A Birth of Rock & Roll 5

Arthur Crudup

Source:  Original People

Born in 1905 in Forest, Mississippi, Arthur Crudup [1, 2, 3, 4, 5, 6] began his adult life as a migrant worker, not guessing at the time that he would have a hand in the development of rockabilly. Albeit Crudup was a blues artist who didn't identify as rockabilly, he occupies this page because he was a source to major rockabilly artists like Elvis Presley and the later Stray Cats trio. He began singing gospel with a group called the Harmonizing Four, with which he made his way from Mississippi to Chicago [*]. There opting for a solo career, he was busking on the streets, living in a packing crate, when he was introduced to Tampa Red by Lester Melrose of RCA Bluebird, who also signed him to Crudup's first recording contract in 1941 [1, 2]. Rateyourmusic has him issuing 'If I Get Lucky'/'Death Valley Blues' (Bluebird 8858) in October that year, followed by 'Kind Lover Blues'/'Black Pony Blues' in December and 'Give Me a 32-20'/'Raised to My Hand' in July 1942. Despite Crudup's endeavors he had to support his music as a bootlegger and laborer, unable to acquire due royalties, concerning which he ended his association with Melrose in 1947, become ill of the music business in general. The royalty thing became even more emphasized when Elvis Presley issued Crudup's composition, 'That's Alright Mama', in 1954 and he yet came out empty-handed. Crudup spent years to eventually get paid about $10,000 in overdue royalties, more than three million not to go to his family until after his death in Nassawadox, Virginia, on March 28, 1974 [*]. He had toured with Bonnie Raitt the year before. Crudup had issued four albums: 'Mean Ol' Frisco' ('62), 'Look on Yonder's Wall' (Dec '68), 'Crudup's Mood' ('69) and 'Roebuck Man' ('70). He later came to some renown via the Stray Cats rockabilly trio formed in 1979. Songwriting credits for Crudup at discogs and allmusic 1, 2, 3, 4. See also 45worlds/45cat. More Arthur Crudup in Blues 3, including a few of his first recordings.

Arthur Crudup   1946

  That's All Right Mama

      Composition: Arthur Crudup

Arthur Crudup   1949

  My Baby Left Me

      Composition: Arthur Crudup

Arthur Crudup   1951

  I'm Gonna Dig Myself a Hole

      Composition: Arthur Crudup

Arthur Crudup   1954

  She's Got No Hair

      Composition: Arthur Crudup

Bill Haley

Source: Teen Music (Tycobka)

Bill Haley [1, 2, 3, 4, 5, 6, 7, 8] released a pretty apt example of early rockabilly with 'Rock This Joint' in 1952. Born William John Clifton Haley in Highland Park, Michigan in 1925, Haley personifies the shift from country western to rock n roll via rockabilly, second to none but perhaps Elvis Presley in that. Haley's first professional performances were at auctions at age thirteen, paid $1 a night [1, 2]. One nice thing about Praguefrank's is its discography of Haley. Praguefrank's, however, employing Gardner's discography, yet for some reason shows Haley's first tracks gone down on January 27 of 1946 in Detroit (WOWO radio) with a country gang called the Down Homers consisting of Kenny Roberts (vocals), Bob Mason (guitar) and Lloyd Cornell (bass) with Shorty Cook possibly on steel and Guy Campbell possibly at fiddle. Gardner and Rocky52 have 'Who's Gonna Kiss You When I'm Gone?'/'Out Where the West Winds Blow' released in July on Vogue R736. Haley, however, didn't likely participate in those tracks with Roberts, nor the latter's 'Boogie Woogie Yodel'/'Baby I Found Out All About You' (Vogue R786) issued in April of 1947, nor Roberts' 'You'll' Come Walking Back to Me' gone unreleased, as he didn't join the Down Homers until after those were recorded. See 1, 2, 3, 4. Haley did, however, lead the same group (Roberts out) on an unidentified date in '46 in Fort Wayne, Indiana, to tape tracks unissued until 2006 by Bear Family on 'Rock 'n' Roll Arrives...The Real Birth of Rock 'n' Roll 1946-1954': 'Down Home', 'Following the Sun All Day', 'She Taught Me How to Yodel', 'Cool Water', 'Baby I Found Out All About You', 'Open Up Them Pearly Gates for Me' and 'Who's Gonna Kiss You When I'm Gone?' (BCD 16509). Those were included with a long string of titles gone down unissued at radio WPWA in Chester, PA, as the Four Aces of Swing between 1947 and 1950 like 'Rose of My Heart' and 'Within This Heart of Mine'. Among those was 'Wreck On the Highway'(Dorsey Dixon) eventually issued in 1977/78 in Australia on 'Golden Country Origins' (GR 1001). Sometime in '47 Haley had recorded 'Who's Gonna Kiss You When I'm Gone?' (unissued) as the Range Drifters w Barney Barnard (bass) and Bob Mason (fiddle) at WLBR in Lebanon, OH. Haley led his first titles to issue circa July of 1948 with his country western band, the Four Aces of Western Swing, to result in 'Four Leaf Clover Blues'/'Too Many Parties and Too Many Pals' (Cowboy CR 1201 8/48). The Four Aces consisted of Haley at guitar and vocals, Merle Fritz (steel), Barney Barnard (vocals/bass) and possibly Al Constantine (accordion). 'Candy Kisses'/'Tennessee Border' (Cowboy CR 1202 3/49) had been recorded circa January of '49 with 'The Covered Wagon Rolled Right Along'/'Yodel Your Blues Away' (Cowboy CR 1203) and 'Behind the Eight Ball'/'Foolish Questions' (Cowboy CR 1204). He also recorded 'Stand Up And Be Counted'/'Loveless Blues' in 1949 as Johnny Clifton & His String Band [Gardner/1950 Praguefrank's]. Those went down with Merle Fritz (steel), Al Thompson (bass) and Al Constantine (accordion) at WPWA issue on Center C102 in 1949 [45worlds/1950 Gardner and Rocky52]. Haley first recorded with his country western band, the Saddlemen [*], at WPWA in 1950 [See Gardner/Praguefrank's], among those titles, 'Deal Me a Hand'/'Ten Gallon Stetson' (Keystone 5101). Praguefrank's has the Saddlemen consisting of Billy Williamson (steel), Joe Piccirilli (bass) and Johnny Grande (accordion) on those. Praguefrank's has 'I'm Gonna Dry Ev'ry Tear With a Kiss'/'Why Do I Cry Over You?' (Atlantic 727) going down in a later session that year ('50), the Saddlemen now consisting of Billy Williamson (steel), Al Rex (bass), Jimmy Myers (drums), Johnny Grande (piano) and Bill Borelli (piano). It was with the Saddlemen, recording to as late as latter 1952, that Haley began recording notable rockabilly. Along the way he issued such as 'Green Tree Boogie'/'Deep Down in My Heart' and 'I'm Crying'/'Pretty Baby' in 1951. 1952 saw the Saddlemen release plates like 'Juke Box Cannon Ball'/'Sundown Boogie' and 'Icy Heart'/'Rock the Joint'. Gardner has the Saddlemen holding their last session at WCVH radio [Praguefrank's] in Chester, PA, to lay out 'Rocking Chair On the Moon'/'Dance With a Dolly (Essex 305) with a band consisting of Danny Cedrone (lead guitar), Billy Williamson (steel guitar), Johnny Grande (piano) and Marshall Lytle (double bass). Praguefrank's has the Saddlemen last recording about the same time with Johnny Gussak (drums) added to the same configuration for 'Stop Beatin' Around the Mulberry Bush' and 'Real Rock Drive'. Gardner has those issued in November of 1952 as the Comets (Essex 310). Releasing some strong recordings, the Saddlemen yet did little to advance Haley's career, which problem he determined to be their country western image. So he changed their name to the revamped Comets to realign along the rock rail. His debut tracks with the Comets went down circa April/May of 1953 in NYC [Praguefrank's] to bear 'Crazy Man, Crazy'/'Watcha Gonna Do' (Essex 321) and 'Pat-a-Cake'/'Fractured' (Essex 327). Haley's strategy to trade cowboy hats for suits and ties worked, with assistance from 'Crazy Man, Crazy' when it charted on Billboard at #12. August of '54 saw 'Shake, Rattle & Roll' reach #7. 'Rock Around the Clock' rocketed to #1 in Jan 1955. Also releasing Top Ten titles in the UK, his next in the States was 'Burn That Candle' in Nov of '55 followed by 'See You Later, Alligator' in Jan of 1956 at #6. The Comets had appeared on the 'Milton Berle Show' in May of 1955, then the 'Ed Sullivan' Show in August. The Comets had released their first EP, 'Rock with Bill Haley and the Comets' (Essex EP 102), in 1953 [rocky52]. The LP by the same title saw issue in 1954. Among albums released in 1955 was 'Live It Up!' (London Records H-APB 1042) in the UK and internationally (excepting the States). Decca released 'Shake, Rattle and Roll' (DL 5560) and 'Rock Around the Clock' (DL 8225) in 1955. Haley issued well above thirty studio and live albums [1, 2, 3] during his career. His first of five live LPs was 'Twistin' Knights at the Roundtable' (Roulette SR 25174) in 1962, his last 'Live in London '74' (Antic 51501). Gardner and Praguefrank's have Haley last recording w the Comets at London's Theatre Royal on November 26 of 1979 for Queen Elizabeth II [*]: 'See You Later, Alligator' and 'Rock Around the Clock', issues unknown. Joining him were Jerry Tilley (lead guitar), Pete Thomas (tenor saxophone), Chico Ryan (rhythm guitar), John Gordon (double bass), Steve Murray (drums) and Mal Gray (clapper boy). Haley had employed above 100 musicians in the Comets over the years [*]. He gave his last performances in South Africa in May and June of 1980 [*]. The official cause of his death in Harlingen, TX, on February 9 of 1981 was given as heart attack, though Haley was enduring a brain tumor as well (which others believe to have been fabricated to disguise a drinking problem). The Comets were inducted into the Rock n Roll Hall of Fame in 1987. Haley had composed titles like 'Four Leaf Clover Blues' w Shorty Cook for issue in 1948, 'Rocking Chair on the Moon' w Harry Broomall in '52 and 'Fractured' w Marshall Lytle in 1953. Among Haley's numerous compositions were 'Crazy Man Crazy' ('53), 'Whatcha Gonna Do' ('53) and 'Hot Dog Buddy Buddy' ('56) [*]. Songwriting credits for titles by the Saddlemen at 45worlds and Discogs. Credits for some of the Comets' better-known titles at allmusic. See also 1, 2, 3. Haley in visual media. Itinerary of above 1600 performances from Dec '52 to 1980.

