The following snippet is set 73 BC, the setting Otryae – a town in Phrygia – modern day Turkey. Two armies with long standing resentments face off against one another. One, the Roman army of the consul Lucillus – protege of the recently deceased dictator Sulla. The other, Mithridates ragtag coalition of steppe barbarians and assorted Asian nationalities. For decades, particularly since 88 BC (following an incident which will loom large in the upcoming blog and podcast episode) Rome and Pontus have been locked in a particularly bloody war for control of the near east. Hundreds of thousands would perish. I don’t think I exaggerate when I say had this played out differently, EVERYTHING would be different.
But I don’t want to get too deep into that tale right now. We’ll do that 21st April. I do, however, want to share one small incident.
It is 73 BC, and Mithridates in on the move. He’s organised a grand army of 300,000, and is off to conquer the world. Lucillus is at the head of an army of just 32,000, mostly obstinate, mutinous remnants from previous legions abandoned in Anatolia. Lucillus army has accidentally stumbled across this massive force, and is understandably unnerved by them. Mithridates responds by sending out several thousand men, commanded by one M. Varius – a Roman turncoat lent to him by Quintus Sertorius. (Sertorius a fellow turncoat, who, at this time is also at war with Rome, in modern day Spain.)
Lucillus orders his men into formation and prepares for battle. The two sides face off, eyeballing one another across a field. Any second now all hell will break loose in Otryae..
Suddenly, from high above, a meteorite bursts across the sky, and strikes just where the two armies were set to skirmish. There is a massive flash of light. And a deafening boom. And both sides are pelted with rocks and other shrapnel from the sizeable crater left in it’s wake.
The opposing armies peer into the hole in the ground – a hole considerably larger than the four foot wide object which just hit the earth. One could imagine the discomfort as both sides simultaneously work through what this omen may mean to them – while looking for a clue on their opponent’s take on the incident. Ultimately, Lucillus and Varius decided they weren’t risking the Gods wrath that day.
Both armies departed, wondering just what the hell happened.
I honestly don’t know how I’m going to cram everything into a 20 minute podcast episode on Mithridates, but it is a tale of omens, particularly from above- and blind trust in oracles proclaiming a new king of kings from the east… and a whole bunch of other things. There are many tales like that of the meteorite of Otryae which will likely be left out.
Resuming 21st April I want to share the tale of Mithridates, of a rogue mobster, a ‘crime of the century, a battle with a river monster, revisit a warrior queen, introduce an occultist who makes super-weapons, talk a little about the 19th century pastime of ‘playing the ghost’, discuss a largely forgotten prankster, and present a Maori prophet… before I take another 4 week break. I’m hoping in the interim, however, to have a couple of podcast episodes recorded (of previous blog posts) to fill the gap. And, of course, there is You Decide # 1 – Lord Lucan v Hale Boggs.
“Imitation is the sincerest form of flattery that mediocrity can pay to greatness” – Oscar Wilde.
Hi all, FYI I held off writing this bonus episode till early in the week. While this tale reveals an injustice which happened all too often in the postwar music business, there are elements to this bonus tale I don’t have my head around as much as I would like. For one I don’t feel the most comfortable around the position of written music in the era in question – oh by the way we’re talking about covers today. Written music still made up a sizeable percentage of music sales in the 1940s and 50s. The songwriters often wrote in the hope that multiple artists would pick up their work, and release their own arrangements of it… much more so than a songwriter today, who will often write with a particular artist in mind. In 2020 songs are usually associated with a single artist, and it has been that way for decades. Songs often weren’t in the 40s and 50s. It only seems fair I state this up front.
The other element I feel uncomfortable working around is how, exactly you designate one song a tribute (i.e. Elvis records Lonnie Johnson’s Tomorrow Night), another a rip off (i.e. The Diamonds cover of Frankie Lymon and the Teenagers Why Do Fools Fall in Love). I think it is fair to say some covers are better than others. Elvis, for example, covered a lot of songs – and on most of them he brought something new to the table. There was also an authenticity to the work of the King, and a respect for the original artist. I don’t know his work well enough to say for certain he never released a cover within weeks of the original artist – tracks like his cover of The Drifters Such a Night came seven years after the original. Even his cover of Carl Perkins’ Blue Suede Shoes came six months after Perkins version. There just seems something very different with releasing a note for note copy within weeks of the original, with the express purpose of stealing its thunder.
Give me Scottish witch trials, Chicago mobsters or Victorian era conmen I feel pretty confident – but this topic takes me a little out of my wheel house is all I’m saying. But now I have said that….
Our tale starts today in Los Angeles, California in late 1948. Albert Patrick, a record executive at a small rhythm and blues label called Supreme Records, bought the rights to produce a song called A Little Bird Told Me. The writer an acclaimed songwriter and arranger named Harvey Brooks. They soon went about producing a catchy ear worm with an R&B piano, handclaps on the backbeat, and the vocal talents of Paula Watson – an African American R&B vocalist and piano player newly arrived from Mobile, Alabama. The song, at first, proved a wise investment – it shot up to the top of what was then called the ‘race music’ charts (now the R&B charts). What proved especially pleasing no doubt would have been A Little Bird Told Me also entered the far bigger, and largely white pop music charts. The song was an exceedingly rare case of a black artist on a small, black owned label having a hit song in the white channels – well exceedingly rare until around 1956 in any case. The song rose through the charts till it hit number 14… then it died away just as dramatically.
The song’s trajectory was stalled because Decca records, a large label mostly making safe pop records – largely white music for a largely white audience- had been paying attention. They quickly realized if they made a sound-alike version – copied the formula, the jaunty R&B piano, hand claps, the backing vocals – and put an attractive young white woman out front – they would have a huge hit on their hands. They may not capture the fire of the original; the singer may not be as good as Ms Watson – but they had the bigger label, far more connections, and a society more willing to buy music from the white artist. Evelyn Knight’s cover, released within weeks of Paula Watson’s went to #1 with a bullet, staying on the charts for 21 weeks. It killed the momentum of the original.
Supreme records took out a lawsuit against Decca. While they could not claim copyright of the song, they felt comfortable they could claim rights to the arrangement of the song. When the case went to trial in 1950 the courts sided with Decca – you cannot copyright an arrangement. This was bad news for Supreme records, who were broke at the time, and soon after shut their doors. It was not the worst of news for Paula Watson, who had, in the interlude signed up with Decca herself – but it was awful news for a number of early rock and roll groups and singers, who may have broken bigger, and sooner – had some judge not set a precedent which allowed major labels to relegate their work to the trash heap with their inferior, but far more privileged cover versions. The examples are numerous, but let’s discuss a few.
The Chords ‘Sh-Boom’ is an often cited example, not least of all because the early Doo Wop song was on track to become the first rock and roll song to hit #1 on the pop charts. Sh-Boom (some of you may know it as ‘Life Could Be a Dream’, but Sh-Boom is it’s real name) was written by the members of the black, Bronx based group themselves – and released in 1954. It shot up both the R&B and pop charts – until the Canadian pop group The Crew-Cuts cut an insipid, watered down version of the song. With all their advantages, their cover killed the Chords original just as it hit #9 in the charts. Their cover went to #1, and stayed in the pop charts for 20 weeks. Despite being, by far, the better version – the Chords version would miss out on sync opportunities in movies and television until the 1990s.
The Crew-Cuts were one of a number of white acts preying on black artists. They would go on to make inferior versions of The Penguins ‘Earth Angel’ (mentioned in last week’s bonus episode), and Gene and Eunice’s Ko Ko Mo (I just wish I had the time to talk about this song, dozens of artists covered this song, including Rosemary Clooney’s sister and the actor Andy Griffiths – it was HUGE – it is now forgotten). Of course Pat Boone was another serial offender; ripping off songs by Fats Domino, the Flamingos, Ivory Joe Hunter, Big Joe Turner… and most famously Little Richard. And then of course, there was the LaVern Baker v Georgia Gibbs feud.
LaVern Baker was a popular R&B and early rock and roll singer from a family of blues and gospel singers. She had come to national prominence in 1953 with the torch song Soul on Fire, released on Atlantic records. Her first big hit, however, would be Tweedle Dee, an up-tempo piece with a Latin feel to it. The song is dumb, but Baker’s performance elevates the track to something truly listenable. Tweedle Dee crossed over to the pop charts, reaching #14, to be knocked off the charts by white former big band singer Georgia Gibbs note for note cover of the song. Gibbs version, released by the then much larger label Mercury records, shot to the top of the charts. To add insult to injury Gibbs had hired the same arranger and musicians Baker had used for her version. She had tried to hire her audio engineer, Tom Dowd also, but he demurred. Baker was furious at the gall of Gibbs, more over the lost opportunities – more the airplay and lost exposure, than the lost sales (which she estimated at $15,000 in 1955 dollars). She went all out to ensure no rip-off artist ever did that again.
First, Baker carried out a publicity stunt meant to embarrass Gibbs. After booking a long distance flight, Baker took out a life insurance policy for the journey. Who was listed as the beneficiary on the policy? Georgia Gibbs of course – If the plane went down and LaVern Baker died, Baker let all in sundry know, Gibbs’ career would die a horrible death too. Second, she approached Michigan congressman Charles Diggs Jr, asking congress to look to pass a law banning note for note copies of other peoples’ records. All indications are congress looked into the issue, but decided it was out of their purview to do anything about it. What she did do however, in publicly embarrassing Gibbs and rallying congressmen to the cause, was to make it suddenly very uncool to just steal another artists act like that. Gibbs would go on to record one more dodgy knock off cover – this time Etta James’ answer record The Wallflower (retitled Dance with me Henry) before swearing off stealing R&B artists music. She kept her word for two years. Lavern Baker had another single, Tra La La, which was flying up the charts – so Gibbs copied it note for note. Her version bombed. The listeners were buying Baker’s disc for the B side, a great rock and roll song called Jim Dandy – today’s attached song.
I’ll do another one of these Tales of Rock and Roll next week – probably the final of these for a little while. IF the Batavia series doesn’t capture the imagination as I hoped it would I’ll have a look at running another short Thursday series… Please love Batavia though, you have no idea how many hours I spent on it. See you all next Tuesday for the final episode of Tom Horn. – Simone.
To tell this tale of rock and roll I feel I need to tell another short tale first. Context is everything.
On the 2nd September 1957 a group of nine black students, chosen by the Arkansas branch of the NAACP attempted the radical act of going to school. Their destination, Little Rock Central High School – a formerly all white school established in 1926. Only a few years earlier, on 17th May 1954, the US Supreme Court overturned a ‘separate but equal’ ruling established in 1896 via Brown v Board of Education. The case they overturned, Plessy v Fergusson established even an ‘Octoroon’ (someone with 1/8 African American heritage, 7/8 European) named Homer Plessy could be barred from the white compartments on a train so long as the black compartments were nominally equal. This ruling legitimized a state of apartheid in American life for over half a century. The Brown case established, around schooling, but in the same way as Plessy relating to all aspects of life – separate but equal is never equal, and put a sizeable sector in American society at a huge disadvantage. Some southern states particularly fought bitterly against the ruling, and by 1957 the order to desegregate the schools had yet to be challenged.
How did first day of school go for the Little Rock Nine? Terribly. Eight of the group car pooled in. Elizabeth Eckford, whose parents did not have a phone, missed the memo and walked in by herself. The photo of her walking in all on her lonesome – surrounded by screaming white people is one of many sad indictments of racism among some white Americans in the civil rights era. The nine arrived to find Arkansas Governor Orval Faubus had ordered in the National guard to block them from entering.
The incident escalated. Federal justice Ronald Davies began legal proceedings against the Governor. US President Dwight D. Eisenhower stepped in to ensure the nine would go to school. On the 20th September Governor Faubus was legally forced to call the guard off. On the 23rd September the nine tried again. This time they were escorted past 1,000 white protesters by a police guard. When the protesters began rioting, the Little Rock Nine were led away from the school. On the 24th Eisenhower ordered in 1,200 military from the 101st Airbourne to protect the nine, and on 25th September they finally made it through their first full day at Little Rock Central High. The tale of the schooling of the Little Rock Nine is one of bullying and harassment, though one of the teens stuck in there till graduation day.
Keep this tale in mind as I share with you another tale from Little Rock Arkansas, 6th February 1960. Those brave nine broke new ground, but they hardly cured Little Rock of such malignant racism.
Now… let’s talk about Jesse Belvin. Many of you may not have heard of Mr Belvin – and that is absolutely understandable – cultural amnesia really is the norm and the stars we remember the rare exceptions. It is worth knowing however in 1960 Jesse Belvin was a star on the rise, billed by RCA, his record company as the ‘Black Elvis’. He had several successful years of writing and performance behind him – and had squandered much of it by selling his share for money up front. He had a song which topped the R&B charts with an earlier duo, a songwriting credit on the song with which all other Doo Wop classics are measured, and, in my opinion, the most beautiful lullaby ever written – used by Alan Freed to close his radio show and covered by dozens of artists. His history is labyrinthine, but let’s see if we can run through it in a paragraph or two.
Having started right out of the gates in 1951 with a gig as the vocalist for fellow Jefferson high school alum and legendary saxophonist Cecil ‘Big Jay’ McNeeley’s R&B act Three Dots and a Dash – Belvin saw some early success with ‘All the Wine is Gone’ – an answer record to Stick Mcghee’s ‘Drinkin’ Wine Spo-dee-O-dee’. The track did respectably in the R&B charts but by 1952 Belvin had gone solo, with the decent but non charting ‘Baby Don’t Go’. Restlessly he abandoned his solo act to form a duo with Marvin Phillips, known as Marvin and Jesse. The two scored a #2 hit on the R&B charts in 1952 with ‘Dream Girl’. It is also at this time that Jesse got together with Gaynel Hodge and Curtis Williams, formerly of the popular R&B vocal group ‘The Hollywood Flames’ and co-wrote the song which would become the archetype for almost all doo wop ballads. He would be drafted into the army before Hodge and Williams were to see any success with the song, under the moniker The Penguins.
The song, Earth Angel, would sell five million copies for the Penguins… twenty million records when you count the slew of cover records of the song – but the Penguins would be cheated of their royalties by their record head Walter ‘Dootsie’ Williams, who refused to pay the group a cent for breach of contract. Jesse Belvin, however would successfully manage to sue Dootsie (Dootsie himself a particularly litigious lawyer by trade) for some share of the royalties on his release from armed service.
Upon his release from the army, Jessie Belvin was a dynamo – constantly developing new musical projects. Writing and performing for whoever would have him – and on occasion waiving his rights to various songs for a quick couple of hundred dollars in pocket now. He would occasionally get together with Marvin Phillips, who was now performing as ‘Marvin and Johnny’ with a rotating roster of Johnnys. He recorded with a group called The Californians, having a minor hit with ‘My Angel’, The Sheiks who charted with ‘So Fine’, The Cliques whose ‘The girl of my dreams’ also charted. The Gassers whose ‘Hum de Dum’ didn’t do a lot – which is a shame. I think the song has so many great hooks – even if it is one in a line of knock offs of Gene and Eunice’s Ko Ko Mo. With the Saxons he charted with ‘Is it true’. He provided backing vocals on The Shields ‘You Cheated’ one of an extremely small number of songs from this era where a song released by a white artist on a major label was stolen by a black group on a small label – and the black group ended up having the bigger hit. My touchstone on all things rock and roll, Andrew Hickey stated in his episode on Jesse Belvin the above list is not even half of what he was involved in from 1954- 58.
Of course Jesse Belvin also had a solo career. As a solo artist he released a diverse, interesting portfolio of songs – but the song he has become best known for was 1956’s Goodnight My Love – a smooth ballad, a lullaby really – which has gone on to be covered by everyone from Paul Anka, to Gloria Estefan, Evanescence’s Amy Lee, to Los Lobos. Harry Connick Jr to Aaron Neville. The song did very respectfully – #7 in the R&B charts – but Goodnight My Love earned it’s place in the great American songbook after the famed DJ Alan Freed made a ritual of using the song to close his radio show. There has been controversy over whether Jesse sold his share of the songwriting credits or not to record producer John Marascalco. Marascalco himself was a talented songwriter who penned a number of classic rock and roll songs, including last week’s bonus episode song (Little Richard’s Rip it Up), but a story persists Belvin sold him the co-write needing just $400 at the time.
It was in the midst of this period that Jesse met his wife Jo Ann. Far more business-minded, Jo Ann Belvin began to focus Jesse on a career path set to bring him greater success – and to finally step up as the star he deserved to be. The new Jesse Belvin was to be a smooth balladeer in the mold of Nat King Cole. He was to focus on one project only and follow through accordingly. The major label RCA jumped at the opportunity to work with Jesse, however saw his path slightly differently. He was the ‘Black Elvis’ he could croon, he could belt out rockers as well as anyone. Besides being extremely talented and charismatic he was the likeable face they needed to break into an untapped market of white teens in – dare I say it – horrendously racist towns like civil rights era Little Rock Arkansas.
And so it was that Jesse Belvin found himself on a tour of the South, alongside Sam Cooke, Jackie Wilson and Marv Johnson – an all black roster, on what would be billed as ‘The first rock and roll show of 1960’.
