Legendary as one of the three rock greats to die in the tragic 1959 Clear Lake, IA, plane crash that also claimed the lives of Buddy Holly and Ritchie Valens, the Big Bopper (born Jiles Perry Richardson) had just established himself as a rock hit-maker with the rollicking "Chantilly Lace."

Born in the heart of Texas, Richardson grew up in Beaumont and changed his first name to Jape. He broke into show biz as a DJ over at KTRM radio, where he coined the nickname the Big Bopper.

In March 1955, he was drafted into the United States Army and did his basic training at Fort Ord, California. He spent the rest of his two years service as a radar instructor at Fort Bliss, near El Paso, Texas. Following his discharge as a corporal in March 1957, Richardson returned to KTRM radio, where he held down the "Dishwashers' Serenade" shift from 11 a.m. to 12:30 p.m., Monday through Friday.

One of the station's sponsors wanted Richardson for a new time slot and suggested an idea for a show. Richardson had seen the college students doing a dance called The Bop, and he decided to call himself "The Big Bopper". His new radio show ran from 3 to 6 p.m. Richardson soon became the station's program director.

In May 1957, he broke the record for continuous on-the-air broadcasting by eight minutes. From a remote set-up in the lobby of the Jefferson Theatre in downtown Beaumont, Richardson performed for a total of five days, two hours and eight minutes, playing 1,821 records and taking showers during five-minute newscasts. Richardson is credited with coining the term music video in 1959, and recorded an early example himself.

Richardson - who played guitar - began his musical career as a songwriter. George Jones later recorded Richardson's "White Lightning", which became Jones' first #1 country hit in 1959 (#73 on the pop charts). Richardson also wrote "Running Bear" for Johnny Preston, his friend from Port Arthur, Texas. The inspiration for the song came from Richardson's childhood memory of the Sabine River, where he heard stories about Indian tribes.

Richardson sang background on "Running Bear", but the recording wasn't released until September 1959, after his death. Within several months it became #1.

The man who launched Richardson as a recording artist was Harold “Pappy” Daily from Houston, Texas. Daily was promotion director for Mercury and Starday Records and signed Richardson to Mercury. Richardson's first single, "Beggar To A King", had a country flavour, but failed to gain any chart action. He soon cut "Chantilly Lace" as "The Big Bopper" for Pappy Daily's D label. Mercury bought the recording and released it in the summer of 1958. It reached #6 on the pop charts and spent 22 weeks in the national Top 40.

It also inspired an answer record by Jayne Mansfield titled "That Makes It". In "Chantilly Lace", Richardson pretends to have a flirting phone conversation with his girlfriend; the Mansfield record suggests what his girlfriend might have been saying at the other end of the line.

Later that year, he scored a second hit, a raucous novelty tune entitled "The Big Bopper's Wedding", in which Richardson pretends to be getting cold feet at the altar. He was known for his "Hello Baby!"

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With the success of "Chantilly Lace", Richardson took time off from KTRM radio and joined Buddy Holly, Ritchie Valens and Dion and the Belmonts for a "Winter Dance Party" tour. On the eleventh night of the tour, Holly chartered an airplane to fly them to the next show in Moorhead, Minnesota.

The musicians had been travelling by bus for over a week, and it had already broken down once. They were tired, they had not been paid yet and all of their clothes were dirty. With the airplane, Holly could arrive early, do everyone's laundry and catch up on some rest.

A 21-year old pilot named Roger Peterson had agreed to take the singers to Fargo, North Dakota, where the airport serves the twin cities of Moorhead and Fargo. A snowstorm was on its way and the young pilot was fatigued from a 17-hour workday, but he agreed to fly the trip.

The musicians packed up their instruments and finalized the flight arrangements. Buddy Holly's bass player, Waylon Jennings, was scheduled to fly on the plane, but gave his seat up to the Big Bopper, who was suffering from influenza. Holly's guitarist, Tommy Allsup, agreed to flip a coin with Ritchie Valens for the remaining seat; Valens won.

The three musicians boarded the red and white single-engine Beech Bonanza around 12:30 am on February 3. The musicians waved and then climbed onto the plane. Snow blew across the runway, but the sky was clear. Peterson received clearance from the control tower, taxied down the runway and took off.

He was never told of two different weather advisories that warned of an oncoming blizzard ahead. The plane stayed in the sky for only a few minutes; no one is quite sure what went wrong. The best guess is Peterson flew directly into the blizzard, lost visual reference and accidentally flew down instead of up.

The four-passenger plane ploughed into a nearby cornfield at over 170 mph, flipping over on itself and tossing the passengers into the air. Their bodies landed yards away from the wreckage and stayed there for ten hours as snowdrifts formed around them. Because of the weather, nobody could reach the crash site until later in the morning.

Albums:

Sources: http://www.artistdirect.com/ http://www.wikipedia.org/

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Buddy Holly

Chuck Berry

Jerry Lee Lewis

Eddie Cochran

Little Richard

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Marty Wilde

Bill Hailey

Upon the release of their first album in the late '70s, Tom Petty & the Heartbreakers were shoehorned into the punk/new wave movement by some observers who picked up on the tough, vibrant energy of the group's blend of Byrds riffs and Stonesy swagger. In a way, the categorization made sense. Compared to the heavy metal and art rock that dominated mid-'70s guitar rock, the Heartbreakers' bracing return to roots was nearly as unexpected as the crashing chords of the Clash. As time progressed, it became clear that the band didn't break from tradition like their punk contemporaries. Instead, they celebrated it, culling the best parts of the British Invasion, American garage rock, and Dylanesque singer/songwriters to create a distinctively American hybrid that recalled the past without being indebted to it.

The Heartbreakers were a tight, muscular, and versatile backing band that provided the proper support for Petty's songs, which cataloged a series of middle-class losers and dreamers. While his slurred, nasal voice may have recalled Dylan and Roger McGuinn, Petty's songwriting was lean and direct, recalling the simple, unadorned style of Neil Young. Throughout his career, Petty & the Heartbreakers never departed from their signature rootsy sound, but they were able to expand it, bringing in psychedelic, Southern rock, and new wave influences; they were also one of the few of the traditionalist rock & rollers who embraced music videos, filming some of the most inventive and popular videos in MTV history. His willingness to experiment with the boundaries of classic rock & roll helped Petty sustain his popularity well into the '90s.

Born and raised in northern Florida, Tom Petty began playing music while he was still in high school. At the age of 17, he dropped out of school to join Mudcrutch, which also featured guitarist Mike Campbell and keyboardist Benmont Tench. By 1970, Mudcrutch had moved to Los Angeles with hopes of finding a record contract. The fledgling Shelter Records, founded by Leon Russell and Denny Cordell, offered the group a contract. However, Mudcrutch splintered apart shortly after relocating to L.A. Cordell was willing to record Petty as a solo act, but the singer's reception to the idea was tentative. Over the next few years, Petty drifted through bands, eventually hooking back up with Campbell and Tench in 1975. At the time, the duo were working with bassist Ron Blair and drummer Stan Lynch; soon, Petty became involved with the band, which was then named the Heartbreakers. Petty was still under contract to Shelter, and the group assumed his deal, releasing Tom Petty & the Heartbreakers in 1976.

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Initially, the band's debut was ignored in the United States, but when the group supported it in England with a tour opening for Nils Lofgren, the record began to take off. Within a few months, the band was headlining its own British tours and the album was in the U.K. Top 30. Prompted by the record's British success, Shelter pushed the album and the single "Breakdown" in the U.S., this time to success; "Breakdown" became a Top 40 hit and "American Girl" became an album-oriented radio staple. You're Gonna Get It, the Heartbreakers' second album, was released in 1978 and it became the group's first American Top 40 record. Petty & the Heartbreakers were poised to break into the big time when they ran into severe record company problems. Shelter's parent company, ABC Records, was bought by MCA Records, and Petty attempted to renegotiate his contract with the label. MCA was unwilling to meet most of his demands, and halfway through 1979, he filed for bankruptcy. Soon afterward, he settled into an agreement with MCA, signing with their subsidiary Backstreet Records. Released late in 1979, Damn the Torpedoes was his first release on Backstreet.