Bill Haley   1948

   Sunday Down in Tennessee

    With the 4 Aces of Western Swing

     Composition: Jimmy Work

Bill Haley   1949

   Wreck on the Highway

     As Johnny Clifton & His String Band

     Composition: Frank Hartman/Jeanne Reed

   Stand Up and Be Counted

     As Johnny Clifton & His String Band

      Composition: Max Spickol/Jack Snyder

Bill Haley & the Saddle Men   1950

   Deal Me a Hand

      Composition: Artie Clark

   I'm Gonna Dry Ev'ry Tear With a Kiss

      Composition: Bill Borrelli Jr/Max Spickol

   I'm Not to Blame

      Composition: Bill Borrelli Jr

   Ten Gallon Stetson

      Composition: Jimmy De Knight/Tom Gindhart

Bill Haley & the Saddle Men   1951

   Green Tree Boogie

      Composition: Bill Haley

   Pretty Baby

   Rocket 88

    Composition: Brenston/Turner

Bill Haley & the Saddle Men   1952

   Sundown Boogie

      Composition: Bill Haley/Jesse Rogers

Bill Haley & the Comets   1953

    Crazy Man, Crazy

      Filmed live

      Composition: Bill Haley

    Crazy Man, Crazy

         Studio version

           Composition: Bill Haley

Bill Haley & the Comets   1955

   Rip It Up

      Film unidentified

         Composition: Robert Blackwell/John Marascalco

   Rock Around the Clock

      Telecast unidentified

         Composition: Jimmy De Knight/Max Freedman

Bill Haley & the Comets   1956

   Goofin' Around

      Film: 'Don't Knock The Rock'

       Composition: Frank Beecher/Johnny Grande

   Razzle Dazzle

     Film: 'Rock Around the Clock'

       Composition: Charles Calhoun (Jesse Stone)

   Rock Around the Clock

      Live on the 'Alan Freed Show' 

       Composition: Jimmy De Knight/Max Freedman

Bill Haley & the Comets   1968

   Shake, Rattle and Roll

       Composition: Charles Calhoun (Jesse Stone)

Born to a poor family in Tupelo, Mississippi [*], in 1935, Elvis Presley [1, 2, 3, 4, 5, 6, 7, 8], issued a tune that doesn't come more rockabilly than 'Good Rockin' Tonight' in 1954, putting a country twist to a jump blues composed by R&B singer, Roy Brown. Presley was a vocalist who less played guitar than played with it on stage. He was born 35 minutes after his identical twin was stillborn. As a child he liked to listen to country musician, Mississippi Slim, on radio station WELO. Presley followed his family to Memphis in 1948. Beginning to hone in on guitar at about age fifteen, his first public performance at the Humes High School 'Minstrel Show' in April 1953 proved encouraging. Presley's first demo recordings in Memphis were intended as a gift to his mother. Praguefrank's has that on July 18, 1953 for 'My Happiness' and 'That's When Your Heartache Begins'. Costing $3.98 to rent studio time, those demos eventually saw issue in 1992 by RCA on the CD box set, 'The King of Rock 'N' Roll: The Complete 50's Masters'. More unissued demos followed on January 4, 1954, for 'I'll Never Stand In Your Way' w 'It Wouldn't Be the Same Without You'. A session on June 5 heard 'Casual Love Affair', since lost. June 26 saw the unissued titles, 'Without You' and 'Rag Mop'. Presley's first sessions to issue were on July 5 and 7 of '54 to result in 'That's All Right'/'Blue Moon Of Kentucky' (Sun 209) [*]. Among other unreleased titles was 'Because I Love You' issued in '56 with 'Tryin' to Get to You' (RCA Victor 20 6639). Produced by Sam Phillips, Presley now had the backing of Scotty Moore (guitar) and Bill Black (bass) on those. 'I Don't Care If The Sun Don't Shine'/'Good Rocking Tonight' (Sun 210) had gone down on August 19. A few sessions later in latter '54 saw 'You're A Heartbreaker'/'Milkcow Blues Boogie' (Sun 215). Those tracks did well enough locally on their own, but the King of Rock & Roll may have been born during a July performance at Overton Park Shell in Memphis, opening for Slim Whitman. He was so nervous that his legs shook as he kept rhythm, eliciting screams from females in the audience, which Presley noted toward the further honing his stage presence. Presley would issue numerously as an R&B artist on Billboard, but most of his titles were issued for the country market, including rockabilly (the nigh yodel of honky tonk removing to a nigh hiccup). Just so, Presley made his sole appearance at the Grand Ole Opry in October of '54. He then secured a year of engagements on the 'Louisiana Hayride' television program. Part country ballad musician, part rocker, in 1955 RCA decided to make a star of Presley, acquiring him from Sun Records for a hefty $40,000 (considering his status at the time at age 20) and engaging in heavy promotion, partially paid for by songwriters who would forego a third of their royalties, some credits, in exchange for Presley performing their tunes [1, 2, 3, 4]. His first sessions for RCA on January 10 ('Heartbreak Hotel') and 11 of 1956 had been backed by the trio of Scotty Moore (guitar), Bill Black (bass) and D. J. Fontana (drums): RCA was backing up their fresh cash cow with nothing but the best. Elvis was scheduled for a number of appearances on 'Stage Show' before the March release of his first album, 'Elvis Presley'. His first appearance on the 'Milton Berle Show' followed in April. The 'Steve Allen Show' and 'Ed Sullivan Show' would follow that summer. July saw the release of 'Hound Dog'/'Don't Be Cruel'. He released the single, 'Blue Suede Shoes', in September of '56. But why stop there? Why not star in your first film, 'Love Me Tender', released in November, as well?. By the end of Presley's first year with RCA he was not only a star but a super star. His singles alone amounted to more than half of RCA's record sales that year. Only merchandise had earned $22,000,000, about what Presley himself grossed [*]. In March of 1957 he was drafted into the Army. His mother died that August. Presley had resigned himself to the notion that his career was over when he'd been drafted, and would perform his duty like anyone else, driving a jeep as he did. But RCA wasn't about to let the military threaten their stake in their goldmine. From the time of Presley's induction to the time of his discharge he watched RCA issue ten Top Forty songs from out of yet unreleased material. Presley was released from military service in 1960 to the mauling of fans to welcome him back to the States. RCA grabbed their prize quick, Presley back in the recording studio not two weeks later. That was March 20 and 21 in Nashville. 'Make Me Know It' and 'Soldier Boy' saw issue on Presley's album, 'Elvis Is Back!', that year. 'Stuck On You'/'Fame and Fortune' were released per RCA Victor 7740. 'A Mess of Blues' saw release on (RCA Victor 7777). He was heard on the 'G.I. Blues' soundtrack in October of 1960. November saw the release of his twelfth LP, a sacred album titled 'His Hand In Mine'. Elvis would die relatively young but spent twenty-two years of constant residence on Billboard's Top Ten. By 1982 he is thought to have sold above 600 million units in the US and above 400 million units internationally for a total of more than one billion units worldwide [1, 2]. Much of Presley's success was due to manager, Colonel Tom Parker, who ran the Presley enterprise from early 1955 to Presley's death in 1977. Presley had first appeared in film in 1955 per the documentary, 'The Pied Piper of Cleveland'.  His initial acting role had been in 1956 per 'Love Me Tender'. Presley had first climbed aboard Billboard's caboose in 1955 w both 'Baby Let's Play House' and 'I'm Left You're Right She's Gone' reaching #5 on the country chart. His #1 titles in the US alone, beginning with Presley's third charting title:

   I Forgot to Remember to Forget   1956
   Heartbreak Hotel   3/56
   I Want You, I Need You, I Love You   5/56
   Hound Dog   8/56
   Don't Be Cruel   8/56
   Love Me Tender   10/56
   Too Much   1/57
   All Shook Up   4/57
   Teddy Bear   6/57
   Jailhouse Rock   10/57
   Don't   1/58
   Hard Headed Woman   6/58
   A Big Hunk o' Love   7/59
   Stuck on You   4/60
   It's Now or Never   7/60
   Are You Lonesome Tonight   11/60
   Surrender   2/61
   Can't Help Falling in Love   12/61
   Good Luck Charm   3/62
   Crying in the Chapel   4/65
   Easy Question   6/65
   I'm Yours   8/65
   Suspicious Minds   9/69
   The Wonder of You   5/70
   You Don't Have to Say You Love Me   10/70
   My Boy   11/74
   Moody Blue   12/76
   Pledging My Love   1977
   Way Down   6/77

A posthumous remix of 'Guitar Man' topped the charts at #1 as recently as January of 1981. Presley's phenomenal success was attended by matters taking a depressing turn in 1973 when he twice overdosed on the barbiturates he used to control fits of rage. He yet toured heavily but 1974 saw barbiturates interfering with his ability to function, much less perform. By 1976 he was being compared to Liberace (a musician who less played classical piano than used a classical piano to parade Liberace). Even yet his concerts bulged with fans and his records charted high, he an international star who had never toured beyond Canada. All came sliding down, however, in 1977, Presley become an incoherent and unsteady corpulence, forgetting and slurring lyrics [1, 2, 3, 4]. Vulture has Presley issuing 57 albums before his death. His last recordings to see issue before his death went down live in Ann Arbor, Michigan, toward issue in June of 1977 on 'Moody Blue'. Praguefrank's shows Presley's last recordings going down live on June 21 of 1977 per the grand opening of the Rushmore Civic Center in Rapid City, SD, a CBS television special, finding posthumous release on 'Elvis in Concert' [songwriting credits]. Presley's last concert was five days later on June 26 at the Market Square Arena in Indianapolis. Presley died of heart attack, likely assisted by years of pharmacological abuse, in his bathroom at Graceland on August 16, 1977. His funeral was attended by 80,000 fans. He had married actress, Priscilla Presley, from 1967 to 1973. His daughter, Lisa Marie, a musician herself, had been born in 1968. By all accounts Presley had been a humble, polite and unpretentious personality. Reading deeply in spiritual matters [*], including the Bible [*], Presley yet couldn't abide the liberal pacifism of John Lennon [*]. He and the Beatles had met once and once only in 1965 at Presley's home at Graceland in Memphis [*]. Among Presley's other major rivals, he had formed a strong friendship with Tom Jones whom he had met at the Flamingo Hotel in Las Vegas in 1968 [1, 2]. Presley wasn't strong in composition. Officially credited with co-writing several titles, per above, those were composed by others who traded credits in exchange for the increased royalties that Presley's would draw. He did contribute to 'You’ll Be Gone' in 1962 with Red West and Charlie Hodge. He otherwise drew upon songwriters like Otis Blackwell ('Don’t Be Cruel'), the team of Jerry Leiber and Mike Stoller ('Hound Dog') and Ben Weisman ('Frankie and Johnny') [1, 2]. See 1, 2, 3, 4, 5, 6 for compositional credits to titles by Presley. Presley in visual media.

Elvis Presley   1953

   My Happiness

     Demo

     Composition: Borney Bergantine   1933

   That's When Your Heartaches Begin

     Demo

     Composition: 1937

     Fred Fisher/William Raskin/Billy Hill

Elvis Presley   1954

   It Wouldn't Be the Same Without You

    Demo

     Composition: Jimmy Wakely/Fred Rose

   I'll Never Stand in Your Way

    Demo

     Composition: Hy Heath/Fred Rose

Elvis Presley   1956

   Blue Suede Shoes

     Composition: Carl Perkins

   Love Me Tender

    Film: 'Love Me Tender'

     Composition: Ken Darby   See *

     From 'Aura Lee'  1861

     George Poulton/Willam Fosdick

Elvis Presley   1957

   Jailhouse Rock

     Composition: Jerry Leiber/Mike Stoller

   Treat Me Nice

     Composition: Jerry Leiber/Mike Stoller

Elvis Presley   1962

   Something Blue

     Composition: Paul Evans/Al Byron

Elvis Presley   1963

   (You're the) Devil In Disguise

     Composition:

     Bill Giant/Bernie Baum/Florence Kaye

Elvis Presley

Source: Innoportal

Rockabilly musician, Johnny Burnette, released a good sample of that with 'Rockabilly Boogie' in 1957. Burnette had issued his first recordings with the Rhythm Rangers perhaps in latter '55, in 1956 with the Rock and Roll Trio. (Burnette is alphabetically the first on this page to issue in '55. Chronologically he was the last.) It was also 1956 when disc jockeys commonly began using the term "rockabilly" in reference to rock music with a hillbilly twist. Born in 1934 in Memphis, Tennessee, Burnette is father to musician, Rocky Burnette (b '53). Playing baseball and football in high school, during the latter forties Burnette briefly ventured a boxing career about the time he worked on Mississippi River barges with his younger brother, Dorsey (b '32/d '79) [*]. They also performed together at local Memphis bars, joining Golden Gloves boxer, Paul Burlison (b '29/d '03). The trio of Dorsey (bass), Johnny (vocals/guitar) and Paul (lead guitar) that was called the Rhythm Rangers formed in 1952. It was November of 1955 at the studio of radio WBIP in Corinth, Mississippi, that they were joined by Albert Vescovo (steel) and Tommy Seeley (fiddle) to lay down titles composed by Dorsey, 'You're Undecided'/'Go Mule Go' (VON 1006), in Nov of '55 [1, 2]. That is variously documented for release the same month, which is moot, December or later more likely. Praguefrank's has Dorsey and Johnny recording lost tracks in Memphis in early '56. What had been the Rhythm Rangers left for New York City in 1956 where they won thrice on Ted Mack's 'Original Amateur Hour', gaining them a contract with Coral Records, whence they changed their name to the Rock and Roll Trio. Their first session for Coral was held on May 5 of '56 at Decca's studio quartered at the Pythian Temple in NYC. 'Tear It Up' saw issue on Coral 61651 with a second version of 'You're Undecided'. 'Oh Baby Babe'/'Midnight Train' saw issue on Coral 61675. 'Shattered Dreams' sidn't see release until 1969 in the UK on 'Tear It Up' (Coral CP 10). They were accompanied on those by drummer, Eddie Grady. Several session dates in July of '56 resulted in such as 'The Train Kept A-Rollin''/'Honey Hush' (Coral 9-61719) and a live version of 'Tear It Up' released in 1983 [discogs] on 'Rock'n Roll' (Skyline 1254). Tracks from July 2 through July 5 saw issue on the album, 'Johnny Burnette and The Rock 'N Roll Trio'. Guitarist, Grady Martin, assisted in some of those sessions, such as on July 5 for 'Lonesome Train'. Praguefrank's has both Dorsey and Burlison last recording as a trio with Johnny on September 9 of 1956 at Madison Square Garden for Ted Mack, performing 'Hound Dog'. Dorsey headed for California, where Johnny would join him later, Johnny Black taking Dorsey's place on 'Lonesome Train' in the film, 'Rock! Rock! Rock!' [1, 2, 3, 4, 5, 6], released in December [imdb (having Dorsey rather than Black in 'Rock! Rock! Rock!')]. Burlison, become weary with touring, went into semi-retirement with his wife in Memphis while leading a career as an electrician [*]. Burnette's next session was with Grady Martin, Bob Moore (bass) and Farris Coursey (drums) on March 22 of 1957 for such as 'Touch Me' and 'Eager Beaver Baby' (Coral 9-61829). In spring of '57 he recorded a solo demo in Memphis titled 'Candle of Love' that eventually saw issue in 2003 on 'The Complete Recordings 1955 - 1964' (Bear Family BCD 16438IL). In autumn of 1957 Dorsey and Johnny were back together again for a demo sessions in Los Angeles, putting down titles like 'Boppin' Rosalie', 'Oh Vera Mae', 'Warm Love' and 'My Honey' that saw issue per BCD 16438IL above. Their first session to issue in California was held in Hollywood on Feb 5 of 1958 for 'Warm Love'/'My Honey' (Imperial 5509), et al later issued per Skyline 1254 above. Burnette began issuing on the Liberty label w 'Kiss Me'/'I'm Restless' in 1958. He began coming to national attention via Dick Clark's 'American Bandstand' in 1960, his first of several appearances in February. Those helped pump his May release of 'Dreamin' to #11 on the Hot 100 in July (#5 in the UK). Burnette's second and last Top Ten was 'You're Sixteen' at #8 in October. 'Little Boy Sad' perched on wire #17 in Feb of '61. 'God, Country and My Baby' followed in October at No. 18. Both Johnny and Dorsey backed Ricky Nelson at a session in Hollywood on June 15/16 resulting in titles that saw issue in '59 on volumes 2 (Imperial IMP 163) and 3 (Imperial IMP 164) of 'Songs by Ricky'. A date on 9/10 October resulted in 'Pretty Baby' released on Nelson's LP, 'More Songs by Ricky' in 1960. Dorsey is seen recording less with Johnny in the sixties as they each pursued solo careers [Dorsey Burnette session discography]. Praguefrank's shows a last session together on January 24 of 1963 for 'Hey Sue' and 'It Don't Take Much' released that year by Reprise. Burnette had first toured to Great Britain in spring of 1962 to appear on BBC television. A second visit in latter '63 saw him recording 'Bony Maronie' at the BBC studio in London, that included on BCD 16438IL above. Burnette created his own label, Sahara, in 1964, releasing 'Fountain of Love'/'What a Summer Day'. He was then forced to change his label's name (already taken) to Magic Lamp, issuing 'Bigger Man'/'Less Than a Heartbeat'. Praguefrank's shows those as a final session in July of 1964 in Hollywood with James Burton (guitar), Joe Osborn (bass), et al. 'The Big House' and 'Going Home' went unissued until 2003 per BCD 16438IL above. (For sake of simplicity we've absented obscure issues of Burnette by the Hydra label). Burnette's first LP had been 'Johnny Burnette and the Rock 'n Roll Trio' issued in December 1956. Come 'Dreamin' in 1960 followed by 'Johnny Burnette' and 'Sings' in '61, Roses Are Red' and 'Johnny Burnette's Hits and Other Favorites' in '62. On August 14 of '64 Burnette was struck in his unlit fishing boat by a cabin cruiser on Clear Lake (northwest of Sacramento, CA). Tossed into cold night waters, he drowned. His corpse was discovered, however, for interment at Forest Lawn in Glendale, CA. Burnette had contributed to the composition of numerous titles, such as 'Tear It Up' in 1956 with Dorsey and Paul. He wrote 'My Heart' and 'I've Got to Get You Yet' for Gene Vincent in 1959 as well as Rick Nelson's 'Just a Little Too Much' issued that year. Flip side was 'Waitin' In School' to which Dorsey had contributed. Songwriting credits for titles by Burnette at 1, 2, 3 (w a sessions disco). Burnette in visual media. Itinerary of about 60 performances from Aug '56 to Nov '63.

Johnny Burnette   1954

   You're Undecided

       Composition: Dorsey Burnette

Johnny Burnette   1956

   Hound Dog

      Television performance for Ted Mack

     Composition: Jerry Leiber/Mike Stoller

   Lonesome Train

    Composition: Glen Moore/Milton Subotsky

      Film: 'Rock! Rock! Rock!'

   Rock Therapy

     Composition: Milton Subotsky

   Tear It Up

       Composition: Burnette/Burnette/Burlison

   The Train Kept A-Rollin'

       Composition:

       Tiny Bradshaw/Howard Kay/Lois Mann

Johnny Burnette   1958

   Kiss Me

       Composition: Johnny Burnette

   I'm Restless

       Composition: Johnny Burnette

Johnny Burnette   1960

   Dreamin'

       Composition: Ted Ellis/Barry De Vorzon

   You're Sixteen

      Television performance

      Composition: Richard Sherman

   You're Sixteen

    Studio version

      Composition: Richard Sherman

Johnny Burnette

Source: Efemerides Musicales

Eddie Cochran

Source: Accordo

Eddie Cochran   1956

   Half Loved

        Composition: J. (Dale) Fitzsimmons/Ray Stanley

   Skinny Jim

        Composition: Jerry Capehart/Eddie Cochran

   Twenty Flight Rock

      Live

        Composition: Eddie Cochran/Ned Fairchild

Eddie Cochran   1957

   Dark Lonely Street

        Composition: Jerry Capehart/Eddie Cochran

   Whole Lotta Shakin' Going On

      Live

        Composition:

        Dave Curlee Williams/James Faye Roy Hall

Eddie Cochran   1958

   Jeannie Jeannie Jeannie

        Composition: George Motola

   Summertime Blues

      Filmed live

        Composition: Jerry Capehart/Eddie Cochran

Eddie Cochran   1959

   Hallelujah I Love Her So

        Composition: Ray Charles

   Teenage Heaven

      Filmed live

        Composition: Jerry Capehart/Eddie Cochran

Eddie Cochran   1960

   C'mon Everybody

        Composition: Jerry Capehart/Eddie Cochran

Duane Eddy

Source: Last FM

Duane Eddy   1955

   Soda Fountain Girl

       Composition: Lee Hazlewood

Duane Eddy   1957

   Ramrod

       Composition: Al Casey

Carl Perkins

Source: Music.It

Both ironically and not, early rock and roll had something of a stigma about it to much of the country western audience (not to mention classical) which made some country western performers hesitant to dip into it. But not all were adverse to the new sound, and that didn't worry guitarist and songwriter, Carl Perkins [1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11] much thanks to whom rockabilly, one remove from honky tonk with R&B as bridge, became a strong limb of rock music. Perkins had first issued in February of '55, about ten months before Johnny Burnette (above). He was born in 1932 in Tiptonville, Tennessee. He picked cotton with his family as a youth, precluding school. He liked to listen to 'Grand Ole Opry' on the radio and began to teach himself guitar in the fashions of Roy Acuff and Bill Monroe [*]. At age fourteen he composed 'Let Me Take You to the Movie, Magg'. Wikipedia has Perkins first playing professionally in latter 1946 (age 14) with his brother, Jay, at a bar called the Cotton Boll on Highway 45 just south of Jackson, TN. That was followed by guitar gigs on the west side at the Sand Ditch. Becoming popular in the kson region, they eventually landed spots on radio WTJS in the latter forties. They were still working day jobs when they made their first recordings with brother, Clayton, at bass and W.S. Holland on drums on October 10 of '54 in Memphis for 'Movie Magg'/'Turn Around' (Flip 501) issued in Feb of 1955 [*]. Their second session date may have been March for unissued tracks of 'Dixie Bop' and 'Perkin's Wiggle', eventually issued in 1990 as 'The Classic Carl Perkins' per Bear Family BCD 15494. Praguefrank's otherwise has those (unissued) on July 11 of 1955 w 'Gone, Gone, Gone'/'Let The Juke Box Keep On Playing' (Sun 224). 'What You Doin' When You Cryin'?' and 'You Can't Make Love to Somebody' were also unissued at the time, included on 'The Classic Carl Perkins' above, though earlier issued in 1988 on 'Honky Tonk Gal: Rare and Unissued Sun Masters' (Sun 112). His 'Blue Suede Shoes', definitive of rockabilly, went down circa December 19 of '55. Perkins had composed 'Blue Suede Shoes' upon witnessing a dancer get angry with his date for scuffing up his shoes. It was also the first title to sell a million copies for the Sun label since its founding in 1952, topping Billboard's Country chart in March of 1956 at #1, #2 on the Hot 100, #2 in R&B, #10 in the UK. On March 22, 1956, Perkins was involved in an auto accident with his band that fractured three vertebrae and broke his collar bone in addition to other injuries. He was back to work again less a month later to began his 'Big D Jamboree' tour in Beaumont, Texas. 'Boppin' the Blues' bounced to #7 in country in July of '56. Come 'Your True Love' at #13 in March of 1957. His Top Ten titles above saw release on Perkins' first LP in '57, followed by 'Whole Lotta Shakin'' in '58. Perkins collaborated both as a composer and performer with some of the largest names in the music industry during his career. (See his CD, 'Go Cat Go!' for titles with such as Paul Simon and Paul McCartney released in 1996.) He had first recorded with Jerry Lee Lewis on December 4 of 1956, that to become known as the Million Dollar Session issued as 'The Million Dollar Quartet' in 1961 due to the assistance of Elvis Presley and the moot contribution of Johnny Cash, the latter attending the session long enough for a lot of photographs like the one used on the cover. Neither praguefrank's nor discogs include Cash on that. Wkipedia notes the possibility of his contribution to 'Blueberry Hill'. [See also 1, 2.] That was Perkins' only session (vocals on 'Keeper of the Key') with Presley, though he would see more of Lewis and Cash. Lewis and Perkins whipped out 'Put Your Cat Clothes On' at a session on Jan 30, 1967. Come 'Lend Me Your Comb' on December 6. Years later on April 23 of 1981 Lewis and Cash joined Perkins for a live show in Stuttgart, Germany, that getting released on 'The Survivors' in 1982. Praguefrank's has Perkins backing Cash on March 1 of 1967 for titles including 'The Long-Legged Guitar Pickin' Man' with June Carter. Perkins stuck with Cash, thus supporting Carter oft along the way as well, into the seventies. Praguefrank's has him with Cash and the Carter Family, et al, as late as June 18 of '74 for titles toward 'Johnny Cash Sings Precious Memories'. He reunited with both Cash and Lewis in Sep of 1985 to record 'Class of '55' with Roy Orbison. Perkins backed the Judds on 'Let Me Tell You About Love' in 1989, a title he composed with Paul Kennerley and Brent Maher. Eddy performed at Royal Albert Hall in London in September of '97 before he died on January 19 of '98 in Jackson, Tennessee [*]. He had endured several strokes but died of throat cancer. Perkins was well-known for his compositions, some such as 'Honey, Don't!' ('55), 'Your True Love' ('57), '1143' ('68) and 'Her Love Rubbed Off' ('69). He co-wrote 'All Mama's Children' with Cash in 1956 and supplied the latter with 'Daddy Sang Bass' in 1968. Bob Dylan assisted him with 'Champaign, Illinois' in 1969 ('On Top'). Songwriting credits for titles by Perkins at 1, 2, 3, 4, 5, 6, 7. Perkins in visual media.

Carl Perkins   1955

   Movie Magg

       Composition: Carl Perkine

   Turn Around

       Composition: Carl Perkine

Carl Perkins   1956

   Blue Suede Shoes

    'Perry Como Show'

