to an airport in Mason City. Since the busses they used kept breaking down, they decided to use a small plane in order to fly to the next to the next town to get some rest and do laundry. The plane carrying Holly, Valens, and Richardson descended after flying a few miles just after takeoff. The pilot misread the plane's gyroscope, thinking it was ascending when in fact it was plummeting due to the bad winter weather. It crashed, killing all on board.

Maria Elena miscarried her pregnancy after hearing the news that her husband Buddy had died in a snowy field, and Valens' wife Donna was equally devastated. Rock and roll fans everywhere mourned the triple loss of the three hugely talented musicians who died so young. The tragedy would extinguish the spark and momentum of rock and roll, and fans would have to wait for some time before the warm musical sun would shine again...

In another time...

From another place.

Originally posted by Captain ABlairica
The Big Bopper :D

Originally posted by Captain ABlairica
:crying: :( :crying:

Keep checking back, because I'm going to write texts to the pictures, and when the story of the 50's is over, we then go to the first half of.........THE 60'S!!!!!!!! :cool:

Originally posted by Captain ABlairica
Keep checking back, because I'm going to write texts to the pictures, and when the story of the 50's is over, we then go to the first half of.........THE 60'S!!!!!!!! :cool: Alright!!!!!!!!!!!!!!!!! AWESOME!!!!!!!!!!!!!:rock:

Here is a '59 Gibson Les Paul, one of the most desired guitars:

Another sought-after guitar, a 1954 Fender Stratocaster:

Love the guitar pics!:D

Bump!:D This is awesome, like ive said, keep up the awesome work!:D

In the midst of Elvis-mania, Elvis decided to enlist in the army. In 1958, rock and roll's biggest star was now MIA in the music world as he served Uncle Sam, perhaps out of not wanting to be seen as some subversive element. It was the beginning of a long period of decline for rock and roll as being a shake-up music. Elvis would then go on to become a movie star and begin a new phase in his popularity. But while in the army, he just wanted to be treated as any other serviceman. No special perks.

On August 14, 1958, while on leave, Elvis received a call at his spacious home of Graceland. His father told him that his mother Gladys had died. Elvis' world had turned black. His beloved mother was gone. She had been worried sick about her son entering the military, and the worry had ruined her health. When she died, a huge piece of Elvis' life had died with her. He would never recover it. :crying:

Originally posted by Captain ABlairica
In the midst of Elvis-mania, Elvis decided to enlist in the army. :(

Originally posted by Captain ABlairica
The Big Bopper


"Oh baby that's what I like!":D

Bobby Rydell...............Yeah!
Wild One
Volare
Swingin' School

Fabian! I had such a crush on him in 1959 when I was 9 years old!:eyes:

Originally posted by Penny Lane
Fabian! I had such a crush on him in 1959 when I was 9 years old!:eyes:

Fabian!:lol:

Originally posted by Captain ABlairica

"Episode 3: Purple Haze (or: Break On Through): The Summer of Love (1967-1970)
When folk rocker Bob Dylan inroduced the Beatles to marijuana, creative opportunities opened up in music--psychedelic drugs were seen as a gateway to a new reality, a new religion, and a new consciousness, with guitarist Jimi Hendrix, Jefferson Airplane, the Grateful Dead, and the Doors expanding musical boundaries, culminating in the Woodstock music festival--and resulting chaos at Altamont."

Please don't forget this band, (http://members.aol.com/songforme) the most innovative group to come out of the British psychedelic-progressive underground! :)

Originally posted by Steve M.
Please don't forget this band, (http://members.aol.com/songforme) the most innovative group to come out of the British psychedelic-progressive underground! :)
OMG, thanks for reminding me!!! I am going to make this as complete as possible!!!!! Can't forget other great 60's bands like the Electric Prunes, the Sonics, the Incredible String Band, Strawberry Alarm Clock, and Bubble Puppy!!!

If anyone has any artists I should also cover, give me some names and I'll research them and add them on!! :cool:

Originally posted by Captain ABlairica
OMG, thanks for reminding me!!! I am going to make this as complete as possible!!!!! Can't forget other great 60's bands like the Electric Prunes, the Sonics, the Incredible String Band, Strawberry Alarm Clock, and Bubble Puppy!!!

If anyone has any artists I should also cover, give me some names and I'll research them and add them on!! :cool: I got some!


The Lovin' Spoonful
Gary Lewis and the Playboys
Herman's Hermits
Freddie and the Dreamers
any British Invasion band
ummm Ill think of more later!

And while you're at it, check into seventies glam rocker Steve Harley, who, with his backing group Cockney Rebel, made some interesting, quirky singles (which were hits in their native Britain, but not here), when you get to Part Four. :) :rock:

:cool:

Also dont forget The Bee Gees or any disco group, I have to many names to list. let's just put it to, dont forget any group LOL

So there's the 50's. And now time for...

That'll Be the Day

Well, that'll be the day, when you say goodbye
Yes, that'll be the day, when you make me cry
You say you're gonna leave, you know it's a lie
'Cause that'll be the day when I die

Well, you give me all your loving and your turtle doving
All your hugs and kisses and your money too
Well, you know you love me baby, until you tell me, maybe
That some day, well I'll be through

Well, that'll be the day, when you say goodbye
Yes, that'll be the day, when you make me cry
You say you're gonna leave, you know it's a lie
'Cause that'll be the day when I die

------ instrumental break ------

Well, that'll be the day, when you say goodbye
Yes, that'll be the day, when you make me cry
You say you're gonna leave, you know it's a lie
'Cause that'll be the day when I die

Well, when Cupid shot his dart he shot it at your heart
So if we ever part and I leave you
You sit and hold me and you tell me boldly
That some day, well I'll be blue

Well, that'll be the day, when you say goodbye
Yes, that'll be the day, when you make me cry
You say you're gonna leave, you know it's a lie
'Cause that'll be the day when I die

Well, that'll be the day, woo hoo
That'll be the day, woo hoo
That'll be the day, woo hoo
That'll be the day

Originally posted by Captain ABlairica
That'll Be the Day

Well, that'll be the day, when you say goodbye
Yes, that'll be the day, when you make me cry
You say you're gonna leave, you know it's a lie
'Cause that'll be the day when I die

Well, you give me all your loving and your turtle doving
All your hugs and kisses and your money too
Well, you know you love me baby, until you tell me, maybe
That some day, well I'll be through

Well, that'll be the day, when you say goodbye
Yes, that'll be the day, when you make me cry
You say you're gonna leave, you know it's a lie
'Cause that'll be the day when I die

------ instrumental break ------

Well, that'll be the day, when you say goodbye
Yes, that'll be the day, when you make me cry
You say you're gonna leave, you know it's a lie
'Cause that'll be the day when I die

Well, when Cupid shot his dart he shot it at your heart
So if we ever part and I leave you
You sit and hold me and you tell me boldly
That some day, well I'll be blue

Well, that'll be the day, when you say goodbye
Yes, that'll be the day, when you make me cry
You say you're gonna leave, you know it's a lie
'Cause that'll be the day when I die

Well, that'll be the day, woo hoo
That'll be the day, woo hoo
That'll be the day, woo hoo
That'll be the day

Wasn't Buddy a fox?:crazy:

Originally posted by Penny Lane
Wasn't Buddy a fox?:crazy: Chicks certainly dug him!!:nod: Sad to lose him, he was so original.:crying: