OS79-1955 Rock Year One Podcast Por capa

OS79-1955 Rock Year One

OS79-1955 Rock Year One

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 “My man rocks me with one steady roll.” – Trixie Smith, 1922Today’s lesson is going to be especially fun to listen to in our special flying version of a 1955 Chevy hot rod.Pinning a start year on the first year of rock ‘n’ roll is difficult for most music histories. As we learned in episode 58: Pre-Rock Pre-Roll. There was evidence of the storm already hitting the airways in the late 40s and certainly in the early 50s. If you haven’t heard it, I have a link at the end of this page so you can soak up some of that 1951-54 early mojo.In this episode, we rock 1955. And it rolls over us.Coupling was at the heart of the newly developing genre. Rhythm and blues had taken jazz onto the dance floor. Country western was for hillbillies, but as it moved into rough and rowdy ways, a new Texas bop earned the name Rockabilly. Destiny kicked in, the rhythm aces hooked up with the cowboy rockers, and the results were usually too hot to handle.DJ Alan Freed had popularized the term that had come out of the bluesy southern juke joints, where it was a euphemism for motions people in love made in bed when they weren’t sleeping. Censors missed the connotations completely while music fans welcomed the perfect hybrid. White meets black, blues meets country, it has a good beat and you can dance to it. Rock and roll. Year One.Which gets us to the changing times of 1955. Bill Haley and His Comets had their song featured in the first rock and roll high school classic “The Blackboard Jungle.” It prompted the newly recognized teen market to rock around the clock. Elvis was still a year away from adopting a hound dog, Dick Clark wouldn’t take to television with American Bandstand until 1957. This is the equivalent of cave drawings highlighted by the original intelligence of Little Richard, Big Joe Turner, Chuck Berry, Bo Diddley.Controversy came with this meshing of cultures. White teens craved black artists, which rattled the anti diversity, equity, and inclusion crowd. Especially in the South. Then black artists pointed out to white legislators that Pat Boone and others had no problem not only covering black artists but also heavily borrowing arrangements and attitudes, adding a little honky zest and Brylcreem.The mixing of the music took a giant leap for mankind between 1954 and 1956. That’s why this lesson plan is entitled “1955: Rock Year One.” There are a handful of hits included. Remember, there are people who have never heard anything from 1955. Just like there are those who haven’t listened to any new music since 1955.This might be a good time to EASILY share this with some rocker you love:So here comes American music at a pivotal time. Rock and roll is far from taking over. The December merging of unions will give the AFL-CIO a total of 15 million members. The Salk vaccine has entered the war on polio. Cat on a Hot Tin Roof just won a Pulitzer for Tennessee Williams. The hot book is the Mad Men of the day, The Man in the Gray Flannel Suit. American kids are spending their allowances on Batman, Superman, and gross out horror comics, which are selling to the tune of one billion in 1955. That works out to a hundred million dollars at a dime a book, four times the budget of all U.S. libraries combined.The Dodgers of Brooklyn beat the Yankees in the World Series. Racial segregation on interstate trains and buses has been banned by the Interstate Commerce Commission. Employment is nearing the 100% mark, and there is still a shortage of 141,000 teachers. The USA has a stockpile of 4,000 atomic bombsAnd the top selling record of the year?“The Ballad of Davy Crockett.”Elvis in 1955 is still an up and coming young country western star at Sam Phillips’s Sun Studios in Memphis, as well as an up and coming attraction on the Louisiana Hayride in Shreveport. For his 3rd single Elvis recorded a blues piece made famous by Kokomo Arnold during the Depression. “Milkcow Boogie” on the A Side and “You’re a Heartbreaker” on the B. Let’s hear them both.Sun Records’ Carl Perkins had a career that needed a kick in the pants, and he got it from the man in black. Johnny Cash was telling him a story one day about an incident he had seen in Germany after the war, when someone in the dinner line happened to trip over the shoes of one C. V. White. “Hey man,” he said. “I don’t care what you do with my fraulein, don’t step on my blue suede shoes.” Granted the line needed a little editing, but Perkins was on his way. The Single itself was recorded by many others, including Elvis, and when the 60s rolled around, the flipside was covered by the Beatles.One of the biggest lessons of rock music’s unofficial Year One is how confusing cover versions muddied the waters. For instance, I’m going to play the first recording of “I Hear You Knocking but You Can’t Come In,” written by Dave Bartholomew, known for his collaborations with Fats Domino and Chuck Berry. No sooner had Smiley Lewis, also ...

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