       Composition: Carl Perkine

   Blue Suede Shoes

    Studio version

       Composition: Carl Perkine

   Matchbox

       Composition: Carl Perkine

Carl Perkins   1957

   Boppin' the Blues

       Composition: Carl Perkin/Howard Griffin

Carl Perkins   1987

   That's Alright Mama

       Filmed live

       Composition: Arthur Crudup

Buddy Holly   1956

   Blue Days, Black Nights

       Composition: Ben Hall

Buddy Holly

Source: Torrent Rend

Brenda Lee was born Brenda Mae Tarpley in latter 1944 in Atlanta. in 1956 she covered Hank Williams' honky tonk, 'Jambalaya', with the more rockabilly 'Bigelow 6-200'. Rockabilly (has) produced some powerful instrumentalists, but when it came to vocalists Lee did the cooking. At age three she liked to sing for coins and treats on the counter of a local candy shop [*]. She was age ten when her father died and she became the breadwinner of the family via country radio performances at WAGA in Atlanta. It was February 1955 when she met country western musician, Red Foley, who slipped her performance of 'Jambalaya' into an 'Ozark Jubilee' broadcast for ABC TV [*]. Ten year-old Lee then did three encores of other songs. Her network debut on March 31 of '55 brought her to national attention. Praguefrank's has her first session to issue on July 30 of '56, laying out 'Jambalaya' and 'Bigalow 6-200' (9-30050). 'Some People' and 'Your Cheating Heart' didn't see issue until 1984 in the UK on 'The Early Years' (MCA MCL 1792). Precocious Lee had been backed by some of the finest studio musicians in Nashville during that session: Grady Martin (guitar), Jack Shook (guitar), Don Helms (steel), Bob Moore (bass), Farris Coursey (drums) and Owen Bradley (piano). It was the same bunch for her next date the next day for a couple of Christmas tunes released in November: 'I'm Gonna Lasso Santa Claus'/'Christy Christmas' (Decca 9-30107). Doodle Bug Rag' diddled until 1974 to see release on 'The Legends of Rock Vol 2 Rare Items' (MCA Coral ‎COPS 7292-D/1-2). Lee was placed with a different band for her next session in New York City at Decca's Pythian Temple studio on Jan 3 of 1957, that a gathering of Al Caiola, Edward O‘Conner, Sanford Block, James Crawford, Andres Ackers, Nick Tagg (organ), Sam Taylor (saxophone) and the Ray Charles Singers for 'One Step At a Time'/'Fairyland' (Decca 9-30198). She would became known as Little Miss Dynamite upon the release of 'Dynamite' in 1957, gone down on April 12 with 'Love You 'Til I Die'. Produced by Paul Cohen again, she was accompanied Hank Garland (guitar), Grady Martin (guitar), Herschel Hewarth (guitar), Bob Moore (bass), Farris Coursey (drums), Marvin Hughes (piano), Andy Goodrich (sax) and the Anita Kerr Singers. Rocky52 has 'One Teenager to Another'/'Ain't That Love' released in August '57 on Decca 9-30411. Lee's last session in 1957 was on November 29 in Nashville with Ray Edenton (guitar), Grady Martin (guitar), Bob Moore (bass), Farris Coursey (drums), Owen Bradley (piano), Boots Randolph (sax) and the Anita Kerr Singers for 'Rock the Bop'/'Rock-A-Bye Baby Blues'. Lee's first issue to chart found the Top Twenty in Country in March of 1957 w 'One Step at a Time' at #15, all right, I guess, for a twelve year-old. Lee's brand of rockabilly and pop rock positioned in the Top Ten a total of three-three times beginning with 'Sweet Nothins'' in Dec of 1957 at #4 on the Hot 100 and #12 in R&B. That was followed by her first #1 title in May of 1960, 'I'm Sorry'. Her next arrived in September with 'I Want to Be Wanted'. Several strong titles followed to her next to chart at #1 in Sep of 1962, 'All Alone Am I'. Lee consistently manufactured Top Ten titles to her last in 1980 w 'The Cowgirl and the Dandy' at #10 in Country. Her issue of 'Rockin' Around the Christmas Tree' discovered #16 as late as 1998. Lee was also highly popular in the UK where she'd first toured in 1959. The yet unknown Beatles opened for her during one tour in the early sixties. Her popularity on the wane in the United States in the latter sixties, she returned to country music in the seventies to considerable success until the eighties brought the dimming of her star. Lee's first LP had seen release in 1959: 'Grandma What Great Songs You Sang!' [1, 2]. Discogs lists 45 albums with release dates to as late as 2007 per 'Gospel Duets with Treasured Friends', that recorded in 2005 or '06 at Blackbird Studios in Nashville w Dolly Parton, George Jones, Alison Krauss, Vince Gill, Emmylou Harris, Pam Tillis, Kix Brooks, Charlie Daniels, Martina McBride, Ronnie Dunn and Huey Lewis. Lee availed herself of the talents of a vast variety of songwriters, hers a vocation in performance, not composition. Discos w composition and production credits at 1, 2, 3. See also *. Lyrics at Classic Country. Lee in visual media. References encyclopedic beyond Wikipedia: 1, 2, 3, 4, 5. References musical beyond Unterberger at All Music: 1, 2, 3, 4, 5, 6, 7. Music encyclopedias: 1, 2. Further reading: 1, 2. Lee continues to perform on tour as of this writing.

Brenda Lee   1956

   Jambalaya

       Composition: Hank Williams Sr.

   Bigelow 6-200

       Composition: Peter De Angelis/Bob Marcucci

Brenda Lee   1957

   Dynamite

       Composition: Mort Garson/Tom Glazer

   Fairyland

       Composition: Peter De Angelis/Bob Marcucci

   One Step At a Time

       Composition: Hugh Ashley

Brenda Lee   1960

   I Want to Be Wanted

       Composition: Pino Spotti/Alberto Testa

       English lyrics: Kim Gannon

   Sweet Nothin's

       Composition: Ronnie Self

Brenda Lee   1962

   I'll Be Seeing You

       Composition: Irving Kahal/Sammy Fain

Brenda Lee   1965

   Let It Be Me

       From 'Je t'appartiens'   1955

       Music: Gilbert Bécaud

       Lyrics: Pierre Delanoë

Brenda Lee   1966

   Kiss Away

       Composition: Irving Kahal/Sammy Fain

Brenda Lee

Source: Muz-Lyrics

Jerry Lee Lewis

Source: Elvis Information Network

Boogie woogie pianist, Jerry Lee Lewis [1, 2, 3, 4, 5, 6], was born in Ferriday, Louisiana, in 1935. Also indulging in rockabilly, one example of that is his 1966 'Memphis Beat'. Lewis began tapping the keys on his aunt's piano as a child. He gave his first public performance at age fourteen ('49) in the parking lot of a Ford dealership. At age fifteen Lewis' mother enrolled him into Southwestern Bible Institute in Waxahachie, Texas, where he was expelled from school for a boogie woogie rendition of 'My God Is Real', thereat to begin playing clubs. He made his first demo recordings in 1952 for the price of $2.50 at Cosimo Matassa's J&M Recording Studios in New Orleans [*]: 'Don't Stay Away' and 'Jerry Lee's Boogie' ('New Orleans Boogie'), later made available on 'A Half Century of Hits' (Time Life 19232) in 2006. Demos in 1954 in Shreveport, Louisiana, were 'I Don't Hurt Anymore' and 'If I Ever Needed You', later issued in 1991 on 'The Killer's Private Stash' (Electrovert EVCD 3001). Lewis' first commercial issues went down w Roland Janes (guitar) and James Van Eaton (drums) at the Sun studio in Memphis, Tennessee, on November 14 of 1956 to result in 'End of the Road' b/w 'Crazy Arms' (Sun 256), thought issued in December. 'You're The Only Star In My Blue Heaven' saw issue on 'The Sun Years' (Sun BOX 102) in 1983. 'Born to Lose' saw release in 1974 on 'Rockin' and Free' (Sun 6467 029). On December 4 of 1956 Lewis took part in what became called the Million Dollar Jam Session at Sun with Elvis Presley (guitar/piano), Carl Perkins (vocals/guitar), Jay Perkins (guitar), Charlie Underwood (guitar), Clayton Perkins (bass) and WS Holland (drums). Perkins led 'Crazy Arms', 'That's My Desire', 'End of the Road', 'Black Bottom Stomp' and 'You're the Only Star in My Blue Heaven' [*]. Johnny Cash attended that session long enough for a lot of photographs like the one used on the cover of 'The Complete Million Dollar Session' (Charly Records 102) in 1987. Though Wikipedia notes the possibility of Cash's contribution to 'Blueberry Hill' he isn't otherwise thought to have performed. Also gone down in latter '56 on an unknown date was 'Silver Threads' eventually issued in 1970 on 'Sunday Down South' (Sun 119). 'I Love You So Much It Hurts' and 'I'm Throwing Rice' got issued in 1970 on 'A Taste of Country' (Sun 114). Still supported by Janes and Van Eaton, other titles gone down in latter '56 or 'early '57 included a version of 'Whole Lotta Shakin' Goin' On' later issued in 1989 on 'Classic' (Bear Family BCD 15420). That went down for commercial issue on Sun 267 in February of 1957 with 'It'll Be Me', again w Janes and Van Eaton. Janes was Lewis' main guitarist to sessions as late as August of 1963 in Memphis. Van Eaton had left Lewis in latter 1960 after 'When I Get Paid'/'Love Made a Fool Of Me' (Sun 247). 'Whole Lotta Shakin' Goin' On' had shot to #1 on Billboard's Country and R&B charts in June of '57. It located #3 on the Hot 100. 'Great Balls of Fire' repeated #1 on the Country chart in November. Several Top Ten titles followed until 'To Make Love Sweeter for You' found #1 in 1968. Ten Top Ten tunes ensued in a row to 'There Must Be More to Love Than This' scoring at #1 again in 1970. It was 'Would You Take Another Chance on Me' in 1971. Lewis issued Top Ten titles to as late as 'Thirty Nine and Holding' in 1981 at Country's #4. Discogs has Lewis' first LPs, 'Jerry Lee Lewis' and 'Jerry Lee Lewis and His Pumping Piano' (not issued in the UK or US), issuing in 1958. The former was released in May, Lewis touring in the UK at the time. Upon receiving publicity concerning his third of seven marriages in 1957 to thirteen year-old Myra Gale Brown, daughter of a cousin, public outrage became sufficient to cancel the rest of his concerts and return to the States where his career was equally in ruins, dropping from concerts that earned him $10,000 a night to performances at beer joints for a couple hundred dollars. He continued recording with Sun Records until 1963, but his popularity yet had a bad limp and he did no better at Smash Records. His last title to chart had soared to #5 on Billboard's R&B in June of 1958. It was another 10 years before he climbed aboard the Top Ten again w 'She Still Comes Around' in 1968 at Country's #2. In 1964 Lewis recorded his acclaimed album, 'Live at the Star Club', in Hamburg, though it wasn't released in the States. Lewis appeared at the Grand Ole Opry for the first time in 1973. He was also one of the few musicians throughout this history who had a thing for guns but oughtn't have. In September of 1976 he accidentally shot his bass player, Butch Owens, in the chest with a .357 he didn't think was loaded. (Owens survived, to tell it was a ricochet from a bottle Lewis shot that had hit him.) In November that year Lewis crashed his new Lincoln Continental into the gate to Elvis Presley's home in Memphis, which fiasco with Presley's guard got him arrested for possession of a .38 derringer and public drunkenness. (Presley, who would die eight months later, didn't want to deal with Lewis' belligerent condition and had him sent to jail for sobering.) Howsoever, Lewis continued performing into the eighties with little more distressful occurring than hospitalizations for stomach troubles. Notable in 1986 was his induction into the Rock and Roll Hall of Fame, as well as his appearance on the album, 'Class of '55', with Johnny Cash, John Fogerty, Roy Orbison and Carl Perkins. 1998 saw Lewis touring Europe with Chuck Berry and Little Richard. Having recorded more than forty albums, Lewis has managed to remain exceedingly popular into the new millennium and yet performs as of this writing. Praguefrank's traces him to as late as 2014 for titles released by Vanguard on 'Rock & Roll Time' with Jon Brion, Doyle Branham, Keith Richards, Ron Wood, Daniel Lanois, Neil Young, Ian Neville, Robbie Robertson, Derek Trucks, Nils Lofgren and Shelby Lynne. Rick Rosas supplied bass on most of those with Jim Keltner at drums. Others with whom Lewis has recorded include Delaney Bramlett, Willie Nelson, Eric Clapton, John Fogerty, Kid Rock and Ringo Starr. Lewis had composed such as 'End of the Road' ('56) and 'Lewis Boogie' ('58), otherwise drawing material from all number of songwriters. Discographies w songwriting and production credits at 1, 2, 3. See also: 1, 2, 3. Lyrics w composer credits at Classic Country. Lewis tribute sites: 1, 2. Lewis in visual media. Further reading at Rolling Stone.