There is a great deal of speculation about exactly what happened on 6th February 1960 at Little Rock’s Robinson auditorium. What can be said for certain was Little Rock was little changed, if changed at all, in the few years since the Little Rock Nine. There were protests over their arrival, and allegedly death threats made against the performers. The show that night was likely played to the first integrated audience in the town’s history, further enraging the town’s racists. There is an unverified line in this tale, which states the Belvins were increasingly concerned this tour was going to end badly and were ringing Jesse’s mother daily – where normally they would touch base one or twice a month. The show was allegedly stopped twice due to groups of white protesters throwing glass bottles down from the mezzanine and fighting with black concertgoers– though if local police managed such incidents, they failed to keep any records. However bad the show was, at the very least it is fair to say the night was unpleasant, and jarring.
The claim has been made that racist elements in the town tampered with the performers vehicles. This may be true – Jackie Wilson had car trouble which caused him to run late on his way to Austin, Texas after the show. There is no evidence of tampering on the black Cadillac carrying the Belvins, guitarist Kirk Davis and their driver Charles Shackleford – but this is because there is NO evidence preserved from the crash scene, no notes, photos – if a report was ever filed it is long lost to history. A bystander claims the police officer at the scene exclaimed their back wheels had been tampered with. There was a rumour someone may have slashed their tyres. At the end of the day we just don’t know what happened – thanks to, at the very least, lazy or incompetent police work. At most horrendously racist and complicit through their inaction.
What can be said for certain is the Belvins’ black Cadillac, on its way towards towards Hope, Arkansas, collided head on with another vehicle. Jesse and Shackleford were killed instantly, while Kirk Davis was badly injured. Jesse, it appears, had attempted to shield Jo Ann, possibly saving her life in the immediate aftermath. Jo Ann Belvin was taken to hospital, badly injured, but still alive. Not believing Jo Ann had either insurance, or the money to pay for her treatment, hospital staff left her on a gurney -refusing treatment until Jackie Wilson arrived. Wilson convinced the staff he could cover the costs of treatment, however at this stage Jo Ann had been left for hours to die. Wilson himself had lost precious time getting to Austin due to his own car troubles. When he arrived to find the Belvins had yet to show up, he first called Jesse’s mother, then doubled back till he found out what had happened. Jo Ann would too pass away days later, leaving their two young children orphaned. Within a few weeks of their passing rumours spread throughout the town that tyres had been slashed that night. Those whispers reached a high enough pitch that newspapers got wind of them and reported that the Belvins and Charles Shackleford had in fact been murdered. Was there a thorough police investigation into the scuttlebutt? As if you even had to ask… of course there wasn’t.
Jesse Belvin is by far my favorite member of the 27 club, and it breaks my heart that I can make that statement about him.
Just a quick note ahead of this blog post. I did have a plan next week Thursday to drop another Tale of Rock & Imagination bonus piece – a piece I’ve got sketched out but will hold off on for another week. I was also planning another episode of this Rock & Imaginaton series for a few weeks’ time and calling it something like ‘Sex & Religion’ or something similar. In it I wanted to discuss people like Big Mama Thornton, Sister Rosetta Tharpe, Johnnie Ray…. maybe Jackie Shane? and in it share a story of a Sister Rosetta gig in Macon Georgia – some time in 1946 or 47 where she invited some 14 year old kid up on stage with her to play a few songs – and how this young, flamboyant kid was dynamite and would go on to revolutionize popular music. Seeing that kid has just passed this does seem timely. Apologies dear readers I’m pasting my Facebook post up here today, unvarnished as it is. RIP Little Richard.
Sad news this morning to read ‘the architect of rock and roll’ Little Richard has passed on. Musically, over the space of a little over two years he turned out several of the greatest rock songs ever. As a person I think it has to be said this vibrant, larger than life personality lived a life often darkened by the caprices of his strict pentecostal upbringing, and his thuggish church deacon father who never accepted his bissexual, non-binary child. This caused Richard to vacillate between his true, authentic self, and the man his God, or his father, or the congregation demanded of him.
There was Little Richard, the flamboyant, iron lunged piano thumper – came up through the carnival circuit opening for snake oil salesmen, then on to a drag revue before being discovered by Specialty records. Androgynous, flashy, overtly sexual. A preacher of the gospel of free love, good times and hedonism. The kind of guy who would write a song about having sex in an alley with a drag queen (Long Tall Sally) and just smile to himself knowingly when stuffy old Pat Boone stole his song……
Then there was Richard Wayne Penniman, deeply religious and terrified he was going to hell – aboard a ferry in Australia in October 1957. The Russians had just launched Sputnik days earlier, he had just endured an extremely turbulent flight to Aussie. Sputnik had been playing on his mind all night and he had been having nightmares of apocalyptic fireballs, hellfire and thunder. This Richard stood at the edge of the boat throwing $100,000 worth of jewellery overboard and proclaiming as soon as this tour was over he was done with rock and roll, boyfriends and partying – he would go on for some time to become a preacher.
