On the shortlist of records that are so disarmingly likable that they make me temporarily forget how awful the world can be. What does the line “The President’s weird, he’s got a burgundy beard!” mean? I don’t know, but I’ve never been able to forget it.
This is probably the most stoned-sounding of the old glitter rock classics. Over half of the album is thoroughly chilled-out and spacey, mellow enough for the 4 AM drive home after a long night out. Along with that, Marc Bolan’s lyrics are some of rock’s greatest sexually charged nonsense. I can never tell if Bolan worked hard on these lyrics or if he just tossed ’em off (I like to think he tossed ’em off, too cool to care) and, really, that’s exactly what rock lyrics should be like—funny, mysterious, and beamed in from another dimension. —Jason
The first wave of music resulting from those historical forces is what most people know as Rockabilly, and one cannot seriously examine that generation without discussing Sun Records. Sun, the brainchild of Sam Phillips, was a Memphis recording studio founded in the early 1950s. Phillips is famous for recording and producing work by Elvis Presley, Carl Perkins, Johnny Cash, and Jerry Lee Lewis among others, and he is credited with creating the original Rock and Roll sound. “Rocket 88”, a song often cited as the first Rock and Roll (and first Rockabilly) song was recorded at Sun, and in some ways represents the racial and musical divisions of the time. Though Sun is most noted for work with white musicians who incorporated a black sound, African-American artist Jackie Brenston first recorded “Rocket 88” at Sun as part of Ike Turner’s Kings of Rhythm band. Interestingly, though Sam Phillips recorded the song, he gave it to Chess, a dominantly black label, for release.
Other notable artists of the time included Gene Vincent, most noted perhaps for his hit “Be-Bop-a-Lula”, Eddie Cochran, whose “20 Flight Rock” was made famous in the film “The Girl Can’t Help It” and whose “Summertime Blues” was a hit for both him and later The Who, and Bill Haley, who also recorded and released a version of “Rocket 88”, and who would later score hits such as “Rock Around the Clock” and a version of “Shake, Rattle, and Roll”. A bit of sleuthing into any of these artists, or others such as Chuck Berry, Billy Lee Riley, Joe Bennett, or Bo Diddley, can lead the interested newbie to scores of others from those early years.
As the new sounds of the 1960s began to dominate the airwaves, Rockabilly faded into the background, or rather was incorporated into the styles of new chart toppers such as The Beatles and The Rolling Stones, both of whom were deeply influenced by early American Rockabilly. Numerous artists continued to play “pure” rockabilly, however, and the 1970s and 80s brought what some would consider the second wave. Artists such as Sleepy LaBeef (pictured), Ronnie Dawson, and Ray Campi led the pack, though none were new to the scene. Sleep LaBeef, for example, had been recording since the 1950s, and joined the Sun roster in 1970. His career exemplified the “big in Japan” element that sometimes characterized rockabilly of the era. LaBeef’s popularity increased in Europe while never cracking the charts in the United States, even as nostalgia for the music began to emerge in mainstream American media with films such as “American Graffiti” and the television show “Happy Days”.
One European who was strongly impressed by Rockabilly was Ronnie Weiser (pictured), who would eventually move to the United States and form Rollin’ Rock Records, a label devoted to the sound. Weiser, a seminal figure in the “rebirth” of Rockabilly, reissued numerous recordings from the early days, and eventually began to release new material, including music from The Blasters, who became part of a larger collection of Rockabilly artists who would thrive in the 1980s.
1980s Rockabilly was often marketed as a kind of New Wave music, and it was during this era that Rockabilly began to split into its own set of sub-genres. The Blasters continued to thrive as part of the L.A. Punk scene, and a cover of their song “Marie, Marie” was a U.K. hit for Welsh artist Shakin’ Stevens. The Stray Cats (pictured) had enormous mainstream success with hits such as “Stray Cat Strut” and “Rock This Town”, though interestingly they had to move to England in order to get their first big break. Other bands of note from the time included The Polecats and The Rockats. Sub-genres, born of a blend of Rockabilly and other genres including Punk, Garage, and Surf, would birth new artists such as The Reverend Horton Heat, The Cramps, and Jason and the Scorchers. Numerous disagreements have since ensued regarding which of these and other artists are or are not authentic Rockabilly, who veered too much toward pop, who sold out, and so on. While occasionally divisive, the fact there was and is a large enough body of work to argue about speaks to the strength and permanence of the Rockabilly sound itself.
And lest you think Rockabilly is only a boys’ town, rest assured the ladies have been making their mark from the beginning. A woman named Willie Mae “Big Mama” Thornton recorded the original version of “Hound Dog”, after all, later made famous by Elvis Presley. Wanda Jackson (pictured), known as the “female Elvis” has been working her distinct growl and hiccup since the early 1950s. Jack White, a devoted Jackson fan, recently worked with her on the 2011 album, “The Party Ain’t Over”, for which she toured steadily as the opening act for Adele. Other women from the early years include Barbara Pittman and Janis Martin, and there are numerous successful modern artists such as Rosie Flores, Marti Brom, and Kim Lenz. Lisa Pankratz, one of the most respected and in-demand Rockabilly drummers of the present day, is a woman as well.
Today, Rockabilly is thriving around the world, and though none of today’s artists are breaking through to crack the auto-tune dominated modern charts, numerous bands record and tour successfully for a wide international audience of devoted fans. Notable artists of the last two decades include High Noon, Big Sandy (pictured), Deke Dickerson, Ray Condo, and literally hundreds – if not thousands – of lesser known acts around the globe, many of which are connected in an intimate and tightly woven network that extends from the former nations of the Soviet Bloc to South America, and new voices steadily continue to enter the ring. Check out JD McPherson and Lanie Lane for a start.
