INTRODUCTION (revised Sept. 6,
1999): My interest in Bill Haley came about when, as a
young child, I saw an episode of a Rock n' Roll Revival variety show on
the CTV network in Canada called Shake, Rock and Roll.
The show was
hosted by Bobby Curtola, a popular Canadian star cut from the same cloth
as Frankie Avalon. My memory of the show has faded a bit over time, but
I still remember seeing Bill Haley and the Comets rising out of the
floor on a stage elevator, and launching into "Rock Around the Clock."
This was in either 1973 or 1974.
Not long after, a TV series called Happy
Days
hit the airwaves, and with it came the revival of "Rock Around the
Clock," which was initially used as that show's theme song. I
couldn't care less about the show at the time -- I just wanted to watch
the opening credits to hear the song!
I remember bugging my parents at
the time to buy me the record. So they bought me a copy of Golden
Hits
the classic 2-LP set that Decca/MCA put out with most of Haley's great
'50s hits.
I still have that
record -- I got the original members of the Comets to sign it for me
when they
performed in Edmonton, Alberta, Canada in July 1998 and I will treasure
it
always.
What was it about Bill Haley that kept me
interested in his music all these years? I enjoy
his work -- and the work of his great band -- on several levels. First
off, it's simply fun music. You cannot get depressed listening to a good
Bill
Haley and the Comets song. And over the years, I have come
to greatly appreciate the skill behind the performances.
Haley had the
luck and talent to choose some of the best rock musicians of all time to
back him, whether on stage or in the studio -- the likes of Franny
Beecher, Rudy Pompilli, Joey d'Ambrosio, Marshall Lytle, Nick Nastos and
Danny Cedrone to name just a few were second to none.
I have also come to enjoy Haley's music as a
link back to that four year old sitting cross-legged in front of a TV
set in his now-deceased grandparents' home, watching Bill Haley perform
on
some long-forgotten TV show. That old copy of Golden Hits is
virtually
grooveless today, and I now listen to my favorite Haley tracks on a CD
player hooked into my computer instead of on a battered Mickey Mouse
phonograph. But so long as I find some way to enjoy "Rock Around the
Clock" or "Shake, Rattle and Roll," part of that four-year-old will
never fade away.
-- NEWS ARCHIVE --
POSTED: June 23, 2003
New rockabilly column features Comets interviews
A new column at the Rockabilly Hall of Fame is featuring
interviews with members of Bill Haley and the Comets.
"From the Keyboard" is written by Otto Fuchs, who hosts one
of the many programs on Rock-It Radio out of Europe, and who often features Haley
recordings on his show. Otto's new column so-far features in-depth interviews with
two former members of Bill Haley and the COmets: Bill Turner (lead guitar 1974-76)
and Joey Welz (piano, circa 1965), with more to come. Besides the interesting words,
the column also features rare photos and other surprises.
Check it out at
www.rockabillyhall.com/OttoFuchs.html.
POSTED: June 5, 2003
New CD spotlights Haley country recordings
Hydra Records of Germany has released its second volume
of recordings by and related to Bill Haley, long before he became a rock and roll
star.
Bill Haley and Friends Vol. 2: The Legendary Cowboy
Recordings has been in the works for nearly a year, and features a number of
remasted recordings Haley made for the Cowboy label in the late 1940s, when he
fronted the Four Aces of Western Swing and The Saddlemen.
Only a few of these recordings were ever actually released
in the late 1940s; most remained hidden until they began to appear on vinyl in the
1970s and 1980s. Most of the songs featured on this album are making their debut on
CD.
Included in the Haley recordings are some real surprising
changes of pace from the man best known as the father of Rock and Roll. One track is
called "Yodel Your Blues Away" and showcases Haley's remarkable and underrated
yodelling skills. Haley biographer John Swenson considered this recording to be
every bit as good as Haley's later Decca classics. Both sides of Haley's first
commercially-released single are also included in this package.
Also included are two rare sides Haley recorded that were
released under the name Reno Browne and Her Buckaroos. Browne was a popular female
cowboy of serials and TV at the time, and the record was released under her name
even though he had nothing to do with it!
A number of other artists who recorded for Cowboy Records in
the 1940s and 50s are also featured on the CD, including Ray Whitley, who provides
versions of several songs later recorded by Haley himself.
The Haley songs featured on this issue are: Yodel Your Blues
Away/Four Leaf Clover Blues/Too Many Parties Too Many Pals/The Covered Wagon Rolled
Right Along/Behind the Eight Ball/My Palomino and I/My Sweet Little Girl from
Nevada/Foolish Questions/Candy Kisses/Tennessee Border.
The first Bill Haley and Friends volume, released in
1998, featured rare Christmas-themed recordings by Haley and others.
Go here for a review of this unique
release.
POSTED: June 5, 2003
1954-55 Comets release rockin' rollin' DVD
A project to preserve rare interviews featuring the
original 1954-55 Comets has undergone some major changes -- resulting in the release
of the band's first DVD.
Rock Around the Clock Live was originally planned as
a single-disc enhanced CD, with live audio tracks and a CD-ROM component featuring
video footage of the band being interviewed. Promotional copies of the CD were even
circulated (and it was reviewed in this column). But the group, along with producer
John Stamey, chose to hold off on the release of the project, and instead have
retooled it into a 2-disc DVD/CD set.
Disc one features three audio tracks recorded in Gainesville
-- but put the CD into your PC and you can also watch two music videos of the band
in action. Disc two is a full-fledged DVD featuring more than an hour of rare and
fascinating interviews with Johnny Grande, Dick Richards, Joey Ambrose, Marshall
Lytle and Franny Beecher, recorded backstage after one of their American shows.
As I mentioned when I first announced this project last
year, the interviews themselves are worth the price of admission, while the audio
tracks feature Marshall Lytle on lead vocals. This release also corrects a
50-year-old oversight in that Lytle finally receives co-writing credit for the song
"Crazy Man Crazy" (see the 50th anniversary tribute to the song, below, to learn why
this is significant.)
Distribution information regarding the DVD/CD combo was not
immediately available. It will no doubt be sold at 1954-55 Comets concerts, and
those wanting more information regarding the release can inquire through the Comets'
official Web site at www.originalcomets.com.
Go here for my original review of
Rock Around the Clock Live -- with some updates, of course!
POSTED: May 16, 2003
Comets guitarist Pruitt passes away
Paul Pruitt Sr., one of a number of guitarists who worked
with Bill Haley during the 1970s,
passed away earlier this month.
According to a newspaper obituary, Pruitt passed away
peacefully at his home in Clayton, Del.
on May 14 at the age of 60. The cause of death was not announced.
Pruitt joined Bill Haley and The Comets in September 1971,
replacing Nick Nastos who had left
Haley's group to pursue other musical opportunities. Pruitt's style of playing was
more modern than that of his
predecessors. The obituary claimed the was the youngest guitarist to ever work with
Bill Haley, however this is
incorrect.
Pruitt's tenure with The Comets lasted several months, and
he left the group in January 1972.
He never had the opportunity to record with Haley in the studio, but privately-owned
live recordings from his time with
the band are believed to exist.
POSTED: May 16, 2003
Rockit Radio profiles Turner, Welz
Two former members of The Comets are in the spotlight on
European Web radio station
Rock It Radio this month.
Otto Fuchs' Rocket 88 show, which often features Bill
Haley material, features in-depth
interviews with piano player Joey Welz and guitarist Bill Turner.
Welz was a member of The Comets for a time in the mid-1960s,
though the exact dates are a
matter of debate. A prolific solo recording artist, he continues to give his Comets
tenure pride of place on his resume.
Bill Turner was Haley's lead guitar player from 1974 to
1976, replacing Nick Nastos. Turner,
who has fronted his own group the Blue Smoke Band for 30 years, has worked for MTV
and remains in contact with the
original 1954-55 Comets. A little known fact about Turner is that in the mid-1970s,
he worked with Comets saxophone
legend Rudy Pompilli in a jazz group that performed while Pompilli and Turner were
not touring with Bill Haley. The final
known recordings of Rudy Pompilli prior to his 1976 death from cancer were taped
privately at one of these shows.
The two Rocket 88 shows are available for listening
online at Rock It Radio for the next couple of weeks
(dated from May 16, 2003). Fuchs
reports that the shows will also be broadcast over FM 99.3 in Ventura, Calif. and
will be aired at a later date on Radio
100 Amsterdam. Transcripts from the interviews are tentatively scheduled to be
published in the German music 'zine
Rock & Roll, Fuchs adds.
POSTED: March 17, 2003
50th anniversary of 'Crazy Man Crazy'
"Then Haley came along with a rockin' song
..."
April 2003 marks another musical milestone in the history of
Rock and Roll Music -- the 50th
anniversary of the Bill Haley and the Comets classic, "Crazy Man Crazy."
With this recording on Essex Records, Haley and the Comets
enjoyed their first major hit since
changing their name from Bill Haley and the Saddlemen several months earlier. But
unlike previous recordings such as
"Rock the Joint"
that were regional successes, "Crazy Man Crazy" would become the band's first
national hit, making the American
Billboard charts and as such becoming one of if not the first true Rock and
Roll recording to become a national
success.
"Crazy Man Crazy" was also notable because, for the first
time, Haley was able to score a
major hit with an original recording, rather than relying on rearrangements of
rhythm and blues songs. The Essex label
proudly showed
Bill Haley as the sole author of the song. However, bass player Marshall Lytle of
the Comets says that in fact he co-wrote
the song. In a recent e-mail, Marshall recalled how "Crazy Man Crazy" came to be
written:
"While promoting Rock the Joint at a local high school
assembly, Bill and I were putting the
insturments in his car and some of the high school kids gathered around and we asked
them how they liked our music,"
Marshall recalled.
