The history of Rockabilly

At the end of the 1940s, the radio transmitting blues, rhythm and blues and gospel music, which was excited to listeners all around the world.

The Rockabilly inspired young musicians, white and working class, especially to those in places with African-American population, to mixing styles of black music with the styles of country music with those who were already familiar (western swing, hillbilly boogie, bluegrass and honky-tonk).

The result was initially labeled as rhythm and blues, country and western, but it became known as rockabilly despite the connotation mostly dismissive of the word hillbilly.

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Rockabilly, an early form of rock music originated by white artists in the south of the United States, popular from the mid-1950s to 1960, with a revival at the end of the 1970s. Critics of discs coined the term rockabilly, literally, rock and roll, played by hillbillies, to describe the musical style of intense and rhythmic introduced by Elvis Presley on their first recordings.

In July 1954, at its first session for the label Sun of Memphis, Tennessee, by Sam Phillips, Presley recorded two songs that would form the basis of the rockabilly: “That’s All Right”, written by the bluesman Mississippi Arthur “Big Boy” Crudup, and an improved version of “Blue Moon of Kentucky”, a waltz by average pace of Bill Monroe, the creator of the bluegrass.

Elvis Presley sang with inflections of African-American, and with more emotional intensity than the singers of country of the time. He accompanied himself with acoustic guitar torn, Scotty Moore provided the fillers with the electric guitar, and Bill Black added a low vertical propeller when the trio established the instrumentation for excellence in rockabilly.

According to this model, the disks of rockabilly generally had a vocalist tremendously expressive than breaking into a song of blues while stirring with an acoustic guitar. The accompaniment was provided by a low-headdress in style, slapping, often supported by a drummer, a guitarist electric filled the holes and gave it a brisk alone; and all the sound was expanded with the effect of study called slap-back, or “eco solar”, developed by Phillips.

Presley, Moore and Black, along with the drummer D. J. Fontana, toured the south almost continuously in 1954 and 1955, sparking the public. In addition, it inspired numerous musicians to make the change from country to rockabilly, among them Buddy Holly and Marty Robbins, the latter already a consolidated star.

Almost all the rockabilly recorded in these early years was produced by musicians who had seen action at Presley. In 1956 Presley, then signed with RCA and recorded in Nashville, Tennessee, has captivated millions with her performances on television in prime time and sold millions of records. The record companies fought by similar artists, finding singers such as Gene Vincent, whose “Be-Bop-A-Lula” soon came to the charts.

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Sun recorded rockabilly Jerry Lee Lewis, Roy Orbison, Warren Smith, Billy Lee Riley, Sonny Burgess and many others. Among the brightest stars of the seal was Carl Perkins, whose “Blue Suede Shoes”, the most well-known song of the genre, was a success for Presley, though the own version of Perkins was much more characteristically rockabilly. Country music stars in Nashville jumped on the bandwagon, as young artists such as Wanda Jackson, Brenda Lee, and Janis Martin.

Other places developed strong communities of rockabilly, like Texas (where were Buddy Knox, Sleepy LaBeef, Ronnie Dawson and future country star George Jones), and California (home of Ricky Nelson, Eddie Cochran and Collins Kids). Even so, of the thousands of songs of rockabilly recorded in the 1950s, few came to the charts. As they evolved, the rockabilly, and entered more sounds (piano, saxophone, singing, harmonic, vocal groups of the background), diluting their sound. At the end of the 1950s, the rockabilly was sold out.

Several factors, including Presley’s death in 1977, led to a revival of rockabilly in the late 1970s that began in Europe. Fans dressed in the style of the 1950s, collectors of old albums, and had rockabilly veterans at foreign festivals. Some old rockabilly fans, like Charlie Feathers and the Rock and Roll Trio and the Johnny Burnette, they received more recognition in the renaissance in the heyday of the genre.

They formed bands and more young people, in particular, Stray Cats, Long Island, New York. To find acceptance in England, they brought a hard version and slender rockabilly to the United States, where his appearance in the cartoon had an impact during the early days of MTV. As a result of the renaissance, the rockabilly became popular in countries as different as Japan and Russia.

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Track List:

00:00 Tim Easton – Troubled Times 02:11 Louis King – One Track Mind 05:58 Rodney Crowell – Frankie Please 08:40 The Playtones – Knee Deep In The Blues 11:11 The Kingbees – Kingbee Boogie 14:06 The Boppers & Eva Eastwood – They Never Know (My Favorite) 16:45 Delbert McClinton – Why Me ? 20:00 TT Grace – Do The Bop

22:54 Kingen – Boom Boom Baby 25:18 Simon Crashly & The Roadmasters – It’s Only Rock & Roll 27:09 Bill Wyman’s Rhythm King – Roll ‘Em Pete 30:39 The Fastback & Teddie Ericsson – Shake it 33:59 John Lindberg Trio – Slow Down 37:05 Tupelo Highshots – This Is The Night 39:41 Simon Crashly & The Roadmasters – Hey Pretty Baby 41:48 Jackie Lee Cochran – Rock On

43:30 The Lennerockers – Rocky Road Blues 46:54 The Nightdrivers – Believe What You Say 49:10 The Jets – You Ain’t Nothin But Fine 52:24 Martí Brom – Finders Keepers 54:42 Pepita Slappers – Love Really Hurts Without You 57:49 Black Knights – Rock and Roll Party Man 1:00:41 Delbert McClinton – Everytime I Roll The Dice 1:05:07 Fancy Dan – Lock N Load 1:07:16 Kingen – Big Black Ford