Damn the Torpedoes was Petty's breakthrough release, earning uniformly excellent reviews, generating the Top Ten hit "Don't Do Me Like That" and the number 15 "Refugee," and spending seven weeks at number two on the U.S. charts; it would eventually sell over two million copies. Though he was at a peak of popularity, Petty ran into record company trouble again when he and the Heartbreakers prepared to release Hard Promises, the 1981 follow-up to Damn the Torpedoes. MCA wanted to release the record at the list price of $9.98, which was a high price at the time. Petty refused to comply to their wishes, threatening to withhold the album from the label and organizing a fan protest that forced the company to release the record at $8.98. Hard Promises became a Top Ten hit, going platinum and spawning the hit single "The Waiting." Later that year, Petty produced Del Shannon's comeback album Drop Down and Get Me and wrote "Stop Draggin' My Heart Around" as a duet for himself and Stevie Nicks. Featured on her album Bella Donna, which was recorded with the Heartbreakers' support, "Stop Draggin' My Heart Around" became a number three hit. Petty & the Heartbreakers returned late in 1982 with Long After Dark, which became their third Top Ten album in a row. Following its release, bassist Ron Blair left the band and was replaced by Howie Epstein, who previously played with John Hiatt.

Petty & the Heartbreakers spent nearly three years making Southern Accents, the follow-up to Long After Dark. Hiring Eurythmics' Dave Stewart as a producer, the band attempted to branch out musically, reaching into new territories like soul, psychedelia, and new wave. However, the recording wasn't easy -- at its worst, Petty punched a studio wall and broke his left hand, reportedly in frustration over the mixing. Southern Accents was finally released in the spring of 1985, preceded by the neo-psychedelic single "Don't Come Around Here No More," which featured a popular, pseudo--Alice in Wonderland video. Southern Accents was another hit record, peaking at number seven and going platinum. Following its release, Petty & the Heartbreakers spent 1986 on tour as Bob Dylan's backing band. Dylan contributed to the lead single "Jammin' Me," from the Heartbreakers' next album, Let Me Up (I've Had Enough), which was released to mixed reviews in the spring of 1987. Just after the record's release, Petty's house and most of his belongings were destroyed by fire; he, his wife, and two daughters survived unscathed.

During 1988, Petty became a member of the supergroup the Traveling Wilburys, which also featured Dylan, George Harrison, Roy Orbison, and Jeff Lynne. The Wilburys released their first album at the end of 1988 and its sound became the blueprint for Petty's first solo effort, 1989's Full Moon Fever. Produced by Lynne and featuring the support of most of the Heartbreakers, Full Moon Fever became Petty's commercial pinnacle, reaching number three on the U.S. charts, going triple platinum, and generating the hit singles "I Won't Back Down," "Runnin' Down a Dream," and "Free Fallin'," which reached number seven. In 1990, he contributed to the Traveling Wilburys' second album, Vol. 3. Petty officially reunited with the Heartbreakers on Into the Great Wide Open, which was also produced by Jeff Lynne. Released in the spring of 1991, Into the Great Wide Open sustained the momentum of Full Moon Fever, earning strong reviews and going platinum.

Following the release of 1993's Greatest Hits, which featured two new tracks produced by Rick Rubin, including the Top 20 hit "Mary Jane's Last Dance," Petty left MCA for Warner Bros.; upon signing, it was revealed that he negotiated a $20 million deal in 1989. Drummer Stan Lynch left the Heartbreakers in 1994 as Petty was recording his second solo album with producer Rubin and many members of the Heartbreakers. Like Full Moon Fever before it, 1994's Wildflowers was greeted by enthusiastic reviews and sales, tying his previous solo album for his biggest-selling studio album. In addition to going triple platinum and peaking at number eight, the album spawned the hit singles "You Don't Know How It Feels," "You Wreck Me," and "It's Good to Be King." Petty & the Heartbreakers reunited in 1996 to record the soundtrack for the Edward Burns film She's the One. The resulting soundtrack album was a moderate hit, peaking at number 15 on the U.S. charts and going gold. Echo followed three years later. 2002 saw the release of The Last DJ, a scathing attack on the corporate greed inherent in the music business. It was followed in 2006 by Highway Companion.

Born on October 20, 1950, in Gainesville, FL; son of an insurance salesman; married, c. 1973, divorced first wife Jane, 1996; married second wife Dana York, 2001; children: Adria, Kim.

Albums: 

Sources: John Cortez and Michael Belfiore; artistdirect.com

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The Shadows started out under the name The Drifters before changing it to avoid confusion with the similarly labelled American group. Original members were Hank Marvin and Bruce Welch on guitars with Jet Harris (bass) and Tony Meehan (drums).

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Initially, The Shadows were the backing band for the Cliff Richard Show but achieved fame on their own with the instrumental hit, Apache. More UK #1 hits followed with Kontiki, Atlantis, Wonderful Land, Foot Tapper and Dance On. Harris and Meehan left the band and were replaced by John Rostill and Brian Bennett respectively. The band continued on the coattails of Cliff Richard’s success providing music and vocals to his tracks.

The Shadows’ famous sound is attributed to guitarist Marvin’s novel and often imitated use of echo, muting and reverb techniques. They also are well-known for developing what is termed “The Shadows’ Walk” which is a series of movements the band would incorporate during live performances using their guitars in synchronised poses that would accentuate the tempo of the music. This type of movement has been copied by many bands including Showaddywaddy.

Outside of the 60s decade, The Shadows have reunited for special occasions like 1975’s Eurovision Song Contest, compilation albums and most recently a Cliff Richard anniversary tour.

Albums:

Sources: Juanita Appleby; Carol Brennan

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Cliff Richard

Greg Lake

The Hollies

Lonnie Donegan Putting On the Style

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Terry Nelhams aka Adam Faith was one of the most successful charts acts of the 1960’s. Adam Faith was known for being a teeny bop idol and later on, a Bafta nominated actor, TV regular and in his later years a financial journalist for the Daily mail/Mail On Sunday. Faith had top 10 hits from 1959-1963.

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Faith left school in Shepherds Bush in the summer of 1955, harbouring hopes and aspirations of a career in music or film. By 1956 after various runner jobs in film studios, Faith landed himself a job as an assistant film editor. This job would occupy Faith right up until 1958, when he was offered a record deal with EMI after landing a spot on BBC pop show 6-5 special, the early singles recorded with EMI received little or no chart success.

In late 1959, Faith met singer/songwriter Johnny Worth, (otherwise known as Les Vandyke) Worth penned the song “What Do You Want “ for Adam Faith, and in November 1959 the song went straight to No. 1 on the UK singles chart, Adam Faith had arrived.

Faith followed the success of “What Do You Want” up with another No.1, the Johnny Worth penned “Poor Me”, Worth would write over twenty songs for faith from 1960-1961. Faith peppered the UK top 40 for the next 5 years with varying success. Even though Faith continued to record all the way up until 1993, his days of heady chart success were over by the late sixties. He remained in the music industry after discovering and managing Leo Sayer and producing Roger Daltrey’s major label debut.

Later on in Adam Faith’s career he was a reasonably successful actor, which peaked with a Bafta nomination for his role in the movie “Stardust” alongside David Essex. In the mid Eighties he was employed as a financial journalist for the Daily Mail/Mail on Sunday, he reprised this role well into the nineties. He continued to act on TV, Film and Stage until his death in 2004. Faith will be remembered as the all around entertainer who wasn’t afraid to reinvent himself whether it was as the front man or behind the scenes, Faith was always willing to take a risk to follow his dreams.

Discography:

Adam, Parlophone, 1960. 

Beat Girl, Columbia, 1961.

Adam Faith, Parlophone, 1962.

From Adam with Love, Parlophone, 1963.

For You - Love Adam, Parlophone, 1963.

On the Move, Parlophone, 1965.

Faith Alive, Parlophone, 1965.