"One said, 'That's crazy, man, crazy!' Bill wrote 'crazy
man' on his hand with a pen.
"We went to Bill's apartment and while his wife Cuppy was
making us a sandwich, Bill grabbed
his guitar, strummed a cord and said 'Crazy Man Crazy.' He and I wrote the lyrics
and the melody in about 30
minutes."
The exact date for the recording of "Crazy Man, Crazy" has
been lost to history, but it was
during April 1953 at the Coastal Studios in New York City that Haley and his band
recorded the song. Participating in the
session were the core Comets: Haley, steel guitarist Billy Williamson, piano player
Johnny Grande and Marshall Lytle on
bass. Haley's stage drummer (who at this time was either Charlie Higler or Dick
Richards) was not used for the recording
session; prolific session drummer Billy Gussak was used instead. Session guitar
player Danny Cedrone was busy with his
own group, The Esquire Boys, and was unavailable for the session; instead, Haley
used noted jazz player Art Ryerson.
Ryerson would go on to play on all of the Comets' 1953 recordings.
Even this powerhouse line-up wasn't enough when the time
came for the raucous "GO! GO! GO!
EVERYBODY!" chorus, which ended in a startling scream that was unlike anything heard
on record -- certainly a
county-swing record. To add to this effect, a number of people joined in, including
Essex owner Dave Miller, and Jerry
Blaine, a visiting Essex distributor who would later go on to become a legendary
Doo-Wop producer.
Lytle has bittersweet memories of this recording session,
during which he learned a hard
lesson about the music business.
"In those days Bill and I were very close, but at the record
session in NYC when Dave Miller
of Essex Records asked Bill who the writers were on 'Crazy Man Crazy,' Bill said
just Bill Haley," said Marshall. "I
overheard him and said, hey, Bill you know that you and I wrote that song, and he
said that he wanted credit by himself
and that he would take care of me on some other song. I trusted him 100 percent. I
suppose being only 19 years old and
Bill being my mentor had something to do with that."
Haley and Lytle would later share co-writing credit on
another Essex recording, "Fractured,"
but that song never reached the heights of popularity that "Crazy Man Crazy"
enjoyed. After it was released, Haley
found himself being covered by other artists. Most notably, the Ray Marterie
Orchestra had their own hit recording of
the song, featuring a solo by future Comets member Rudy Pompilli on saxophone.
Sales figures for "Crazy Man Crazy" are not known for
certain. Haley once claimed it was his
first million seller, but there are no hard numbers to back this up. The Comets
never had another hit of this size while at
Essex, but it certainly set the stage for their later successful move to Decca
Records and the recording of "Rock Around
the Clock" exactly one year later.
Although the song isn't as well remembered as Haley's other
classics, there is no denying its
impact. According to a number of biographies of Elvis Presley, "Crazy Man Crazy" was
one of his favorite songs and may
have contributed to his decision to get into music. There are also unconfirmed
reports that Elvis included the tune during
some of his Louisiana Hayride performances. And it was around the time "Crazy Man
Crazy" became a hit that Max
Freedman with Jimmy DeKnight wrote a little song for Haley called "Rock Around the
Clock."
Haley himself re-recorded "Crazy Man Crazy" in 1960 and
again in 1972, and a surprisingly
few live versions exist as well, while the 1954-55 Comets continue to perform the
song today and have recorded it in
studio twice with vocalist Jacko Buddin. But the 1953 recording remains an all-time
Rock and Roll classic, 50 years after
it was recorded.
Label scan courtesy Denise Gregoire.
POSTED: February 16, 2003.
Comets launches humor Web page
Marshall Lytle, bass man for the 1954-55 Comets, has
become famous (or should that be
infamous) for his unique sense of humor.
Now, thanks to the Rockabilly Hall of Fame, Marshall has a
venue in which share his humorous
view of the world.
"A Crazy Lytle Page" features jokes, odd photos and other
strangeness that Marshall has
picked up in his travels around the world. As handy with a digital camera and a
scanner as he is with a bass fiddle,
Marshall?s discoveries are sure to give a chuckle - or a blush!
Check out A Crazy Lytle page at www.rockabillyhall.com/crazyl
ytlepage.html. Please note that the page does contain some adult content from
time to
time.
POSTED: November 25, 2002
Comets celebrate 50 years of rock and roll
Fifty years ago this month, Bill Haley and
His Comets appeared on the world music scene, and set the place
a-rockin'.
In November 1952, Bill Haley and the Saddlemen
were riding high on the first wave of what would become known as rock n'
roll. Earlier in the year they had scored a regional hit with their
version of Jimmy Preston's "Rock the Joint," and Haley and company were
still experimenting with the melding of country music with rhythm and
blues that had begun with their groundbreaking version of "Rocket '88"
in 1951.
With Haley's music moving farther away from the
country-western sound -- the flipside of "Rock the Joint," a ballad
called "Icy Heart," would be one of Haley's last true country recordings
until 1960 -- it was becoming obvious that the name "Saddlemen" simply
didn't cut it anymore.
Exactly who was responsible for coming up with
the name -- which was a rather obvious pun on Halley's Comet -- differs
from source to source.
According to the first Comets bass player,
Marshall Lytle, the credit belongs to Bob Johnson, program director for
Haley's home radio station, WPWA. Lytle credits Johnson with making the
famous comment, "You know, with a name like Haley, you should call your
band The Comets!" (We'll ignore the fact that the proper way of saying
Halley's Comet is "Hahh-lee" -- thanks to Bill Haley, it is said, a
generation would learn to mispronounce the famous scientist's name!)
But biographer John Swenson in the 1982 book
Bill Haley, suggests it was another WPWA disc jockey, Bix
Reichner, who suggested the name soon after submitting a song called
"Stop Beatin' Around the Mulberry Bush" to Haley for consideration as a
new single.
To make matters even more confusing, John Haley
and John von Hoelle's Haley biography Sound and Glory suggests a
third candidate -- none other than Essex Records owner Dave Miller.
Regardless who came up with the name, it stuck.
The cowboy gear was stored away, and out came the suits and tuxedos, and
around Thanksgiving 1952, the Comets were born.
The original line-up of the group consisted of
Haley, steel guitarist Billy Williamson, piano and accordion player
Johnny Grande, and bass player Marshall Lytle (the above photograph was
taken at one of their first gigs under the new name). "When we had our
first (publicity) photos taken," Lytle recalled in an October 2002
interview for the Calgary Herald. "We couldn't find ties that
match -- so we each had a different tie!" At first, the group was known
as Bill Haley with Haley's Comets, which is how the band's first single
under the new name -- Reichner's "Stop Beatin' Around the Mulberry Bush"
-- was credited. By the time their next single was released, "Crazy Man,
Crazy," the group had become Bill Haley and His Comets. "Crazy" would
become the group's first hit under the new name, and propel the band
into the national spotlight.
Sheet music for the first single by Bill Haley and His Comets. Note
the matching bow ties.
Incredible as it may seem today, the group
didn't have a lead guitar player in those days -- Haley and Williamson
would share duties on stage, while session musicians such as Art Ryerson
and Danny Cedrone were used in the studio. They didn't have a drummer,
either, though this was soon rectified with the hiring of teenager
Charlie Higler, who was with the band only a few months before being
replaced. The sax was introduced (via session musician Tony Lance) on a
few 1953 recordings before Joey Ambrose was hired to play the instrument
full-time.
The best-known line-up of the Comets. Note the matching bow ties.
Left to right: Rudy Pompilli, Billy Williamson, Al Rex, Bill Haley,
Johnny Grande, Ralph Jones, Franny Beecher.
The Comets, over the years, became more than
simply frontmen for Bill Haley. As with The Beatles a decade later, each
member of the group attracted his own share of fans, many of whom remain
devoted to this day. When Haley changed the line-up of the band, fans
welcomed the new musicians into the fold -- an exception being a 1967
experiment in which Haley added a trumpet player to the line-up, to the
chagrin of fans.
The group was also groundbreaking -- in an era
when segregation was the order of the day, Haley often used black
musicians in the recording studio (such as Panama Francis and Milt
Hinton, to name only two), and in 1957 hired sax man Frankie Scott to
tour with the band while Rudy Pompilli was sidelined by illness.
Ultimately, more than 100 talented musicians would be credited as either
full-fledged (touring) Comets, or as honorary Comets by participating in
recording sessions. Even those who were only with the group a short time
wear their association with the Comets like a badge of honor.
The line-up of the Comets continued to change over the years. By
early 1966, the band featured (left to right):
John Lane, Al Rappa, Johnny Kay, Bill Haley, Rudy Pompilli and Mike
Shay. Note the lack of bow ties.
The Comets was the first group of its kind whose
members were recogized as having personalities of their own, and a Haley
show would not be complete without several numbers performed by members
of his band. As time went on, musicians came and went, and by the end of
Haley's career, the Comets consisted of a group of young British
musicians, including two former members of Sha Na Na.
After Haley's death in 1981, it appeared The
Comets name would fade away. In fact, the opposite occurred, as a Comets
reunion was organized within a year. Since then, no less than three
different groups of Comets -- all considered official in their own way
-- continue to tour the world and record. The 1954-55 "Original" Comets
-- which includes Marshall Lytle and Johnny Grande who were there at the
very start -- are currently touring Europe and Africa and have released
two CDs this year alone. A second group, operated by 1965-68 drummer
John 'Bam-Bam' Lane, recently released a CD of its own, and maintains an
active touring schedule. A third contingent is run by 1959-69 bass
player Al Rappa, and often plays casinos and county fairs in the US.
The Comets continue to be one of the most
beloved of rock and roll bands, although the Rock and Roll Hall of Fame
inexplicably did not honor them when Bill Haley was inducted in the
1980s. It will not be surprising to see some form of Comets groups
celebrating its 100th anniversary as an institution in 2052.