Jerry Lee Lewis   1952

   New Orleans Boogie

    Demo recording 

       Composition: Lewis

   Don't Stay Away

    Demo recording

       Composition: Lewis

Jerry Lee Lewis   1956

   Crazy Arms

       Composition: Charles (Chuck) Seals/Ralph Mooney

Roy Orbison

Source: Bellazon

Roy Orbison   1956

  Go! Go! Go!

       Composition: Orbison

  Ooby Dooby

       Composition: Dick Penner/Wade Moore

  That's Alright Mama

       Composition: Arthur Crudup

Roy Orbison   1958

  Almost Eighteen

       Composition: Orbison

Roy Orbison   1961

  Crying

       Composition: Orbison/Joe Melson

  Running Scared

       Composition: Orbison/Joe Melson

Roy Orbison   1964

  Crying

      Filmed live

       Composition: Orbison/Joe Melson

  Oh Pretty Woman

       Composition: Orbison/Bill Dees

Roy Orbison   1965

  Crying

      Filmed live

       Composition: Orbison/Joe Melson

  Running Scared

      Filmed live

       Composition: Orbison/Joe Melson

Roy Orbison   1967

  Far Far Away

       Composition: Don Gibson

Roy Orbison   1987

  Oh, Pretty Woman

      Filmed live

       Composition: Orbison/Bill Dees

Roy Orbison   1988

  Crying

      Filmed live with KD Lang

       Composition: Orbison/Joe Melson

  In Dreams

      Filmed live

       Composition: Orbison

  You Got It

      Filmed live

       Composition: Jeff Lynne/Orbison/Tom Petty

Roy Orbison   1989

  A Love So Beautiful

Roy Orbison   1992

  I Drove All Night

      Music video

       Composition: Billy Stienberg/Tom Kelly

Rock n roll had its origins in R&B. Much coinciding with its becoming known as rock and roll was its injection with country western chemicals. A good early example of rock and roll arriving from out of country western territory is Bill Haley. Warren Smith [1, 2, 1, 2, 3] was another country musician emerging a few years later who made notable contributions to rockabilly, though unlike Haley who had dropped country for his more successful rock formula, Smith was more country oriented. Either give example of the sibling yet distinct relationship between C&W and rock. Smith's honky tonk-leaning 'So Long, I'm Gone' in 1957 is a good instance, released after his rockabillies, 'Rock 'n' Roll Ruby' and 'Ubangi Stomp'. Smith was born in 1932 in Humphreys County, Mississippi, taking up guitar while he was stationed in San Antonio, Texas, in the Air Force. Upon release from duty he headed to West Memphis, Arkansas, next door to Memphis, Tennessee, where he made his first commercial recordings on Feb 5 of 1956 at Sun Studio to result in 'Rock & Roll Ruby'/'I'd Rather Be Safe Than Sorry' (Sun 239) [*]. Backing Smith's vocals were Buddy Holobaugh (guitar), Jan Ledbetter (bass), Johnny Benero (drums) and Joe Baugh (piano). Producer, Sam Phillips, gathered together a different gang of support musicians for Smith on March 30 consisting of Quinton Claunch (guitar), Marshall Grant (bass), Clyde Leoppard (drums) and Martin Willis (sax) for 'Hank Snow Medley' and 'I Couldn't Take the Chance', those not issued until 1992 on 'Classic Recordings 1956-1959' (Bear Family BCD 15514). His second session to issue arrived in August for 'Ubangi Stomp'/'Black Jack David' (Sun 250). Backing him in that session were Al Hopson (guitar), Brad Suggs (guitar), Marcus Van Story (bass), Johnny Benero (drums) and Joe Baugh (piano). Smith issued 'Miss Froggie'/'So Long I'm Gone' (Sun 268) in 1957, the latter to chart on Billboard at a distant #72 on the Hot 100. Several more plates between Sun and Warner Brothers found few ears, Smith then moving to Liberty Records in 1960 for 'I Don't Believe I'll Fall in Love Today' to rise to No. 5 in Country. His second and last Top Ten was 'Odds and Ends' in Feb of 1961. In 1965 Smith was involved in an auto accident that removed him from stage for nigh a year with bad back injuries. Attempts to reenter the music business were unsuccessful as he became addicted to pharmaceuticals, leading to 18 months in prison for robbing a pharmacy. Recordings thereafter came to negligible results, though Smith was able to recover his career sufficiently to eventually make a tour to Europe in 1977 where he remained very popular in the UK. His death by heart attack on January 30, 1980, however, halted any further intentions of revival. Smith had released three albums: 'The First Country Collection of Warren Smith' ('61), 'The Legendary Warren Smith' ('78) and 'Memorial Album' ('80). 'The Last Detail' was a reissue in the UK of 'The Legendary'. Though Smith had authored such as 'Black Jack David' ('56) and 'Stop the World' (unknown) his contributions to composition were minimal. Songwriting credits for his titles at 1, 2, 3.

Warren Smith   1956

   Black Jack David

      Composition: Warren Smith

   Rock 'n' Roll Ruby

      Composition: Johnny Cash

   Ubangi Stomp

      Composition: Chas. (Charles) Underwood

Warren Smith   1957

   So Long I'm Gone

      Composition: Roy Orbison

Warren Smith   1959

   Sweet Sweet Girl

      Composition: Don Gibson

Warren Smith   1960

   I Don't Believe I'll Fall In Love Today

      Composition: Harlan Howard

   I Fall to Pieces

      Composition: Hank Cochran/Harlan Howard

   Odds and Ends (Bits and Pieces)

      Composition: Harlan Howard

Warren Smith

Source: Last FM

Conway Twitty

Source: Tunnel

A lot of originally country musicians such as Bill Haley jumped on the rock n roll train and didn't look back. For Conway Twitty [1, 2, 3, 4, 5, 6, 7] it was the reverse, beginning his career as a rocker before shifting to country western. One apt example of his early rockabilly is 'Long Black Train' in 1960. Born Harold Lloyd Jenkins in 1933 in Friars Point, Mississippi, he got moved to Helena, Arkansas, at age ten where he began singing with a group. Having been presented with a guitar at age four, at age twelve he was hired at KFFA radio in Helena. Sometime in 1946 he there recorded 'Cry Baby Heart' as Harold Jenkins, that eventually issued in 1994 on 'Collection' (MCA 11095) [see sessions/issues]. Praguefrank's has that with the Arkansas Cotton Choppers filled w Wesley Pickett (guitar) and John Hughey (steel). Twitty might have become a baseball player rather than musician, invited to join the Philadelphia Phillies upon graduating from high school. But he got drafted instead, running a band called the Cimmerons while spending his tour in the Orient. During that period in March of '56 he recorded 'Maybelline' aboard ship somewhere between Japan and the US with a crew of Jimmy Geesie (guitar), Chuck Murray (rhythm guitar), Wesley Pickett (rhythm guitar), Gene Jones (steel), Paul Thompson (drums) and Tip Tipton (bass fiddle). That was included on 'Collection' above in 1994. Twitty went to Memphis upon release from military duty, there to put together a band called the Rockhousers to record five unissued tracks produced by Sam Phillips at Sun Studio in the summer of 1956, all titles lost except 'Rock House' issued on 'Collection' above. The four lost tracks were 'Lawdy Miss Clawdy', 'Jim Dandy', 'Long Black Train' and 'Baby Let's Play House'. Having changed his name to Conway Twitty, his Rockhousers consisted of Jimmy Ray Paulman (guitar), Bill Harris (bass) and Billy Weir (drums). Twitty's first issues were from sessions on November 16 and December 31 to result in 'I Need Your Lovin'/'Born to Sing The Blues' (Mercury 71086). Also gone down were 'Crazy Dreams' (issued 1975 on 'Shake It Up' and Bear Family BFX 15174), and 'I Need Your Lovin' Kiss' and 'Just in Time' (issued 1985 on 'Rock and Roll Years 1956-1963' per Bear Family BFX 15174). Twitty commenced 1958 with an unissued version of 'Born to Sing' on January 21. March saw titles toward EP Mercury 14190: 'I Need You Lovin', 'Born to Sing the Blues', 'Maybe Baby' and 'Shake It Up'. The latter two also saw release on Mercury 71148. Twitty's first plate witnessed a cool #93 on Billboard's Hot 100 in May of '57. His next charting title was 'It's Only Make Believe' in Sep of '58 at #1. 'Danny Boy' and 'Lonely Blue Boy' were Top Ten titles in 1959 at #10 and #6. Twitty didn't see another Top Ten position until he quit rock n roll and went country, 'Next in Line' reaching #1 in 1968. That was the first of 63 Top Ten titles on the Country charts to as late 'I Couldn't See You Leavin'' in 1991 at #3. Counting 'Next in Line', 35 of those topped the chart at #1 as follows:

