When Rockabilly Rocked The Be-Bop 1950s Night- “Rock This Town-Volume 2”- A CD Review
CD Review
Rock This Town, Volume 2, various artists, Rhino Records, 1991
The bulk of this review was used to review Volume 1 as well:
The last time that I discussed rockabilly music in this space was a couple of years ago when I was featuring the work of artists like Elvis, Johnny Cash, and Jerry Lee Lewis who got their start at Sam Phillips’ famed Sun Records studio in Memphis. Part of the reason for those reviews was my effort to trace the roots of rock and rock, the music of my coming of age, and that of my generation, the generation of ’68. Clearly rockabilly was, along with country and city blues from the likes of Muddy Waters, Howlin’ Wolf, and Ike Turner and rhythm and blues from the likes of Big Joe Turner, a part of that formative process. The question then, and the question once again today, is which strand dominated the push to rock and rock, if one strand in fact did dominate.
I have gone back and forth on that question over the years. That couple of years ago mentioned above I was clearly under the influence of Big Joe Turner and Howlin’ Wolf and so I took every opportunity to stress the bluesy nature of rock. Recently though I have been listening, and listening very intently, to early Elvis Presley, Carl Perkins and Jerry Lee Lewis and I am hearing more of that be-bop rockabilly rhythm flowing into the rock night. Let me give a comparison. A ton of people have done Big Joe Turner’s classic rhythm and bluish Shake, Rattle, and Roll, including Bill Haley, Elvis, Carl Perkins, and Jerry Lee. When I listen to that song as performed in the more rockabilly style by them those versions seem closer to what evolved into rock. So for today, and today only, yes Big Joe is the big daddy, max daddy father of rock but Elvis, Jerry Lee, and Carl are the very pushy sons.
And that brings us to this treasure trove of rockabilly music presented in two volumes of which this is the second; including material by those who have revived, or kept the rockabilly genre alive over the past couple of decades. I have already done enough writing in praise of the work of Sam Phillips and Sun Records to bring that good old boy rockabilly sound out of the white southern countryside. There I noted that, for the most part, those who succeeded in rockabilly had to move on to rock to stay current and so the rockabilly sound was somewhat transient except for those who consciously decided to stay with it. Here are the examples that I used for volume one and they apply here as well:
“…the best example of that is Red Hot by Bill Riley and his Little Green Men, an extremely hot example by the way. If you listen to his other later material it stays very much in that rockabilly vein. In contrast, take High School Confidential by Jerry Lee Lewis. Jerry Lee might have started out in rockabilly but this number (and others) is nothing but the heart and soul of rock (and a song, by the way, we all prayed would be played at our middle school dances to get things moving).” Enough said.
Stick outs here on Volume 2 include: C’mon Everybody, Eddie Cochran (probably better known for his more bluesy, steamy, end of school rite of passage Summertime Blues, a very much underrated performer whose career was cut short when he was killed in a car accident; Let’s Have A Party, Wanda Jackson (one of the few famous women rockabilly artists in a very much male-dominated genre); Red Hot ( a cover of the famous one by Bill Riley featured in Volume 1), Robert Gordon and Link Wray; Rock This Town (title track from the group that probably is the best known devotee of the rockabilly revival), The Stray Cats.
CD Review
Rock This Town, Volume 2, various artists, Rhino Records, 1991
The bulk of this review was used to review Volume 1 as well:
The last time that I discussed rockabilly music in this space was a couple of years ago when I was featuring the work of artists like Elvis, Johnny Cash, and Jerry Lee Lewis who got their start at Sam Phillips’ famed Sun Records studio in Memphis. Part of the reason for those reviews was my effort to trace the roots of rock and rock, the music of my coming of age, and that of my generation, the generation of ’68. Clearly rockabilly was, along with country and city blues from the likes of Muddy Waters, Howlin’ Wolf, and Ike Turner and rhythm and blues from the likes of Big Joe Turner, a part of that formative process. The question then, and the question once again today, is which strand dominated the push to rock and rock, if one strand in fact did dominate.
I have gone back and forth on that question over the years. That couple of years ago mentioned above I was clearly under the influence of Big Joe Turner and Howlin’ Wolf and so I took every opportunity to stress the bluesy nature of rock. Recently though I have been listening, and listening very intently, to early Elvis Presley, Carl Perkins and Jerry Lee Lewis and I am hearing more of that be-bop rockabilly rhythm flowing into the rock night. Let me give a comparison. A ton of people have done Big Joe Turner’s classic rhythm and bluish Shake, Rattle, and Roll, including Bill Haley, Elvis, Carl Perkins, and Jerry Lee. When I listen to that song as performed in the more rockabilly style by them those versions seem closer to what evolved into rock. So for today, and today only, yes Big Joe is the big daddy, max daddy father of rock but Elvis, Jerry Lee, and Carl are the very pushy sons.
And that brings us to this treasure trove of rockabilly music presented in two volumes of which this is the second; including material by those who have revived, or kept the rockabilly genre alive over the past couple of decades. I have already done enough writing in praise of the work of Sam Phillips and Sun Records to bring that good old boy rockabilly sound out of the white southern countryside. There I noted that, for the most part, those who succeeded in rockabilly had to move on to rock to stay current and so the rockabilly sound was somewhat transient except for those who consciously decided to stay with it. Here are the examples that I used for volume one and they apply here as well:
“…the best example of that is Red Hot by Bill Riley and his Little Green Men, an extremely hot example by the way. If you listen to his other later material it stays very much in that rockabilly vein. In contrast, take High School Confidential by Jerry Lee Lewis. Jerry Lee might have started out in rockabilly but this number (and others) is nothing but the heart and soul of rock (and a song, by the way, we all prayed would be played at our middle school dances to get things moving).” Enough said.
Stick outs here on Volume 2 include: C’mon Everybody, Eddie Cochran (probably better known for his more bluesy, steamy, end of school rite of passage Summertime Blues, a very much underrated performer whose career was cut short when he was killed in a car accident; Let’s Have A Party, Wanda Jackson (one of the few famous women rockabilly artists in a very much male-dominated genre); Red Hot ( a cover of the famous one by Bill Riley featured in Volume 1), Robert Gordon and Link Wray; Rock This Town (title track from the group that probably is the best known devotee of the rockabilly revival), The Stray Cats.
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