Most of the photos in this story are courtesy
Chris Gardner's Bill
Haley Photo Gallery Web page.
POSTED: October 25, 2002. UPDATED: June 5, 2003
1954-55 Comets release interview CD
Just in time to mark the 50th anniversary of
Bill Haley and His Comets, the 1954-1955 Comets have released a new CD
that will give listeners a rare chance to learn about the birth of rock
and roll from the guys who were there at the very beginning.
The new CD, titled Rock Around the Clock
LIVE, was recorded backstage at a recent show in Gainesville. It
features rare interviews with members of The Comets, including guitar
maestro Franny Beecher.
The CD also includes, as a bonus, two live
tracks recorded in Gainesville: "Rock Around the Clock" and "Rock the
Joint." Although The Original Band have released a couple of versions of
"Clock" over the last few years, this is the first released recording to
feature bass man Marshall Lytle singing lead on the song.
The new CD is available through the Original
Comets' Web site at www.originalcomets.com.
UPDATE: June 2003. Since this news item was posted,
the project has undergone some changes. Go here for the latest
information.
POSTED: September 4, 2002, Updated October 25, 2002
Comets return to Madison Square Garden
Nearly 33 years to the day after Bill Haley
received an 8 1/2-minute standing ovation at New York City's Madison
Square Garden, his original Comets returned to take the famous
venue by storm once again.
On Oct. 19, 2002, the 1954-55 Comets were
part of a special Tribute to Alan Freed concert at "The Theater," which
used to be known as the Felt Forum. The show was hosted by Richard
Nader,
the man who kicked off the Rock and Roll Revival craze in the late 1960s
and early 1970s. Bill Haley and the Comets toured with Nader's R'n'R
Revival Shows for several years, and these were considered some the last
great multi-artist package tours. On Oct. 18, 1969, Haley brought the
house down at the Felt Forum and received a standing ovation that topped
eight minutes.
The Rock and Roll Revival helped revitalize
Haley's career in the U.S., as well as that of Little Richard, Chuck
Berry and many other 1950s rock and rollers who had continued to sell
records in Europe and Asia, but had long since been replaced by new
heroes in America.
The 1954-55 Comets shared the stage with a
number of other original 1950s-era groups, including Otis
Williams and His Charms, the Cleftones, Darlene Love, the Olympics, and
others. The Comets closed the show with their barnstorming versions of
"Shake, Rattle and Roll" and "Rock Around the Clock." Unfortunately, the
show ran long so a planned finale featuring "Rock the Joint" (the song
The Comets claim inspired Alan Freed to coin the phrase 'rock and roll')
had to be cut. But those in attendence report that The Comets were the
hit of the evening.
Next up for the world's most rockin' seniors:
another European tour and an African cruise.
POSTED: September 4, 2002
John Lane Comets release CD
Another contingent of Bill Haley's Comets has
entered the CD arena.
Bill Haley's Comets, featuring drummer John
"Bam-Bam" Lane, recently released their first CD, Almost
Live!.
Recorded at the Erie Days Festival in Erie,
Penn., the CD features 14 tracks. Included are a number of renditions of
Haley classics mixed in with some other famous rock and roll songs of
the 1950s.
John Lane was Haley's drummer from 1965 to 1968.
In 1982, he teamed with bass player Al Rappa to form a revived version
of Bill Haley's Comets after Haley's death. He has been touring with his
own edition of the group for more than 10 years. Lane's group is now one
of three versions of The Comets actively touring; the other two are the
1954-55 Original Comets and Bill Haley's Comets featuring Al Rappa.
Almost Live! is available exclusively
through the John Lane Comets official Web site.
POSTED: June 6, 2002
Music legend helps revive Haley documentary project
Plans for a long-delayed documentary on Bill
Haley's career have been given the kiss of life by another rock
legend.
Graham Nash, best known for his work with The
Hollies and Crosby, Stills, Nash and Young, has confirmed he is working
with producer Rob Nagy to complete a project titled Rockin' the
Joint.
Nash has made no secret of the fact he's been a
lifelong Haley fan. In fact, he still carries a ticket in his wallet
from Haley's 1957 show in Manchester.
Rockin' the Joint has been in the works
for more than 10 years. Featuring interviews and rare film clips, work
on the two-hour film was reported on a 1992 edition of Entertainment
Tonight. It was seen as a tie-in with the publication of Sound
and Glory, the Haley biography co-written by Haley's son Jack and
John von Hoelle.
Nothing else has been heard of the project since
then. In early May, however, press reports indicated Nash was involved
in helping complete the project, and Nash confirmed this information on
his official Web site.
No release date for this project has been
suggested. Watch Extra! for more details as they become available.
POSTED: April 8, 2002 UPDATED: May 7, 2002
1958 concert recordings released on CD
A rare 1950s-era concert recording by Bill
Haley and the Comets has been issued by Europe's Big Beat
Records.
Vive la Rock and Roll
is the latest in a series of Big Beat CDs featuring recordings made at
the famous Paris Olympia concert hall. Previous issues have included The
Everly
Brothers and Vince Taylor. The Haley CD features recordings from two
October 1958 shows.
Some of these recordings were issued several
years ago on the CD The Greatest LIVE Show on Earth (see review)
but that CD was withdrawn from circulation soon after release. No such
problems are expected this time.
Besides previously-released tracks, the CD
features six performances not heard since 1958, including rare Comets
versions of "Tequila" and "Giddy Up Ding-Dong" -- neither of which were
ever recorded by them in a studio -- as well as two versions of "Beecher
Boogie-Woogie" featuring Franny Beecher on guitar. Also, Big Beat
promises that several tracks that were truncated on the earlier release
-- most notably "Rock Around the Clock" -- are complete in the new
release.
Based on what I've heard so far, these 1958
recordings are among the best live Haley performances ever captured on
tape, and will be something to treasure.
Vive la Rock and Roll
is on Big Beat BBR 00073. Watch Big Beat's Web site for more
information,
or e-mail jacklyn@btinternet.com. May
2002: Go here
for my review of this fantastic CD.
POSTED: April 8, 2002
'Rock the Joint' marks 50th anniversary
This month marks the 50th anniversary of a
song many claim inspired DJ Alan Freed to coin the phrase 'Rock &
Roll.'
Although the exact date has been forgotten,
"Rock the Joint" was recorded by Bill Haley and the Saddlemen in April
1952.
The song was not a Haley original, having been
previously recorded by several rhythm and blues artists in the late
1940s, most notably Jimmy Preston and His Prestonians. But Haley and his
group worked the same magic that a year earlier had transformed Jackie
Brentson's "Rocket '88" from an R&B classic into one of the first rock
and roll recordings (forget the propaganda -- Brentson's recording is
NOT rock and roll in any way, but that's another story story for another
day).
In many ways, it's easy to see Haley's "Rock the
Joint" as a dry run for the later "Rock Around the Clock." The basic
format of the song is similar (especially if you listen to the original
arrangement of "Clock" as recorded by Sonny Dae and His Knights in
1954). The most obvious similarity is "Joint" includes an early version
of Danny Cedrone's immortal guitar solo from "Clock." Pianist and
Saddlemen/Comets founder Johnny Grande said in 1998 that Cedrone had a
fondness for this solo, and often used it at recording sessions before
April 12, 1954 when "Rock Around the Clock" was recorded for Decca
Records.
There are other elements to Haley's arrangement
that set the recording firmly in the world of rockabilly. Billy
Williamson's steel guitar solo is a classic, but not many rock and roll
groups to come would take advantage of its unique sound. Grande's
high-end piano solo is also a highlight.
But what's most remarkable about this recording
is what is missing -- drums! In early 1952, Bill Haley did not use a
drummer. He had used a session drummer on an earlier country and western
recording session for Atlantic Records -- ironically, the musician was
none other than "Clock" co-writer James Myers (a.k.a. Jimmy DeKnight).
But when it came time to record "Joint," it lay to bass player Marshall
Lytle to provide percussion.
When "Rock the Joint" was first released on
Essex (the scan on this page comes from a later reissue), label boss
Dave Miller didn't actually think it was likely to become a hit. Haley
was better known as a country singer, so the flipside, an echo-dominated
C&W ballad called "Icy Heart," was initially promoted as the A-side. In
a 1998 interview, Lytle said it wasn't long before radio stations
started reporting back to Essex that they were promoting the wrong
side.
(The recording of "Icy Heart" is an interesting
story in and of itself. For years it was assumed it was recorded at the
same time as "Rock the Joint," but it's now believed the song may date
back quite a bit earlier, owing to differences in sound quality and
arrangement.)
"Rock the Joint" failed to make any national
charts, but it was a sizable regional hit. Most importantly, it might
have inspired Alan Freed to coin the phrase Rock & Roll. Marshall Lytle
says Freed was playing the song one night when a fan asked if he could
play "that rock and roll song" one more time. The name stuck.
In the next few years, "Rock the Joint" was
overshadowed by more popular Haley recordings such as "Crazy Man Crazy",
"Shake, Rattle and Roll" and of course, "Rock Around the Clock." Haley
re-recorded "Joint" in 1957 for Decca and in 1968 for Sonet, and it
remained an important part of his live shows for the rest of his life,
usually performed as an encore.
For Haley fans, the original 1952 recording
remains an important stepping stone in not only his career, but also in
the history of Rock and Roll music.
Label scan courtesy Lothar Mackenbach.
POSTED: March 9, 2002
New Original Comets CD released
The newest CD by the original 1954-55 Comets
has been released at last!
Titled Aged to Perfection, the 15-track
CD features a mixture of new and classic songs, all done in the style
the Comets made famous in the 1950s. The CD coincides with the golden
anniversary of the Comets.
The CD is available through a number of sources,
including D4Haley International in
North America, plus Hydra Records, Goofin', Spindrift and other
distributors in Europe, and On The Hill Records in Japan. It can also be
ordered direct from Rollin' Rock
Records, along with the Comets' previous CD, Still Rockin' Around
the Clock.
For a review of the new CD, go here.
POSTED: March 9, 2002
Haley Web site news
Bill Haley's Original 1954-55 Comets have
launched their own Web site, one of several new Bill Haley-related
developments on the Internet.
Located at originalcomets.com, the site --
spearheaded by Cyber Comet (and original bass player) Marshall Lytle --
features a music video of their 1999 version of "Rock Around the Clock"
that had previously been posted at billhaley.com. Mixing footage from
TV's Milton Berle Show, the 1954 musical short Round-Up of
Rhythm, The Ed Sullivan Show and assorted Comets concerts
from the 1990s, it's a fun showcase of the band in action and
demonstrates how little the guys have changed in nearly 50 years.
Speaking of billhaley.com, Rik Hull's Web site
recently underwent a revamp that saw new features added, and improved
navigation. More video and sound files are set to be added in the coming
weeks, so it's worth bookmarking this site.
This spring marks the 50th anniversary of Bill
Haley and the Saddlemen recording "Rock the Joint" for Essex Records,
the song that became their first hit rock and roll record and, in the
opinion of many, helped give the name to the music. A tribute to the
song has been posted at Chris Gardner's Haley web portal Bill Haley Central. Some new
Haley-related Web sites have been added in recent months.
Watch for a special feature on "Bill Haley on
the Web", coming soon to the pages of Extra!
POSTED: January 11, 2002
Comets on the radio; Viagra Rock a hit?
There's every indication Bill Haley's
original 1954-55 Comets could have a hit record on their hands, just in
time for the 50th anniversary of the naming of the band that started
Rock and Roll.
"Viagra Rock," one of several new tunes on the
band's upcoming CD, Aged to Perfection, has become a highly
requested song on a number of radio stations in Florida, and more
stations in the U.S. and elsewhere are being approached with promos of
the topical rock song.
Comets bass player Marshall Lytle, who has been
providing the promos himself, said he's having trouble keeping up with
the demand.
"Viagra Rock" will receive national airplay on
Jan. 15, when it's scheduled to be played during Our Next Guest,
a radio show broadcast on the All-Star Radio Network over 120 radio
stations in the U.S. Lytle will be interviewed for the program, which is
scheduled to start at 10:30 a.m. EST (check with your local station for
exact airtime).
Aged to Perfection, on Las Vegas-based
Rollin' Rock Records, is scheduled for release this month, but an exact
date is not yet available.
-- OLDER CD RELEASES REVIEWS --
Special thanks to Denise Gregoire for many of the scans in
this section.
POSTED: June 28, 2004
The Journey to Fame
(Denton Media - private release)
A new CD collection by Bill Haley's final record producer aims to shed new light on the final recording sessions attended by the Father of Rock & Roll.
I will say up front that The Journey to Fame is not likely to appeal to casual fans. Those who are just interested in the music may find the CD somewhat of a tedious listen, as much of it features behind-the-scenes chatter and rehearsals between Haley and his session musicians.
But for those with a serious interest in how Bill Haley worked behind the microphone, or -- perhaps even more importantly -- are seeking audio proof that Haley was still in control of his faculties at this late stage of the game -- this CD is a fascinating document.
Kenny Denton, who produced Haley's final recordings, took a portable tape recorder with him to most of the sessions that produced Haley's final album, Everyone Can Rock and Roll, in 1979. About 45 minutes' worth of these behind-the-scenes recordings are included on the CD. These recordings show Haley in good spirits as he works through chord changes for "Tweedle Dee" and records vocals for tracks such as "Jukebox Cannonball" and "God Bless Rock and Roll." If you listen closely to the tapes (headphones are recommended for these tracks and Denton himself says the tapes are valuable for their historical content more than for their sound quality) you can catch a few odds and ends of trivia. For example, Haley recommends "Jukebox Cannonball" for the title track and we hear that there were plans for Haley to re-record his 1951 groundbreaking single "Rocket '88" along with another song called "Mockingbird." Sadly, there's no evidence this ever happened.
We get to hear Haley recording vocals for "Everyone Can Rock and Roll" and you can tell that he's having fun with it, and indeed some of the alternate vocals would have made the final product even better if they'd been carried through.
To flesh out the CD to nearly a full 80 minutes, Denton includes three remixed versions of "Rock Around the Clock," "Shake Rattle and Roll," and "See You Later Alligator" from the late 1980s. As the story goes, Haley had expressed an interest in recording modernized versions of his hits. He died before this could be done, but Denton made some experiments using Haley's 1968 vocals overdubbed onto new backings, and released them on an EP for Sonet Records; this is their first CD release. The results are an acquired taste, but a noble experiment. Much better are the two so-called "Swamp Rock" remixes of "Shake Rattle and Roll" which were made later, and are being released publicly for the first time on this CD. One of these versions opens the CD and it is surprisingly effective.
Haley historians will also be interested to hear the CD's other major bonus: a rare 1980 interview with Dave Miller, Haley's producer at Essex Records and the man infamous for turning down "Rock Around the Clock" before Haley went to Decca Records and made history. Miller's attempt to deny this is as unconvincing as it is inaccurate, but it is interesting to hear a different angle on how the famous song came to be, as well as his version of how Haley came to record rock and roll in the first place. Recorded not long after John Lennon's murder, but before Haley's death only a couple of months later, we hear of unrealized plans for Haley to record a new album, and it is revealed that the semi-autobiographical "God Bless Rock and Roll" was scheduled for release as a single mere weeks before Haley died. Denton, who is also featured in this interview, makes ominous statements about Haley being in and out of clinics at this time.
Journey to Fame is not for everyone, but for those with a serious interest in Bill Haley's history, it is a worthwhile acquisition. The CD is available via Denton's Web site at dentonmedia.net.
Tracks: Shake Rattle and Roll (Swamp rock version), Dave Miller Interview, Rock Around the Clock (remix), Shake Rattle and Roll (remix), Tweedle Dee (rehearsals), Jukebox Cannonball (studio chatter), Everyone Can Rock and Roll (vocaltakes, false starts, studio chatter), Battle of New Orleans (vocal takes, studio chatter), God Bless Rock n' Roll (vocal takes), Shake Rattle and Roll (Shake Mix), See You Later Alligator (remix).
POSTED: June 28, 2004
The Fathers of Rock 'n Roll - Bill Haley's Original Comets
(Hydra Records DVD BDVD72100)
They're still rockin' and they don't plan to stop anytime soon, and the newest DVD by the Original 1954-55 Comets is proof that they still can rock the joint with the best of them.
The Fathers of Rock 'n Roll was taped at a show in Germany in November 2003 and features an (almost) full set of songs from a very successful show. I say almost because their usual second encore, "Rock the Joint," is omitted. But maybe they didn't perform it that night.
This DVD, which is viewable on European and North American video systems, starts strong and stays strong, with good images and generally good sound (though Franny Beecher's guitar sometimes falls out of the mix for some reason). We get vocal solos from Marshall Lytle, and Joey Ambrose all but steals the show with his performances of "Buona Sera," "The House is Rockin'" and "What a Wonderful World." Jacko Buddin takes a little getting used to singing the Haley parts -- even for someone like myself who has heard him perform for years -- but he offers great spirit to the performance. And, of course, it is always a treat to see the "Old Maestro," Dick Richards, get up and sing his heart out on "Well Now Dig This." Richards survived a bout of throat cancer in the 1980s, and while his singing voice doesn't hit the notes it used to, no one really cares -- he does a great job!
In terms of songs, there is nothing really "new" here if you are familiar with the Original Comets' repertoire. Most of these songs were included on the two CDs the band recorded for Rollin' Rock Records a few years back. The only "new" song is the standard "When You're Smiling" which gets the Joey Ambrose treatment. Since Jacko Buddin doesn't tour with the Comets in North America anymore, many of the performances here will also be unfamiliar to those who have only seen the band in the US and Canada where Lytle sings the Haley vocals. The "two worlds" of Buddin and Lytle unite on "The Saint's Rock and Roll" which makes a strong finale to the concert.
This DVD is by far the best visual record of the reunited Original Comets that has been released to date, and I wholeheartedly recommend it based on the music alone.
But if the concert isn't enough, the DVD also includes casual, relaxed interviews with each of the Comets, a rare interview with Jacko Buddin, and footage from a Bill Haley and the Comets exhibit in Europe. Anyone lucky enough to have been able to sit down and chat with these fellows -- I've had the honor several times -- will find this section could well be their favorite part of the DVD.
The Fathers of Rock 'n Roll should be available through retailers that carry Hydra Records product. You can also order copies from D4Haley.com or you can contact Hydra Records directly at RockItHydra@t-online.de.
Tracks: Shake Rattle and Roll, Birth of the Boogie, Eat Your Heart Out Annie, Steel Guitar Rag, I Want You to Be My Baby, Crazy Man Crazy, Well Now Dig This, See You Later Alligator, When You're Smiling, Rock-a-Beatin' Boogie, Buona Sera, R-O-C-K, You're the Greatest, The House is Rockin', Mambo Rock, Wonderful World, Hand Clappin' (a.k.a. Joe's Rockin'), Rock Around the Clock, Saint's Rock and Roll.
POSTED: December 19, 2003
Bill Haley & Friends Vol. 2: The Legendary Cowboy Recordings - Various
Artists
(Hydra Records BCK 27120)
After decades of celebrating Bill Haley's contributions
to rock and roll music, some of his earliest recordings in the country and western
field are beginning to get their due attention.