   Next in Line   1968
   I Love You More Today   1969
   To See My Angel Cry   1969
   Hello Darlin'   7/70
   Fifteen Years Ago   10/70
   How Much More Can She Stand   4/71
   I Can't Stop Loving You   1972/
   On Our Last Date   5/72
   She Needs Someone to Hold Her   1973
   You've Never Been This Far Before   8/73
   I See the Want to in Your Eyes   1974
   There's a Honky Tonk Angel   1974
   Touch the Hand   1975
   Linda on My Mind   2/75
   After All the Good Is Gone  1976
   The Games That Daddies Play   1976
   This Time I've Hurt Her More Than She Loves Me   1976
   I Can't Believe She Gives It All to Me   1977
   I've Already Loved You in My Mind   1977
   Play Guitar Play   1977
   Don't Take It Away   1979
   Happy Birthday Darlin'   1979
   I May Never Get to Heaven   1979
   I'd Love to Lay You Down   1980
   Rest Your Love on Me/I Am the Dreamer   1981
   Tight Fittin' Jeans   1981
   Red Neckin' Love Makin' Night   1981
   Slow Hand   1982
   The Clown   1982
   The Rose   1983
   I Don't Know a Thing About Love 1984
   Somebody's Needin' Somebody   1984
   Ain't She Somethin' Else   1985
   Don't Call Him a Cowboy   1985
   Desperado Love   1986

Twitty had issued his debut R&B LP, 'Conway Twitty Sings', in 1959 (MGM E-3744). Seven years later he released the country album by the same title (Decca DL 4724). Twitty added ten more Top Ten titles to his catalogue upon partnering with another country superstar, Loretta Lynn, in 1970. They issued their first two albums of duets in February 1971: 'Lead Me On' and 'We Only Make Believe'. Those included their #1 titles, 'Lead Me On' and 'After the Fire Is Gone'. Three more of their songs topped the Country chart from '73 to '75: 'Louisiana Woman', 'As Soon as I Hang Up the Phone' and 'Feelins''. Nine LPs ensued to 'Two's a Party' in 1981 and 'Making Believe' in 1988. Their last Top Ten titles had been in 1981 with 'I Still Believe in Waltzes' (#2) and 'Lovin' What Your Lovin' Does to Me' (#7). On June 4 of 1993 Twitty collapsed during a performance at the Jim Stafford Theatre in Branson, Missouri. Rushed to the hospital, he died the next morning of died of an abdominal aortic aneurysm. He was buried under his real name, Harold L. Jenkins, in Gallatin, Tennessee. His album, 'Final Touches', was issued in August. Not counting LPs with Loretta Lynn, Twitty released in the vicinity of seventy albums [1, 2]. Albums with Lynn at 1, 2. Twitty had composed numerously, writing such as 'I Can't See Me Without You' ('71), 'You've Never Been This Far Before' ('73) and 'After All the Good Is Gone' ('76). Songwriting credits for Twitty titles at 1, 2, 3. Twitty in visual media. Itinerary of above 400 performances from April 1960 to June 1993. Per 1956 below, Jenkins is Twitty. Later country recordings by Twitty at C&W: Conway Twitty.

Conway Twitty   1956

   Just In Time

      Composition:

      Jim Ed Brown/Maxine Brown/Harold Jenkins

Conway Twitty   1957

   Born to Sing the Blues

      Composition: Conway Twitty

   I Need Your Lovin'

      Composition: James Paulman/Conway Twitty

Conway Twitty   1958

   I'll Try

      Composition: Conway Twitty/Jack Nance

   It's Only Make Believe

      Composition: Conway Twitty/Jack Nance

Conway Twitty   1959

   Lonely Blue Boy

      Composition: Fred Wise/Ben Weisman

   Mona Lisa

      Composition: Jay Livingston/Ray Evans

Conway Twitty   1960

   Splish Splash

       Composition: Bobby Darin/Murray Kaufman

   What Am I Living For

       Composition: Bobby Darin/Murray Kaufman

Gene Vincent   1956

   Ain't She Sweet

           Composition: Milton Ager/Jack Yellen

   Be-Bop-A-Lula

           First release Side A

           Composition: Sheriff Tex Davis/Gene Vincent

   Jezebel

           Composition: Wayne Shanklin

   Race with the Devil

           Composition: Sheriff Tex Davis/Gene Vincent

   Unchained Melody

           Composition: Hy Zaret/Alex North

   Up a Lazy River

           Composition: Sidney Arodin/Hoagy Carmichael

   Woman Love

          First release Side B

           Composition: Jack Rhodes

Gene Vincent   1957

   B-I-Bickey-Bi, Bo-Bo-Go

          Composition: Don Carter/Dub Nalls/Jack Rhodes

   Important Words

          Composition: Gene Vincent/Bill Davis

   Lotta Lovin'

          Composition: Bernice Bedwell

Gene Vincent   1958

   Baby Blue

          Composition: Gene Vincent/Bobby Jones

   Be-Bop-A-Lula

          Filmed live with Eddie Cochran

          Composition: Sheriff Tex Davis/Gene Vincent

   Rip It Up

         Filmed live with Eddie Cochran

          Composition: John Marascalco/Robert Blackwell

Gene Vincent   1959

   Over the Rainbow

       'Town Hall Party'

          Music: Harold Arlen

          Lyrics: Yip Harburg

Gene Vincent   1961

   I'm Goin' Home

          Composition: Bob Bain

   Lucky Star

          Composition: Dave Burgess

Gene Vincent   1963

   Be-Bop-A-Lula

       Filmed live

         Composition: Sheriff Tex Davis/Gene Vincent

Gene Vincent   1969

   Circle Never Broken

         Composition: Traditional

         Album: 'I'm Back and I'm Proud'

  Lonesome Whistle

         Composition: Jimmie Davis/Hank Williams

         Album: 'I'm Back and I'm Proud'

  Rainbow at Midnight

         Composition: John Miller

         Album: 'I'm Back and I'm Proud'

  Scarlet Ribbons

         Composition: Evelyn Danzig/Jack Segal

         Album: 'I'm Back and I'm Proud'

  White Lightning

         Composition:

         George Jones/Jiles Perry Richardson (Big Bopper)

        Album: 'I'm Back and I'm Proud'

Gene Vincent

Source: Ghost Greaser

The Big Bopper   1957

   Beggar to a King

   Crazy Blues

The Big Bopper   1958

   Big Bopper's Wedding

      Music video

   Chantilly Lace

      Live on 'American Bandstand'

   Little Red Riding Hood

      Music video

The Big Bopper   1959

   White Lightning

Big Bopper (Jiles Richardson)

Source: Sol Talk

Ricky Nelson [1, 2, 3, 4, 4] was born Eric Hilliard Nelson in 1940 in Teaneck, New Jersey [*]. Among the rockabilly tunes he recorded was 'Stood Up' issued in 1958. Nelson was the heartthrob darling of early rock and roll, what teen magazines with pages that unfolded into posters of idols to tack onto  bedroom walls were all about, a regular nice package. He's also nice in the most complimentary terms of the word, as in a quality to appreciate, a good thing in the world. Some things are just, well, nice, which Nelson brought forth as a class (nice) act in general. Nelson began his professional career in 1949 at age nine on 'The Adventures of Ozzie and Harriet' radio show. He then became a television star when the televised version began broadcasting in 1952. Nelson recorded his first plate on March 26 of 1957 in Hollywood: 'I'm Walking'/'A Teenager's Romance' (Verve V-10047). 'You're My One and Only Love' saw issue with guitarist, Barney Kessel's, 'Honey Rock' flip side (Verve V-10070). Kessel was one of the gang supporting that session along with Jack Marshall (guitar), Hilmer Timbrell (bass), Irving Cottler (drums), Irving Kluger (percussion), Paul Smith (piano), Plas Johnson (sax), et al. Nelson's next session on August 16 was a different ensemble consisting of Bob Bain (guitar), Howard Roberts (guitar), Ray Siegel (bass) and Roger Renner (piano) for 'Be-Bop Baby'/'Have I Told You Lately That I Love You' (Imperial 5463). 'If You Can't Rock Me' eventually got issued in 1991 on 'The Best of Ricky Nelson Vol 2' (Capitol 95219). Nelson's third of several session dates in '57 fell on September 24 with Joe Maphis (guitar), Howard Roberts (guitar), George De Naut (bass), Earl Palmer (drums) and Roger Renner (piano) for 'Your True Love' and 'Honeycomb' released on Imperieal EP 153. 'Baby I'm Sorry' saw record shelves on Imperial EP 154. Nelson's first issue, 'I'm, Walking', reached #4 on Billboard's Hot 100. Its flip side, 'A Teenager's Romance', surpassed it at #2. That commenced a remarkable string of high-charting songs one upon the next into 1962. Nelson settled down a bit into the sixties, yet kept placing titles in the Top Forty to as late as 'Garden Party' in 1972. That was his fourth #1 track, preceded by 'Poor Little Fool' ('58), 'Travelin' Man' ('61) and 'For You' ('63). His untimely death at age 45 on December 31, 1985, due to a plane incident in Dallas put the whole nation on pause, Nelson never losing the beloved status he had acquired during his early days in television, that despite his getting booed off stage at Madison Square Garden in October 1971, leading him to compose 'Garden Party' [1, 2, 3]. He wrote five other of the tracks on the 1972 album by the same title. Nelson had also composed such as 'Alone' ('66), 'Come On In' ('70) and 'Life' ('71). Songwriting and production credits for Nelson's titles at 1, 2, 3, 4. Nelson was inducted into the Rock & Roll Hall of Fame posthumously in 1987. Nelson in visual media. Other profiles: 1, 2, 3.