I love Richard’s music, feel a little sad to think of the turmoil he must have gone through in life. No doubt will be playing some Little Richard around the house today.
Hey all I thought I might share a few short tales I have been sketching out of late. The story of these …. lets call them Tales of Music and Imagination… is as follows. In early March 2020, as online talk began to spread of this new disease – and my newsfeed began to fill up with a mixture of genuine news, 5G conspiracy theories, questionable COVID jokes and naysayers – my first inclination was to get the hell away from social media for a while. I would look for the expert analysis, avoid think pieces, dodge hysteria till I knew I had something to panic about.
My social media hiatus lasted half a day.
My second inclination was to try to up my own contribution to the mix – my specialist topic for this round? Tales from the Origins of Rock & Roll. Every day for around two months I posted a new song each day – with a couple of paragraphs about the song or the artist. Every morning as I had my coffee, before I went up into my office, I would drop a new track.
Whether you love old rock songs or not I think, personally, everyone should be fascinated with the tales which surround them. If music is the soundtrack of our lives, as Motown’s Berry Gordy once said – the music of the postwar era is the soundtrack to a tale of rapid change, growth and struggle. It gives one yet another perspective to assess the world from in that time.
In the following bonus tales I’m not going to regurgitate the original project, or run 50 plus episodes, just a handful of short tales I feel should be told more. I need to acknowledge my source for much of the information on the bonus tales. I am a huge fan of Andrew Hickey’s A History of Rock and Roll in 500 Songs – when it comes to rock and roll, Mr Hickey’s knowledge is extraordinary.
Anyway folks, longer intro than the Tale itself. Please enjoy – Simone
On the evening of 23rd December 1938 the most culturally important concert in history took place at New York’s Carnegie Hall. Funded by the Communist party of America, and stage managed by the talent scout, civil rights campaigner, record producer and scion of the Vanderbilt’s, John Hammond – the From Spirituals to Swing concert was something to behold. To many well heeled, white Americans the concert would be their first exposure to American race music; as some of the brightest lights of gospel, swing, blues and boogie-woogie rocked the venerable old stage.
The tale most often shared of the night is the bluesman Robert Johnson was meant to play, but when Hammond went looking for him, he found he had passed on – legend has it Johnson had expired 16th August 1938 near Greenwood Mississippi. According to legend he was poisoned by a publican, jealous that Johnson had gotten a little too friendly with his wife. The concert opened with a single spotlight punching through the dark – the light aimed at a gramophone playing one of the bluesman’s discs. If this were a tale on the ’27 club’ this would make a fitting start. My focus today however is not Robert Johnson, The Count Basie Orchestra, The Kansas City Six…. On the 23rd December 1938, Blues shouter Big Joe Turner teamed up with Boogie-Woogie piano master Pete Johnson for a short, impromptu set. One song, titled ‘It’s All Right Baby’ on the night, but later recorded under ‘Roll ‘Em Pete’ was groundbreaking. 82 years on it may not seem so; but the duo married barrel-house piano with the ‘floating lyrics’ seen regularly in the blues. There was an element of the ‘Hokum song’ a form borrowed by race music from vaudeville, full of sexual double entendre.
Most importantly, where the blues and boogie-woogie was typically a ‘four to the floor’ shuffle, Turner – a big man with a big voice who could bellow above an orchestra – stood a way back from the mic, hands out front clapping to the 2 and 4 of the 1,2,3,4 of the song. The inclusion of this ‘backbeat’ may very well make “It’s all right Baby” patient zero for what, 2 decades later would become known as rock and roll. Of course there is no first rock and roll song. It was a form that developed from several landmark recordings. Long before Elvis gyrated to Arthur ‘big boy’ Crudup songs, Bill Haley rocked this joint to Jimmy Preston covers or Ike Turner’s Rhythm Kings liberally borrowed from Jimmy Liggins’ Cadillac Boogie, dozens of musicians were developing new, rebellious sounds.
The following bonus series is a collection of short tales of rock and roll. None of them will solve which song is patient zero. All of them will, hopefully, cast a spotlight into the dark and uncover something new.