The second volume of Hydra Records' innovative Bill Haley
& Friends series of CDs turns the spotlight on to the Cowboy record label, which
operated out of the Chester, Pennsylvania area in the late 1940s and early 1950s.
Bill Haley's first commercially released recordings were for this label, back when
he led a group called the Four Aces of Western Swing.
This CD collects nearly 80 minutes of recordings from the
Cowboy label, including the 10 recordings Haley made with the Four Aces in 1948-49,
and an additional two from circa 1950 that were recorded with the Saddlemen -- the
group that would morph into The Comets two years later.
Only six of the 10 Haley recordings here were actually
released at the time; the other four remained unreleased until late in Haley's life.
To the best of my knowledge, only one of the recordings -- the comical "Foolish
Questions" -- has been released on CD before; the version of "Behind the Eight Ball"
heard here appears to be a different take than the version that was released on
CD.
The CD starts out on a pleasantly jarring note. It still
surprises even lifelong fans that Bill Haley was an accomplished yodeller, and his
"Yodel Your Blues Away" (one of the four songs that was not released at the time) is
fast-moving traditional country hoedown material. Once you get past the novelty of
Haley yodelling, you begin to marvel at his skill. Incidentally, a far superior
recording of this song exists from possibly as late as 1950; I have heard it and it
blows even this fine version out of the water. Hopefully someday it will be
released.
Haley isn't heard on all the tracks that bear his name. Even
early in his career, he generously yielded the microphone to his band members, in
particular Bashful Barney Barnard, who sings harmony on "Behind the Eight Ball" and
lead on "Tennessee Border," and Tex King, who offers an impassioned reading of the
miniature morality tale "Too Many Parties and Too Many Pals" which is surprisingly
blunt for the time about the dangers facing "wayward women."
Also included in the collection are two of the most unusual
recordings in the Haley canon: "My Palomino and I" and "My Sweet Little Girl from
Nevada," which were recorded by Haley, backed with his Saddlemen, but were released
under the name Reno Browne and Her Buckaroos. As the CD's extensively detailed liner
notes explain, Browne was a popular female western star of the time, and the record
was commissioned as some sort of promotional tie in. Reno never sang a note on it,
though the liner notes reveal the two songs were written specifically in her
honor.
The remaining Haley tracks are entertaining and fast-moving,
including the terrific "Four Leaf Clover Blues" (one side of Haley's first
commercial single from 1948), and a great cover of George Morgan's "Candy Kisses"
which Haley would later rerecord in 1960 for Warner Brothers. Many of these early
recordings, though firmly in the C&W mould, nonetheless display some of the spirit
and style that would later mark Haley's transition to rock and roll only a few years
later. Heck, listen carefully to the epic "Covered Wagon Rolled Right Along" and you
might even hear a little bass-slapping!
Like the first Bill Haley & Friends album, which
focused on Christmas music, the remaining 19 tracks feature artists who were
contemporaries of Haley on the Cowboy label. Many of the recordings were produced by
Jack Howard, Haley's producer at the time, and some also bore the mark of James
Myers, who would later co-write a moderately successful Haley song called "Rock
Around the Clock."
Unlike the first Friends CD, which sometimes had to
stretch to make the Haley connection, many of these non-Haley tracks do in fact have
strong Haley ties. Haley or those in his company wrote a number of the songs heard
here, and those familiar with Haley's pre-Essex recordings will recognize a number
of titles here such as "Within This Broken Heart of Mine," "Ten Gallon Stetson" and
"Why Do I Cry Over You?" all by Ray Whitley who seemed to make a bit of a career out
of covering Haley recordings, including a rousing version of "Jukebox Cannonball," a
song Haley would record himself in 1952 and 1979, though Whitney's version is
actually better than either of Haley's (though the Kilroy reference at the end is
probably lost on anyone under the age of 65). Other Haley-connected tracks include a
great Franny Beecher-style guitar instrumental called "Red Wing" by Haley
collaborator Rusty Keefer, a track by Jimmy Collett, who played fiddle for a Haley
recording session, and two tracks featuring Shorty Long, who would go on to play
piano for some Comets spin-off recording sessions, but earn his greatest fame for
his session work on the Elvis Presley classics "Hound Dog" and "Don't Be Cruel."
The rest of the CD features a grab bag of top quality -- but
sadly, all too obscure -- C&W and western swing recordings, including the
atmospheric "Song of the Timberland" by the Broadway Buckaroos, and the surprisingly
risque (in the right frame of mind) "I'm Gonna Straddle my Saddle" by Polly Jenkins
who must be one of the first female yodellers I have ever come across.
A special nod goes out to Shaun Leaning and Vadim Selin, who
put in many hours remastering these recordings. Although some of them do show their
age, audio-wise, by and large these recordings sound crisper and clearer than they
have sounded in years, with the Haley recordings coming off best.
If you only care for Bill Haley's rock and roll, this CD may
not be for you, but if you're interested in the earliest roots of rock and roll and
rockabilly, this CD is a fine investment and in every way superior to the first
volume. And the best news is Hydra has plenty of excellent material to choose from
if it ever decides to do a Volume 3, including a bunch more country recordings Haley
made for labels like Keystone and Atlantic, dozens of unreleased recordings
(including the beautiful country ballad "Rose of My Heart") -- and that doesn't even
take into account the many recordings for Essex and Arcade (among other labels) by
other artists covering Haley's compositions. Unlike the Elvis well, which is pretty
much picked clean by now, there are still many Haley treasures waiting to be
discovered by the general public.
Tracks: Yodel Your Blues Away (Bill Haley and the
Four Aces of Western Swing), Four Leaf Clover Blues (Four Aces, featuring Barney
Barnard), Too Many Parties and Too Many Pals (Four Aces featuring Tex King), Covered
Wagon Rolled Right Along (Four Aces), Do You Think It's Fair (Pancake Pete Newman),
Blue Ranger (Shorty Long and Pee Wee Miller), Jukebox Cannonball (Ray Whitley),
That's What She Wrote (Jesse Rogers), Just Say So (Elmer Newman), Ten Gallon Stetson
(Whitley), Within This Broken Heart of Mine (Whitley), I'm Gonna Straddle My Saddle
(Polly Jenkins), You Can't Be a Millionaire (Willis Meyers), Behind the Eight Ball
(Four Aces featuring Barney Barnard), My Palomino and I (Reno Browne and Her
Buckaroos aka. Bill Haley and the Saddlemen), My Sweet Little Girl from Nevada
(Browne/Saddlemen), Rose of the Alamo (Murray Sisters), Why Do I Cry Over You?
(Whitley), Blue Tail Fly (Billy Wilson), Red Wing (Rusty Keefer), I'm Gonna Dry Up
My Tears (Shorty Long and Jack Day), Jesse James (Whitey & Hogan), Mary the Prairie
and I (Jimmy Collett), Ragtime Cowboy Joe (Larry Wayne), My Heart Says Giddy Up
(Shorty Warren), Foolish Questions (Four Aces), Candy Kisses (Four Aces), Tennessee
Border (Four Aces featuring Barney Barnard).
(Posted December 19, 2003)
Long Gone Daddy - Various Artists
(Collectables Records COL-5335)
Following the release of Bill Haley & Friends Vol. 2, which focuses on the early country western recordings of Bill Haley (see review), I thought it would be interesting to spotlight a rather obscure CD release that came out back in 1990 that featured several early recordings on which Bill Haley and His Saddlemen (pre-Comets) participated.
Long Gone Daddy features a number of country-western and rockabilly recordings of the early 1950s that were made for the Gotham label. Front and center are no less than six recordings by Lou Graham, a bass player who often appeared as a guest star at Bill Haley concerts. (Some sources suggest he played bass for Haley at one point, though this has not been confirmed). These recordings were backed by the Saddlemen, including possibly Haley himself on guitar. The liner notes for this CD actually fail to indicate that the first two recordings on the CD, "Two-Timin' Blues" and the CD's title track, are also Saddlemen-backed. A rare early photo of Haley (which also appears on the cover of Bill Haley and Friends Vol. 2) adorns the cover of this CD, though it is worth noting that Haley does not sing on any of Graham's recordings, and possibly may not have been directly involved in the recording sessions either, though most sources list him as playing rhythm guitar.
Graham had a pleasant enough country voice, and the recordings here are for the most part the same sort of country swing work that Bill Haley had by this point in time (circa 1950-51) made his stock in trade. In fact, the swinging "I'm Lonesome" sounds like it could have easily been a Bill Haley record.
Billy Williamson, Haley's faithful steel guitar player in the 1950s, gets quite a workout on these tracks, several times referencing musical lines which would return, slightly modified, in some of Haley's earliest rock and roll recordings.
It is interesting to compare Lou Graham's performances here with his later minor rock classic "Wee Willie Brown" from c.1957-58, which would reunite him with the Comets as session musicians (this recording has yet to be released on CD to my knowledge).
The liner notes for the CD seem to indicate that (at least as of 1990), several of the Graham tracks were previously unreleased. I believe this to be in error as I'm pretty certain all had been released on Gotham back in the 1950s, though this was undeniably their first appearance on CD. An unreleased track from these sessions entitled "Ball and Chain" reportedly does exist, however it is not included here.
The rest of the CD, much like Hydra's Friends series, is a grab bag of obscure C&W and first generation rockabilly acts. Tunes like "Be Bop Boogie" and the comedic "That Ain't in Any Catalog" by a duo called Mustard and Gravy and the rather morbid "I shot my wife" ballad "I'll Take Her from the Valley" by Bob Dean and His Hi-Way Wanderers, are among the standouts. Some of the band names (see track listing below) remind me of the country bands "featured" on the infamous Hee Haw episode of The Simpsons a few years ago!