I Survived, Warner Bros., 1974.

Midnight Postcards, PolyGram, 1993.

Source: Segun Murray Ogunsheye

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The Who

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Bobby Vee

Worst Album Covers P1

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Tommy Steele OBE has been labelled Britain’s first Rock ‘n’ Roll star. Tommy was one of the first artist’s, alongside Cliff Richard, Hank Marvin amongst others, to emerge from the now legendary 2i’s Coffee Bar on Old Compton Street London, quoted as being “The birthplace of British Rock ‘n’ Roll and the popular music industry”.

These humble beginnings would propel Tommy Steele to superstardom and ultimately, he would be recognised as one of the pioneers of the British Rock ‘n’ Roll sound of the 50’s and 60’s. Tommy is also famous for claiming to have met Elvis Presley and reportedly gave him a guided tour of London, although there is no firm evidence to prove that Steeles claim is true. The general consensus is that Elvis never visited the UK. 

Tommy Steele, was born Tommy W. Hicks on December 1936 in the working class area of Bermondsey, South East London. Steele was extremely proud of his working class background; he talks in detail in his autobiography (Bermondsey Boy: memoirs of a lost world) about his love for the working class culture he grew up in during the Second World War. Aged 15, Steele joined the merchant navy and it was here, that he first indulged in the art of singing, the reaction to Steele’s singing voice was always positive even at the elementary stage. While on voyages across the Atlantic in America, Tommy would for the first time hear the sounds of Rock ‘n’ Roll; he would never forget those rebellious sounds.

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After a brief stint in the compulsory national service, Tommy, at the age of eighteen joined a Skiffle band (Skiffle: a type of music originating from the American south, using homemade instrument). After becoming bored with Skiffle, Steele began playing Rock ‘n’ Roll at the 2i’s coffee bar, after a short while he was discovered by photographer John Kennedy who believed that Tommy could be the UK’s answer to Elvis Presley.

Steele, as the front man for the Steelmen shot to fame in 1956 with the single, ‘Rock With The Cavemen’ and later in the same year with the chart topping single ‘Singing the Blues’. Tommy Steele would continue to have hits throughout the rest of the 50’s and into the early sixties. Like many of his contemporaries at the time such as Cliff Richard and Adam Smith, Tommy ventured into film on both the silver screen and on stage in London’s West end.

In 1980 he was awarded an OBE for his services to entertainment, Tommy Steele continues to perform at the ripe old age of 72 and continues to display his true love and enthusiasm for entertaining the public.

Albums: 

Source: Segun Murray Ogunsheye

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Cliff Richard

Elvis Presley

Marty Wilde

Lonnie Donegan Putting On The Style

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Ten Years After is a British blues-rock quartet consisting of Alvin Lee (guitar, vocals), Chick Churchill (keyboard), Leo Lyons (bass) and Ric Lee (drums). The group were formed in 1967 in England, and were soon signed to Decca. Although their first album flopped, their second ‘Undead’, a live album, hit the charts both in the UK and America. The album featured ‘I’m Going Home’, a six-minute blues track, which was one of the bands greatest hits. Their 1969 album, ‘Stonedhenge’ reached the UK Top Ten.

The bands break in America came after an appearance at Woodstock, at which they played a nine-minute masterpiece of their hit, ‘I’m Going Home’. Their next album, ‘Ssssh’ reached the US Top Twenty, with the next album ‘Cricklewood Green’ reaching number four.

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Watt completed the group's Decca contract, after which they signed with Columbia and moved in a more mainstream pop direction, shown through their gold-selling 1971 album ‘A Space in Time’, and it’s Top Forty single, ‘I’d Love to Change the World’.

Subsequent efforts in that direction were less successful, however, and Ten Years After split up after the release of ‘Positive Vibrations’ in 1974.