Ricky Nelson   1957

  Baby I'm Sorry

      Studio release

        Composition: Kenneth Scott

  Baby I'm Sorry

      Television performance

        Composition: Kenneth Scott

  Be Bop Baby

        Composition: Pearl Lendhurst

  Bye Bye Love

      Filmed live 

        Composition: Boudleaux Bryant/Felice Bryant

  Honeycomb

        Composition: Bob Merrill

   A Teenager's Romance

        First release   Side B

        Composition: David Gillam

   I'm Walking

       First release   Side A

        Composition: Dave Bartholomew/Fats Domino

   You're My One and Only Love

        Composition: Barney Kessel/Jack Marshall

Ricky Nelson   1959

   It's Late

        Composition: Dorsey Burnette

Ricky Nelson   1960

   You Are the Only One

        Composition: Baker Knight

Ricky Nelson   1961

   Everlovin'

        Composition: Dave Burgess

   Travelin' Man

        Composition: Jerry Fuller

Ricky Nelson   1963

   Fools Rush In

        Composition: Rube Bloom/Johnny Mercer

Ricky Nelson   1967

   Big Chief Buffalo Nickel

        Composition: Jimmie Rodgers

Ricky Nelson   1972

   Garden Party

        Composition: Rick Nelson

Ricky Nelson   1979

   Dream Lover

        Composition: Bobby Darin

Ricky Nelson

Source: Rick Nelson

Rockabilly master Ronnie Hawkins [1, 2, 3, 4] was born in Huntsville, Arkansas, in 1935, though raised in Fayetteville since age nine [*]. Performing music as a teenager, after graduating from high school in 1952 he attended the University of Arkansas for a time, there forming his first incarnation of the Hawks before quitting to join the army. Serving only six months, he remained in Arkansas where his military tour had been, formed a band, then left for Memphis to begin travel the region. He was also owner of the Rockwood Club in Fayetteville, a junction for touring musicians where such as Jerry Lee Lewis, Carl Perkins, Roy Orbison and Conway Twitty had occasion to perform [1, 2]. It was 1957 when seventeen year-old drummer, Levon Helm, joined Hawkins' outfit. The Hawks moved to Canada in 1958 where they first performed at nightclubs in Hamilton, Ontario, before establishing themselves in Toronto. Praguefrank's traces Hawkins to as early as the summer of 1958 in Toronto, recording 'Hey Bo Diddley' b/w 'Love Me Like You Can' (Quality K1827) [1, 2]. 'Thirty Days' (Chuck Berry) eventually saw release on 'The Best of Ronnie Hawkins and The Hawks' (Rhino R2 70966). 'Horace' went unissued. Backing Hawkins at vocals were Jimmy Ray Paulman (guitar), Gordon Josie (bass), Levon Helm (drums) and Willard Jones (piano). Praguefrank's has the Hawks minus a bassist for April and May recordings. April 13 of 1959 heard 'Ruby Baby' for issue on the EP, 'Rockin' with Ronnie' (Columbia ESG 7792). 'Forty Days' (Chuck Berry), a good example of Hawkins' rockabilly, was released on Roulette R4154 with an April 15 recording of 'One of These Days'. April 15 also witnessed 'Horace'. Both of those saw issue with April 29 titles toward Hawkins' debut LP, 'Ronnie Hawkins' (Roulette ‎SR 25078). The LP, 'Mr. Dynamo', is thought to have seen issue in '59 as well. Guitarist, Robbie Robertson, joined the Hawks in 1960, his initial session on April 28 in Nashville for 'Summertime', 'I Gave My Love a Cherry', 'John Henry' and 'Sometimes I Feel Like a Motherless Child', those to see issue in 1960 on the LP, 'The Folk Ballads of Ronnie Hawkins' (Roulette 25120). Filling that session were Fred Carter Jr. (lead guitar), Bob Moore (bass), Levon Helm (drums), Stan Szelest (piano) and the Anita Kerr Singers. Bassist and fiddler, Rick Danko, held his first session with the Hawks on September 13 of 1961 in NYC with Helm, Robertson and Jerry Penfound on sax for titles toward 'The Best of Ronnie Hawkins' in 1964 (Roulette 25255). It was Hawkins, Robertson, Danko, Penfound and Helm on February 2 of 1962 in NYC when they added Mort Shuman (piano), Richard Manuel (piano), Garth Hudson (organ) and Sonny Terry (harmonica) on tracks toward 'The Best of Ronnie Hawkins' (above). Hudson and Manuel, both keyboardists, were horn players as well. In January of 1963 it was Hawkins, Robertson, Helm and Manuel with Hudson out and Roy Buchanan on bass with Danko on rhythm guitar for titles toward 'The Best of Ronnie Hawkins' (above). Hudson was back on organ with Buchanan out on May 7 of 1963 for titles toward 'The Best of Ronnie Hawkins' (above). 'High Blood Pressure' was also issued with 'There's a Screw Loose' on Roulette 4502. Hawkins' decision to move to Canada permanently in 1964 affected the formation of The Band, which members (Helm, Robertson, Manuel, Hudson, Danko) preferred to pursue their fortunes in the States. Hawkins eventually came to reside in Peterborough, Ontario. A young Pat Travers joined Hawkins' band in 1974. In 1976 Hawkins reunited with Band members as a guest on 'The Last Waltz' at the Winterland Arena in San Francisco for 'Who Do You Love'. There was another reunion in 1989 at a concert celebrating the leveling of the Berlin Wall. In 1992 Hawkins performed for the newly inaugurated President, Bill Clinton. He's also performed for several Canadian prime ministers and former president of Poland, Lech Walesa. Hawkin's had composed early titles like 'Mary Lou' and 'One of These Days' with Jacqueline Magill [1, 2] in 1959. Later titles by him were 'Hit Record' and 'Ode to a Truck Drivin' Man' in 1984. Songwriting credits for releases at 1, 2, 3. Hawkins' most recent of perhaps 20 LPs was 'Still Cruisin'' in 2002 to which both Helm and Robertson made contributions, and on which guitarist, Robin Hawkins (son), composed 'Still Cruisin'. See also the Hawks at Discogs. Hawkins has since remained a favored adopted son in Canada, receiving an honorary doctorate from Laurentian University in 2005. Though plagued of recent with pancreatic cancer, Hawkins yet performs as of this writing. Hawkins in visual media. Incomplete itinerary of above 50 performances from July '60 to Aug 2014.

Ronnie Hawkins   1958

   Hey! Bo Diddley

        Composition: Ellas McDaniel (Bo Diddley)

   Love Me Like You Can

        Composition: Hawkins/Jacqueline Magill

Ronnie Hawkins   1959

   Forty Days

        Composition: From Chuck Berry's 'Thirty Days'

        Also credited to Hawkins & Jacqueline Magill

        See 1, 2

   Mary Lou

        Composition: Hawkins/Jacqueline Magill

Ronnie Hawkins   1960

   Ruby Baby

        Composition: Jerry Leiber/Mike Stoller

        Originally recorded by the Drifters in 1956

   Hay Ride

        Composition: Jacqueline Magill/Hawkins

Ronnie Hawkins   1963

   Who Do You Love

      Composition: Bo Diddley

   Bo Diddley

      Composition: Bo Diddley

Ronnie Hawkins   1964

   Mojo Man

   Suzie Q

      Composition: Dale Hawkins

Ronnie Hawkins   1972

   Lonesome Town

      Composition: Baker Knight

Ronnie Hawkins

Source: Discogs

Bruce Channel   1959

  Don't Leave Me

      Composition: Channel

  Run, Romance Run

      Composition: Channel

Bruce Channel   1960

  Boy! This Stuff Kills Me

      Composition: Channel/Margaret Cobb

  Now Or Never

      Composition: Channel/Margaret Cobb

  Will I Ever Love Again

      Composition: Channel/Margaret Cobb

Bruce Channel   1962

  Dream Girl

      Composition: Channel/Margaret Cobb

  Hey! Baby

      Studio version

      Composition: Channel/Margaret Cobb

  Hey! Baby

      Telecast

      Composition: Channel/Margaret Cobb

  Number One Man

      Composition:

      Channel/Margaret Cobb/Marvin Montgomery

  Tipped Out

      Composition: Channel/Marvin Montgomery

Bruce Channel   1968

  Keep On

      'Beat-Club'

      Composition: Wayne Carson Thompson

Bruce Channel   1971

  Read the Signs

      Composition: Channel

Bruce Channel   2003

  Hey! Baby

      Filmed live   Sandy Beach Cruise #9

      Composition: Channel/Margaret Cobb

Bruce Channel   2011

  Stand Up

      Filmed live   Sandy Beach Cruise #17

      Composition:

      Channel/Ricky Ray Rector/Sonny Throckmorton

Bruce Channel   2012

  Hey! Baby

      Filmed live   Sandy Beach Cruise #18

      Composition: Channel/Margaret Cobb

Roy Head

Photo: Mel Evans/Associated Press

Source: USA Today

Roy Head & the Traits   1959

   Live It Up

       Composition: Head/Frazier

       Gibson/Bolton/Buie/Pennington

   One More Time

       Composition: Head/Frazier

       Gibson/Bolton/Buie/Pennington

   Yes I Do

       Composition: Roy Head

Roy Head & the Traits   1960

   Summertime Love

       Composition: Roy Head

Roy Head & the Traits   1962

   Got My Mojo Working

       Composition: McKinley Morganfield

Roy Head & the Traits   1965

   The Door I Used to Close

       Composition: Dallas Frazier/Earl Montgomery

   Treat Her Right

       Composition: Roy Head

   Treat Me Right

       Composition: Danny Gomez

       LP: 'Treat Me Right'

Roy Head & the Traits   1966

   Harlem Shuffle

       Featuring Dean Scott

       Composition: Earl Nelson/Bobby Relf

Roy Head Trio   1966

   Tush Hog

       Instrumental

       Composition: David Koon/Gene Kurtz/Gerry Gibson

   You're (Almost) Tuff

       Composition: Gene Kurtz

Roy Head   1970

   She's About a Mover

       Composition: Roy Head

Roy Head   1977

   Angel With a Broken Wing

       Composition:

       Bud Reneau/Don Goodman/Mark Sherrill

   Come to Me

       Composition: Gene Price

Roy Head   1978

   Now You See 'Em, Now You Don't

       Composition: Sterling Whipple

Roy Head   2010

   Treat Her Right

      Live performance

       Composition: Roy Head