For the Haley completist, or for fans of western swing/early rockabilly, this CD can be a challenge to find. It has been out of print for many years -- I got my copy from a collector -- however if you can track it down, it's worth having as a minor but entertaining musical historical document, not to mention a handy package of some rare Bill Haley-related recordings.
Tracks: Two-Timin' Blues (Lou Graham and the Saddlemen), Long Gone Daddy (Graham/Saddlemen), I Just Heard the News (Sammy Bland and His Carolina Radio Boys), Our Shotgun Wedding Day (Howington Brothers with the Tennessee Haymakers), Let's See You Smile (Curt Hinson), I'll Take Her from the Valley (Bob Dean and His Hi-Way Wanderers), Be Bop Boogie (Mustard and Gravy), Juke Box Baby (Smiley Wilson and His Range Partners), Roadside Rag (Sleepy McDaniel and His Radio Playboys), I'm Lonesome (Graham/Saddlemen), A Sweet Bunch of Roses (Graham/Saddlemen), Please Make Up Your Fickle Mind (Graham/Saddlemen), My Heart Tells Me (Graham/Saddlemen), This Ain't in Any Catalog (Mustard and Gravy).
POSTED: February 16, 2003. REVISED: February 18, 2004
Bill Haley's Original Comets (aka. Rock Around the Clock
LIVE)
(Eclicks.net EC1001)
Bill Haley's Original Comets could well be the
most unusual -- and most interesting -- release ever put out related to Bill Haley
and the Comets.
This unique 50th Anniversary release is a rare three-way
hybrid of DVD, audio CD and CD-ROM. Originally issued under the title Rock Around
the Clock LIVE (but only in very limited release) the DVD features an hour of
interview footage of all five members of the Original Comets -- the talented
musicians who worked with Bill Haley in the
mid-1950s when it all started to come together.
The interviews show The Comets in great humor, enjoying the
chance to tell a bit about their
time with Haley, their love of music, and their philosophies about enjoying life.
Each musician is featured in his own
one-on-one segment, and these are interviews to treasure. From drummer Dick
Richards' inspiring words on enjoying your
senior years -- he started a new career as a movie actor when he was in his mid-50s
-- to Franny Beecher telling what
inspired him to first pick up a guitar, there is a book's worth of history to be had
here.
The second disc is an enhanced audio CD featuring three
performances from The Original Comets' Sept. 26, 2002 concert in Gainesville,
Florida.
"Crazy Man Crazy," the obligatory "Rock Around the Clock"
and "Rock the Joint" show the Comets in good form. Although The
Comets have released two studio-remakes of "Clock" over the last few years (most
recently on last year's Rollin' Rock CD
release Aged to Perfection), this is the first released recording of both
"Clock" and "Crazy" featuring bass man Marshall Lytle on lead vocals.
I think considering the nature of this CD, though, "The Saint's Rock n' Roll" should
have also been
included, as that song features solos by each of the Comets. But this is a minor
criticism. Marshall sounds a little
raspier than usual on "Clock" but the band is clearly having fun. "Rock the Joint"
absolutely tears up the place! And I was very happy to see Lytle finally receiving
co-writer credit on "Crazy Man Crazy."
We're not done yet. For those with computers, the enhanced
CD also includes two special music videos taken from the Gainesville show, each with
its own "Pop-Up Video"-like historical tidbits. I found these interesting as a fan,
though on "Rock the Joint" I did feel there was a bit too much text and not enough
footage of the Comets. Why these videos aren't included on the DVD itself is a
mystery to me, however.
I found it amusing to watch the Comets performing in what is
clearly a school or community gymnasium. This must have brought back a lot of
memories for the musicians, many of whom got their start playing in just these sorts
of venues.
Rock Around the Clock Live is a private release via
Bradley House Records. Current ordering information is not yet available, but it is
expected to be available at 1954-55 Comets concerts and will likely
be made available online. For more information, keep checking the Original Comets
Web site at www.originalcomets.com.
Tracks: (Audio) Crazy Man Crazy, Rock Around the
Clock, Rock the Joint. (Video) Interviews with Marshall Lytle, Joey Ambrose, Johnny
Grande, Dick Richards and Franny Beecher.
(Music videos) Rock Around the Clock, Rock the
Joint.
POSTED: February 16, 2003
Almost Live! - Bill Haley's Comets featuring John 'Bam Bam' Lane
(private release)
As many fans of Bill Haley and the Comets know, at
present (2003) there are three
different bands touring the world under the name Bill Haley's Comets. One of these
bands recently issued a live
CD.
Almost Live! was recorded by the contingent of Bill
Haley's Comets led by drummer John
"Bam Bam" Lane, who was with Haley from 1965 to 1968. Lane's drumming work with
Haley was a highlight of a live album
The Comets recorded in Sweden in 1968, and Lane was a popular member of the band
during his tenure with Haley.
After Haley's death in 1981, Lane teamed up with Al Rappa to
form a revived version of Bill
Haley's Comets, which began to tour North America circa 1982-83. At some point in
the late 1980s or early 90s, Lane and
Rappa split up to run their own separate groups of Comets.
Recorded last year in Erie, Penn., Almost Live! is an
energetic mixture of Haley classics
and rock standards from the 50s, 60s and 70s. Featuring Lenny Longo on most vocals
and the talented Dimitri Callis on
lead guitar, it's a lively listen.
Most of the Haley songs come off pretty good, including the
rarely performed "Dim Dim the
Lights" and "Thirteen Women." I felt the vocal on "Rip it Up" was a little
over-the-top however (maybe the singer was
trying to emulate Little Richard), while "Rock Around the Clock" suffers from being
interrupted mid-song by the band's
audience thank you's, which is fair enough except for some reason the song has been
programmed near the halfway point
of the CD, rather than at the end where it would make more sense.
The non-Haley songs are a mixed bag. Buddy Holly's "Peggy
Sue" and Chuck Berry's "Back in
the USA" come off pretty well, along with The Champs' "Tequila" (though the version
here can't hold a candle to the
Comets' 1958 performance released by Big Beat Records last year). "Charlie Brown"
sounds off-key -- possibly due to the
sound mix, and the Loggins-Messina 1970s chestnut "Your Mama Don't Dance" didn't
work for me.
The playing on this recording is pretty solid. Callis in
particular deserves special recognition
for his guitar work. Lane's drum solo on "Saint's Rock and Roll" wasn't quite as
good as the one he delivered in the 1968
version, sadly. I did get a feeling that the drums were a bit overpowering in the
sound mix, possibly due to the fact
Lane's drum set is often placed towards the front of the stage, which may or may not
have been the case here.
Almost Live! is a private release and is at present
only available through the John Lane
Comets' official Web
site.
Tracks: Back in the USA, Charlie Brown, Dim Dim the
Lights, Peggy Sue, Rip it Up, Rock
Around the Clock, Runaway, Saint's Rock n' Roll, See You Later Alligator, Shake
Rattle and Roll, Skinny Minnie, Tequila,
Thirteen Women, Your Mama Don't Dance.
POSTED: May 7, 2002
Vive la Rock and Roll
(Big Beat Records BBR 00073)
I tried to think of some smart-Alex remark to
lead off this review, but I can't think of anything except two words.
Absolutely incredible.
Vive la Rock and Roll is easily one of
the most impressive Bill Haley releases ever. It is one of those CDs
that has the word "indispensible" stamped all over it.
The story behind this live 1958 recording is a
convoluted one. Originally recorded for Europe 1 radio in October 1958,
this recording was believed lost for close to 40 years. Then, around
1995, it was rediscovered and parts of it were broadcast. At some point
afterwards, excerpts from the tape appeared on a CD release which was
soon withdrawn.
For those of us who had had a chance to hear
this performance, we thought one of the best Haley live recordings ever
might disappear into limbo. Fortunately, France's Big Beat Records has
come to the rescue by not only reissuing the recording, but greatly
improving the sound, restoring previously truncated performances and
adding never-before-heard tracks. The result is a beautiful package that
showcases the Haley stage show like no other release to date.
Anyone who thinks Haley was not only washed up
but no longer popular by the end of 1958 needs only hear a few minutes
of this recording to be proven wrong. Haley was a rock god to the people
of Paris, and you can hear this in the background. Big Beat gives us a
taste of the atmosphere by including a number of minutes' worth of crowd
chanting and noises. At one point, steel guitarist Billy Williamson
spends several minutes trying to calm the audience down, at one point
not only addressing them in French but in Italian! (Considering the
chaos of the 1958 European tour, it's understandable if Billy
momentarily forgets what country he's in!).
Musically, the performances are much different
than what you may recall from the Decca recordings. For one thing, there
is greater emphasis placed on Rudy Pompilli's sax work on songs like
"Rock-a-Beatin' Boogie" and "Razzle Dazzle" that hadn't been heard
before, giving the songs a completely different atmosphere than the
guitar sounds we're used to. Rudy truly takes the spotlight in the show
stopping "Rudy's Rock" (even without being able to see Al Pompilli
throwing his bass into the air or Rudy playing sax flat on his back, you
can tell just by listening there's a hell of a floor show going on). On
one of the recently discovered bonus tunes, Rudy -- with strong support
from the rest of The Comets -- delivers the best version of "Tequila"
ever recorded, bar none, and that includes The Champs' original.
Guitar master Franny Beecher isn't left out. We
get to hear not one but two versions of his "Beecher Boogie Woogie" and
his solos are a highlight of many of the tracks here.
Williamson -- when he isn't doing crowd control
duties -- puts in a few of his best vocal performances ever, including a
driving version of Big Joe Turner's "Feelin' Happy" (which for some
reason has been mistitled "Jump Children" -- one of the CD's few
missteps). Also involved in the show, though sadly not heard on this
recording, is rhythm guitarist Joe Olivier, who passed away on Christmas
Day 2001.