They reunited in 1988 for concerts in Europe and recorded their first new album in 15 years, the aptly named ‘About Time’, in 1989 before disbanding once again. In 2001, Ric Lee was preparing the back catalog for re-release when he discovered the Live at the Fillmore East 1970 tapes. He approached Alvin about getting back together to promote the lost album, but Alvin Lee declined. The rest of the band was up for it, though, and together with guitarist Joe Gooch, Ten Years After started touring again. In addition to touring the world, this new incarnation recorded their first new material in about a decade and a half and released Now in 2004 and added the live double CD set 'Roadworks' in 2005

Albums:

Ten Years After, Deram, 1967.

Undead (Live Album), Deram, 1968.

Stonedhenge, Deram, 1969.

Ssssh, Deram, 1969.

Cricklewood Green, Deram 1970.

Watt, Deram, 1970.

A Space in Time, Columbia, 1971.

Rock & Roll Music to the World, Columbia, 1972.

Recorded Live (Double Live Album), Columbia, 1973.

Positive Vibrations, Columbia, 1974.

Rocket Fuel, RSO, 1978.

Ride On, RSO, 1979.

About Time, Chrysaliis, 1989.

Live at the Fillmore east 1970 (Double Live Album), 2001.

One Night Jammed (Live), 2003.

Now, 2004.

Roadworks (Double Live Album), 2005.

Evolution, 2008.

Live at Fiesta City (Live DVD), 2009.

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Bonzo Dog Doo-Dah Band

Slade

Elvis Presley

R.I.P To The King Elvis Presley

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The Rolling Stones, often labeled as ‘the world’s greatest rock and roll band’, were formed as early as 1949 when guitarist Keith Richards and singer Mick Jagger, went to school together.  

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Eleven years later the two crossed paths again. They found out about a local musician named Alexis Korner who held blues jams at the Ealing Club. After Jagger began to sing for Korner's Blues Incorporated, he decided to join a group that Richards was putting together. Other members included Ian Stewart (piano), Bill Wyman (bass), Charlie Watts (drums), and Brian Jones (guitar).

Manager Andrew Loog Oldham got them work at the Marquee Club in London, England, in 1963, billed as "Brian Jones and The Rollin' Stones". They soon became known as "the group parents love to hate." Oldham decided that pianist Stewart did not fit in and pushed him to the background.

Oldham got the Stones a contract with Decca Records, and in June 1963 they released their first single, a version of Chuck Berry's ‘Come On’ backed with ‘I Want to Be Loved’. Continuing their eight-month residence at the Crawdaddy Club in Richmond, England, they released their version of The Beatles's ‘I Wanna Be Your Man’ followed by Buddy Holly's ‘Not Fade Away’. Their fourth single, ‘It's All Over' climbed all the way to number one in their homeland. Their next hit, ‘Little Red Rooster’, also reached number one but was banned in the United States. 

The Rolling Stones already had two albums out in England by the time they broke the U.S. Top 10 with ‘The Last Time’, In the summer of 1965 they had a worldwide number one hit with ‘Satisfaction’. Allan Klein then took over as manager, and in 1966 the band released ‘Aftermath’, its first album of all original songs. In 1967 The Stones recorded ‘Their Satanic Majesties Request’, noted mainly for being the last album that Brian Jones, who had become heavily involved with drugs, truly worked on. After 1968's ‘Beggar's Banquet’, Jones quit the band, and was found dead one month later.

Two days later The Stones hired Mick Taylor, as Jones's replacement, and recorded their next album, ‘Let It Bleed’.

In 1971 The Stones formed their own label, Rolling Stones Records, and they began to experiment with different kinds of music. Their next two albums, ‘Goat's Head Soup’ and ‘It's Only Rock and Roll’, were viewed as so-so efforts. In 1975 Taylor decided to walk away from the band.

Guitarist Ron Wood fit The Stones perfectly, taking Taylor's place on a 1975 tour of America. The first full album he contributed to was ‘Black and Blue’ in 1976.

During the 1980s it was often rumored that The Rolling Stones would break up. Richards was not happy when Jagger took time off to work on his first solo album

Rumours of the band's breakup were put on hold in 1989, when The Stones announced plans for a new album and a world tour. ‘Steel Wheels’ sold millions of copies and a sell-out tour followed. Bill Wyman announced his retirement shortly after. With Darryl Jones replacing Wyman, The Stones next released ‘Voodoo Lounge’.

The band settled into the routine of producing a new album and going on tour every few years. In 2001 Jagger and Richard appeared at Paul McCartney's Concert for New York City to raise money for victims of the September 11 terrorist attacks on the United States. The Rolling Stones  contiue to tour.

Nucleus of band formed c. 1962 in London, England; performed as Brian Jones and the Rollin' Stones, 1962-63; original members included lead singer Mick Jagger (full name Michael Philip Jagger; born July 26,1943, in Dartford, Kent, England); guitarist Keith Richard (surname sometimes listed as Richards; born December 18,1943, in Dartford, Kent, England); guitarist Brian Jones (full name, Lewis Brian Hopkins-Jones; born February 28, 1942, in Cheltenham, Gloucestershire, England; left band June 9, 1969; drowned, July 3,1969); drummer Tony Chapman (left band c. 1962); bass player Dick Taylor (left band c. 1962); and pianist Ian Stewart (left band c. 1963).

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The 10 Unluckiest Rock Stars

Bill Haley is credited as being one of the first rock ’n’ rollers to break in to mainstream pop culture. It was his performance of the legendary ‘Rock Around The Clock’ that gave the world the definitive rock ‘n’ roll sound. Haley was born in Highland Park, Michigan on July 6th, 1925, the son of a mechanic and a piano teacher. Haley’s father, William Haley Sr., played the banjo and the mandolin, and it was he who taught young Bill the basic guitar chords and how to play by ear.

Having started out playing country & western, Bill Haley Jr., had little success on the music scene. He formed a band called The Saddlemen in 1949, but their first excursion into the rock ’n’ roll scene was with a cover of Ike Turner’s ‘Rocket 88’ in 1951. It became increasingly apparent that The Saddlemen needed a name change to reflect this new breed of music, and, in 1952, they were renamed ‘Bill Haley & His Comets’. In 1953, Haley’s ‘Crazy Man, Crazy’ became the first rock ’n’ roll hit in America, ranking 15th on the Billboard Best Selling Singles and 11th on the Cash Box chart.

'Rock Around the Clock' was written by Max Freedman and James Myers, and, although it was first recorded by Sonny Dae & His Knights, Myers claims that the song was written specifically for Bill Haley. Haley recorded the song in 1954, and, despite a slow start, the song has since sold 25 million copies. ‘Rock Around The Clock’ was released in May, and in June a cover of Big Joe Turner’s ‘Shake, Rattle And Roll’ took Bill Haley & His Comets up to the top spot in the American charts, selling over a million copies and earning a place across the pond in the British singles charts.

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Bill Haley’s popularity began to wane as newer, more exciting rock ‘n’ roll acts began to emerge and achieve commercial success. The band continued to play with reasonable results until Haley’s death in 1981. He was 55. Despite Haley’s comparative lack of commercial longevity to other rock ‘n’ roll artists, he, and his Comets, are still one of the best-known acts in the history of music, and their most famous song is possibly one of the most important pieces of music ever to have been produced. That’s not bad for the son of a mechanic and a piano teacher.

For The Record:

Born William John Clifton Haley, Jr., July 6, 1925, in Highland Park, MI; died of heart failure February 9, 1981, in Harlingen, TX; son of William John Clifton Haley (a farmer) and a church organist mother; married; several children.

Singer, songwriter, guitar player, and bandleader, 1945-81. Formed band Four Aces of Western Swing, 1948, and performed on WPWA Radio, Chester, PA, 1948-50; changed group name to Bill Haley and His Saddlemen, 1950, released first single, "Rocket 88" on independent label, 1951; changed group name to Bill Haley and the Comets. Recorded with Essex label, 1951-53, had first hit, "Crazy Man, Crazy," 1952; moved to Decca Records, 1954, had multi-million seller with "Rock Around the Clock," 1954. Music was featured in the film "The Blackboard Jungle," 1955, "Rock Around the Clock," 1956, and "Don't Knock the Rock," 1958. Made numerous live appearances in the United States, Europe, Mexico, and Central and South America, 1955-79.