Bass man Al Pompilli -- either cousin or brother
of Rudy depending on who you believe -- is a pleasant surprise,
delivering a great version of "For You My Love" and an unexpected
version of the Freddy Bell's "Giddy Up Ding-Dong" with new lyrics based
on TV western shows! These are the only known recordings of the bass
player singing with the Comets.
Haley, of course, is front-and-centre on a
number of tracks, and his performances are excellent, if slightly
rushed. There is also a bit of disappointment that he chooses to drop
verses from a number of songs -- incredibly, including "Rock Around the
Clock"! It has been suggested this was an attempt to get things over
with before another riot broke out, which makes sense since this was
around the time of the infamous Berlin riot that nearly brought Haley's
tour to a premature close.
Still, as the saying goes, it's the quality that
counts, and Bill Haley provides that in spades, particularly an
unprecedented live recording of the Fats Waller classic "I'm Gonna Sit
Right Down and Write Myself a Letter" that leaves his Decca recording of
the song in the dust.
So far, 2002 has been a great year for
Haley-related releases. First the new Original Comets CD (see below),
and now Vive la Rock and Roll. Let's hope the next Haley-related
release even comes close to this "fantabulous" CD!
Vive la Rock and Roll is available via
Big Beat's Web site, or
e-mail jacklyn@btinternet.com.
Tracks (songs only): The Saints Rock and
Roll, Shake Rattle and Roll, Rudy's Rock, For You My Love (Al Pompilli
vocal), Beecher Boogie Woogie, I'm Gonna Sit Right Down and Write Myself
a Letter, Feelin' Happy (aka Jump Children; Billy Williamson vocal), I'm
in Love Again (Williamson vocal), Mambo Rock, See You Later Alligator,
Rock Around the Clock, Beecher Boogie Woogie (second version),
Rock-a-Beatin' Boogie, Razzle-Dazzle, Tequila, Giddy Up Ding-Dong (Al
Pompilli vocal).
POSTED: March 9, 2002
Aged to Perfection - The Original Comets
(Rollin' Rock CD-114)
As The Original Comets proudly proclaim on
their newest CD, they ain't dead yet -- thank heavens!
And once again, rock and roll's founding fathers
have provided ample proof that nothing is going to slow them down.
Aged to Perfection marks The Comets' 50th
(yes, 50th) anniversary. It was recorded over several sessions in 1999,
2000 and 2001 at Ronny Weiser's Las Vegas studios, and features a mix of
new and classic songs, all backed by The Comets' trademark driving
beat.
British singer Jacko Buddin continues to improve
as The Comets' lead vocalist. Although I still don't think he sounds
anything like Haley, his vocals on remakes of the Haley classics "Happy
Baby," "Dim, Dim the Lights," "Burn That Candle" and -- especially --
"Two Hound Dogs" are among the best recorded work he has done since
joining the band in the early 1990s.
Also strongly featured on the CD is sax man Joey
Ambrose, who is also a fine blues/RnB singer in his own right. His
original composition "Don't Push Your Luck" showcases his gravelly
delivery at its best, while "Buona Sera" and the fantastic "I Want You
to Be My Baby" (easily one of the best songs on the CD, in my opinion)
allow Ambrose to pay tribute to his old friend Louis Prima.
Bass player Marshall Lytle chimes in the most
vocals, including what could be The Comets' first big hit in years, the
hilarious "Viagra Rock" -- a song that in part grew out of running gags
among the band (such as guitar player Franny Beecher's nickname, "The
Viagra Kid"). The song was originally pitched as a jingle for the makers
of the little pill, and has recently enjoyed plenty of airplay in
Florida and even in Calgary, Canada.
Lytle also provides vocals on three more new
songs -- the touching "Somewhere There's a Woman," the ballad "You're
the Greatest," and the flipside of "Viagra Rock" called "We Ain't Dead
Yet." He also gets to revisit the old Jodimars hit "Eat Your Heart Out
Annie."
And once again, Franny proves his recent 80th
birthday has only improved his skills as a guitarist, and he provides
strong backing on all the tracks, and gets to solo on his original song,
"Car Jam." Beecher's rendition of the late Danny Cedrone's famous guitar
solo on "Rock Around the Clock 2002" is like no one else's.
Unlike the band's last CD -- 1999's Still
Rockin' Around the Clock -- which mostly consisted of remakes of
classic Essex, Decca and Jodimars material, there's a stronger emphasis
on new and "unfamiliar" songs in this release. Even so, those of us who
have all of the Original Comets' recent CDs on the European Hydra and
Rockstar labels will recognize a number of tracks from earlier releases
that are being revisited here. "I've Got Love for You Baby" was first
recorded in 1993 for Hydra, while "Buona Sera" and "Car Jam" date back
to 1997's The House is Rockin', a CD that suffered from shaky
sound quality. "Rock Around the Clock" also gets a reprise, even though
it was on the last Rollin' Rock CD, but hey -- the guys are entitled --
and no, none of these remakes come across as "carbon copies" of the
earlier versions, much to the group's credit.
The only disappointment from a musical
standpoint is the lack of a vocal by drummer Dick Richards for the first
time since the reunited Comets began recording CDs in 1991. Maybe next
time, Dick!
With so many classic groups retiring or, worse
yet, turning into parodies of themselves, The Original Comets continue
to excel. It's always a pleasure, gentlemen.
Aged to Perfection is available online
from a number of sources, including D4Haley International, and Hydra
Records, or direct from Rollin' Rock
Records.
TRACKS: Happy Baby (Jacko Buddin vocal), Don't Push Your Luck
(Joey Ambrose vocal), Viagra Rock (Marshall Lytle vocal), You're the
Greatest (Lytle), Dim Dim the Lights (Buddin), Burn That Candle
(Buddin), Two Hound Dogs (Buddin), We Ain't Dead Yet (Lytle), I've Got
Love For You Baby (Lytle), I Want You to Be My Baby (Ambrose), Somewhere
There's a Woman (Lytle), Eat Your Heart Out Annie (Lytle), Buona Sera
(Ambrose), Car Jam (instrumental), Rock Around the Clock 2002
(Buddin).
POSTED: September 4, 2001
Live on Stage - Bill Haley and His Comets Revival
(SEC Records SEC CD 01)
They say impersonation is the sincerest form of
flattery. Certainly, the tribute band industry has been going strong for
many years -- from Elvis Presley and the Beatles to KISS and Britney
Spears, if you're popular, someone is going to pay tribute to you.
So far, Bill Haley and the Comets haven't been
the subject of many tribute bands. Perhaps that's because, in one form
or another, The Comets have never gone away even after Haley died in
1981.
The Bill Haley and His Comets Revival is an
exception. Based in Germany, this six-piece group led by Jo "Bill"
Clifton has been singing Haley's songs for several years now, packing in
audiences and winning kudos from none other than the 1954-55 Comets
themselves.
"We just want to give a real tribute to Haley's
music," Clifton said in an e-mail. "We do not only perform his (or
better their) music but also try to show up the history and the
background of all songs we play for our audience."
The Revival band has all the trappings of the
classic Comets -- plaid jackets, spit curl, and all the bass schtick the
real Comets made famous back in the 1950s. No word whether Al Rex's
infamous splitting pants gag is recreated, however.
Live on Stage is the band's second CD,
featuring nine live tracks culled from the Haley canon. What I liked
about the CD is it wasn't just a bunch of guys copying The Comets -- I
mean, why bother when the original band is still a going concern?
Instead, Clifton and company put their own individual mark on each song,
from a bluesy take on "Skinny Minnie" to a drum-dominated "Rudy's Rock,"
featuring great sax work by Denis "Rudy" Teabone and a lengthy solo by
drummer Hugh "Bam Bam" Cellarhope. Each musician gets a chance to shine
on a blistering "Saint's Rock and Roll," as well, while guitarist Nobby
Soulback tackles the famous Danny Cedrone guitar solo on "Rock Around
the Clock" with aplomb. Rounding out the band on this set are Mani
"Lytle" Lins on double bass and Bernie Malt on piano.
"The most wonderful thing is watching five or
six year-old children (on daytime events) in front of the stage, dancing
to Haley's music -- and in the night time, 70 year-old people doing the
same," Clifton said.
Clifton interacts well with the audience,
leading sing-a-longs on "Shake, Rattle and Roll" and "See You Later
Alligator," and telling jokes between songs albeit in German with
smatterings of English tossed in for good measure.
Live on Stage is an enjoyable tribute to
Haley and the Comets, and worth tracking down. It is not currently
available in North America, so the easiest way to get ahold of a copy is
through the band's Web site.
TRACKS: Razzle-Dazzle, Rock-a-Beatin' Boogie, Rudy's Rock, Rock
Around the Clock, Skinny Minnie, The Saint's Rock and Roll, Shake Rattle
and Roll, See You Later Alligator, Rip it Up.
(Posted June 25, 2001)
Rock 'n' Roll Show
(Hydra Records BCK 27105)
It's amazing what a bit of spring cleaning might
turn up.
In the case of Comets co-founder and keyboard
player Johnny Grande, it led to a remarkable (re)discovery: a
high-quality recording of a performance by Bill Haley and the Comets
from the spring of 1955. April 17, 1955 to be exact, at the Masonic
Temple in Cleveland, OH.
Many live recordings exist of Haley and the
Comets, some of which have been released and others which remain in
private hands. But with a few exceptions all these live tapes date from
the 1960s and 1970s. When it comes to live performances from the 1950s,
we've been pretty well restricted to snippets from TV and radio (samples
of which can be found on the Hydra CD On
Screen).