Membership of the Comets between 1951 and 1975 included John Grande (guitar), Bill Williamson (guitar), Marshall Lytle (bass), Dick Richards (drums), Joey D'Ambrosia (tenor saxophone), Al Rex (bass), Ralph Jones (drums), Rudy Pompelli (tenor saxophone), Frank Beecher, John Kay, and Dave Holly.

Awards: Inducted into the Rock 'n' Roll Hall of Fame, 1986.

Bitter over the indifference he faced in his native country, Haley became a recluse as the 1970s progressed. In one of his last interviews he said: "I wrote 'Rock-a-Beatin' Boogie,' which was the song that gave rock 'n' roll its name. Remember how it started out? 'Rock, rock, rock everybody! Roll, roll, roll everybody!' Well, that started it. The story has got pretty crowded as to who was the father of rock. These days, you'd think everybody did it. But we were the first. I haven't done much in life except that. And I'd like to get credit for it." Indeed, Haley's was no small accomplishment. His music was a breakthrough combination of styles that had previously been split along racial lines, conjured at a time when a young audience with increasing record-buying power was craving novelty.

Bill Haley died in his sleep on February 9, 1981, in the small town of Harlingen, Texas. Stuart Colman offered a tribute to Haley in the book They Kept On Rockin': "Leaders in the music world are always predestined, and Bill had every right to be a star. . . . Whatever. . . [the] criticisms of the Haley style of music, the fact remains that the slick three chord pop songs at which he so excelled, have always been the hardest to write successfully." Colman concluded, "Rest assured, any future songwriter would give his eye teeth to unlock the secret of some of the all-time greats created by Bill Haley and the Comets!" Fittingly, Bill Haley was inducted into the Rock 'n' Roll Hall of Fame in 1986 as one of its first members.

Discography:

Singles; with the Saddlemen
"Rocket 88," Holiday, 1951.

"Green Tree Boogie," Holiday, 1951.

"Jukebox Cannonball," Holiday, 1951.

Singles; with the Comets
"Rock the Joint," Essex, 1952.

"Crazy Man Crazy," Essex, 1953.

"Sundown Boogie," Essex, 1954.

"Rock Around the Clock," Decca, 1954.

"Shake, Rattle, and Roll," Decca, 1954.

"Dim Dim the Lights," Decca, 1954.

"Mambo Rock," Decca, 1955.

"Razzle Dazzle," Decca, 1955.

"Rock a Beatin' Boogie," Decca, 1955.

"See You Later, Alligator," Decca, 1955.

"Rockin' Through the Rye," Decca, 1956.

"Rockin' Rollin' Rover," Decca, 1957.

"Skinny Minnie," Decca, 1958.

"Tamiami," Warner Bros., 1960.

"Chick Safari," Warner Bros., 1960.

"Tenor Man," Newtown, 1963.

"Dance Around the Clock," Newtown, 1963.

"Burn That Candle," Apt, 1965.

"Haley a-Go Go," Apt, 1965.

"A Little Piece at a Time," Janus, 1972.

"Kohoutek," MGM, 1974.

"Within This Broken Heart of Mine," Arzee, 1977.

Albums; with the Comets
Bill Haley and the Comets, Essex.

Rock Around the Clock, Decca.

Rock 'n' Roll Stage Show, Decca.

Rockin' the Oldies, Decca.

Rockin' Around the World, Decca.

Rockin' the Joint, Decca.

Shake, Rattle and Roll, Decca.

Bill Haley's Chicks, Decca.

Haley's Juke Box, Warner Bros.

Bill Haley's Scrapbook, Kama Sutra.

Bill Haley & His Comets, Warner Bros.

Golden Hits of Bill Haley & the Comets, MCA.

Greatest Hits of Bill Haley & the Comets, MCA.

Rock and Roll Is Here to Stay, Gusto.

Rock and Roll, Crescendo.

Rock Around the Country, Crescendo.

Bill Haley & the Comets From the Original Master Tapes, MCA

Source: eNotes

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

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