But the Cleveland tape is something really
special because it captures Haley just prior to the fleeting
superstardom that would be thrust his way when "Rock Around the Clock"
finally hit No. 1 in the summer of 1955. The three Comets who would
later defect to form the Jodimars are present, as are Comets founders
Billy Williamson and Grande. Absent is a lead guitar player: Franny
Beecher was only a session musician at this time, so rather than the
familiar guitar riffs of "Crazy Man Crazy" and even "Rock Around the
Clock," we are instead treated to fantastic steel guitar work by
Williamson and even accordion (yes, accordion) backing by Grande. An
exception is the performance of the infamous instrumental "Straight
Jacket" on which either Williamson or Haley himself (accounts differ)
plays a basic boogie-woogie lead guitar line. But I simply can't get
used to hearing "Rock Around the Clock" without the famous guitar solo
originated by the late Danny Cedrone.
Rock 'n' Roll Show includes a number of
songs the Comets never recorded in the studio, including "That's What
You're Doing to Me" featuring Marshall Lytle, "'Deed I Do" by Dick
Richards and the humorous "Big Mamou" by Williamson. In Lytle and
Richards' cases, this release may well be the only known recording in
existance of them singing as members of the Comets. Sax man Joey Ambrose
is featured strongly on the aforementioned "Straight Jacket" which is
far, far superior to the monotonous Essex recording from 1954. Ambrose
also gets to play a second original instrumental, "Huckleberry," which
was never recorded in studio. Ambrose in many ways sets the groundwork
for his successor, Rudy Pompilli, who would inherit many of his
acrobatics and stage antics later in 1955.
One surprising track to find is "Let's All Rock
Together," a tune best identified with the Jodimars. This version has
different lyrics -- including a snippet of "Caldonia" years before Haley
himself recorded it -- and likely may have graduated into a full-fledged
Decca recording had Lytle and company not moved on to the Jodimars.
Haley's performance is, sadly, not 100 percent
up to par since this recording was made right at the end of a bout of
laryingitis. As a result his vocal work through two versions of "Clock"
and other tracks like "Mambo Rock" and "Rock the Joint" isn't as strong
as it could have been. But he gives his all.
The sound quality on this 46-year-old recording
is nothing short of remarkable. I've heard 20 year old recordings that
don't sound as good. I don't know if they had soundboards in 55, but if
they did, the tape recorder must have been plugged straight in.
Certainly the sound quality is far superior to live recordings being
made of Elvis Presley around this time. The only slip is someone forgot
to turn Haley's microphone on for the first number, "Birth of the
Boogie," resulting in a version that would fit in well in a karaoke
bar!
Rock 'n' Roll Show is highly recommended,
not only for Haley fans, but also anyone interested in the history of
rock and roll.
TRACKS: Birth of the Boogie, Huckleberry, That's What You're
Doing to Me (vocal by Marshall Lytle), Let's All Rock Together (vocal by
Lytle), Ol' Man River (vocal by Dick Richards), 'Deed I Do (vocal by
Richards), Big Mamou (vocal by Billy Williamson), I've Told Every Little
Star (vocal by the Comet Trio: Richards, Lytle and Williamson), Rock
Around the Clock, Dim Dim the Lights, Shake Rattle and Roll, Mambo Rock,
Rock the Joint, Straight Jacket, Crazy Man Crazy, Rock Around the
Clock.
(Posted June 25, 2001)
The Decca Years and More
(Bear Family Records BCD 15506)
If you're a fan of Bill Haley and the Comets,
this is The Biggie.
Released in 1990, The Decca Years and
More was a mammoth undertaking -- an attempt to gather together
every commercially available recording made by Haley during his seminal
years with Decca Records, remaster said tracks, and organize them into
one big package. And, along the way, throw in enough goodies to keep
completists happy.
By and large, Bear Family Records, with the
assistance of executive producer Chris Gardner, succeeded, creating a
five-CD set that is as valuable a document of the early history of rock
and roll as previous box sets dedicated to Elvis, Chuck Berry and
others.
Not everything Haley recorded between 1954 and
1959 turned to gold. But for the fan, there are many tracks here that
await rediscovery -- and many underappreciated classics, too. This is
one of the most valuable aspects of a having a box set. Every man and
his poodle has copies of "Rock Around the Clock" -- but relatively few
people have copies of "Where'd You Go Last Night?," "Corrine Corrina,"
"Calling All Comets" and other fantastic recordings getting their due in
his collection.
There are a few shortcomings in the set: there
are very few previously unreleased tracks to be heard here. Indeed the
only unissued material in evidence are some alternate takes and
alternate mixes. Two tracks from a 1958 movie with Catarina Valente and
a couple of tongue-in-cheek demos -- all of which were previously
available on vinyl -- are the only tracks that might not be familiar to
the average Haley fan. The fifth CD in the set is a "fly on the wall"
look inside a Haley recording session, with a number of alternate takes
and arrangements. Unfortunately this novelty only represents a couple of
Haley's later recording sessions circa 1959. It would have been nice to
hear studio chatter at the recording session for "Shake Rattle and
Roll," but no doubt these tapes no longer exist. It is funny listening
to Haley and the Comets chasing an errant bee around the recording
studio prior to a take of Ray Charles' "I Got a Woman," however.
In addition, while some tracks are stated as
having no overdubs, other tracks have had their dubs removed
unintentionally. None of this negatively affects the set that much, but
it does leave a few songs like "Choo Choo Ch'Boogie" and "Forty Cups of
Coffee" sounding a bit empty.
As with its follow-up, The Warner Brothers
Years and More, this set serves to collect all Haley's Decca work
into one handy location, rather than fans having to spend major coin to
track down rare singles, EPs and albums.
CD 1 covers the basics -- all the major
hits from 1954 to 1956. Of course "Rock Around the Clock" leads off the
disc, even though its flipside "Thirteen Women" was actually the first
song Haley recorded at Decca. In a way it's sad that with the exception
of a few tracks later on, the majority of Haley's major hits are
exhausted by the end of this first CD.
CD 2 starts with the final 1956 sessions
-- material such as "Rip it Up" and two examples of "Don't Knock the
Rock," one with and one without overdubbing. The majority of the disc
includes rock and roll versions of old pop tunes and standards, a
gimmick Haley tried to tie together the 1957 album Rockin' the
Oldies which was a moderate success. Buried amongst middle of the
road tunes like "Carolina in the Morning" and "One Sweet Letter from
You" are some underappreciated gems such as "Rock Lomond," a sequel of
sorts to "Rockin' Thru the Rye," a wonderful take on "Ain't
Misbehavin'," and a cool remake of Haley's 1952 hit "Rock the Joint."
CD 3 features a number of folk tunes done
in rock and roll style, a reflection of Haley trying to find a new
gimmick to beef up sagging record sales stateside in 1957-58. It wasn't
a success, as head-scratchers such as "Me Rock-a-Hula" and "Rockin'
Rollin' Schnitzelbank" attest. But tracks like "Rockin' Matilda,"
"Piccadilly Rock" and "Vive le Rock and Roll," along with the Billy
Williamson-sung "Jamaica D.J." show the experiment wasn't a total loss.
Things pick up in the second half with the classic "Skinny Minnie," its
lesser-known sequel, "Lean Jean," and "Joey's Song."
CD 4 begins with one of Haley's best
recordings ever, "Corrine, Corrina," a track that deserved to be a
bigger success than it was. This CD also includes a second version of
"Vive le Rock and Roll", this from the soundtrack of the 1958 film
Hier Bin Ich, Hier Bleib Ich, featuring a duet vocal with
Catarina Valente. A remake of Haley's 1956 hit "Hot Dog Buddy Buddy"
follows, though a third track from the movie, "Whoa Mabel" is missed.
Other treasures on this disc include "The Cat Walk" and "Shaky", two
Franny Beecher guitar instrumentals, "Where Did You Go Last Night?", and
"Caldonia." The last half of the CD features mostly instrumental work
the Comets did in 1959 to round out their contract with Decca. That
sounds almost dismissive, but in fact few earlier Decca recordings
showcased the versatility of the Comets as these instrumentals did,
particularly "Mack the Knife" and "Skokiaan," which became Haley's last
new American hit in 1960. The 1964 single "Green Door"/"Yeah She's Evil"
-- a one-shot return to Decca -- is included, as are two demos from
around 1956. "Football Rock and Roll" is a gimmick song recorded for
producer Milt Gabler, possibly as a joke, while "Six Year Olds Can Rock
and Roll" is a charming piece of kiddie rock recorded as a present for
child singing star Barry Gordon.
CD 5 features studio chatter and
alternate takes from a couple of 1959 recording sessions. It is
interesting to hear songs like "Dragon Rock" and "Where Did You Go Last
Night" evolve, but none of the songs featured are of the same calibre as
Haley's best-known classics. Oddly enough the best rehearsal takes I've
heard from this session were for "Caldonia," but these tracks weren't
released until the Warner Brothers Years and More box set came
out nine years later.
The Decca Years is a worthwhile
acquisition for serious Haley fans who feel the Decca years showcased
Haley's finest work. There is no doubt Haley never attained the same
heights of popularity as he did with Decca, and this box set is a
valuable souvenir of those golden years.
TRACKS:
CD 1: Rock Around the Clock, Thirteen Women, Shake Rattle and
Roll, ABC Boogie, Happy Baby, Dim Dim the Lights, Birth of the Boogie,
Mambo Rock, Two Hound Dogs, Razzle Dazzle, ROCK, Rock-a-Beatin' Boogie,
The Saint's Rock and Roll, Burn That Candle, See You Later Alligator,
The Paper Boy, Goofin' Around, Rudy's Rock, Hide and Seek (vocal by
Billy Williamson), Hey Then There Now (vocal by the Comets Trio),
Tonight's The Night (vocal by the Comets Trio), Hook Line and Sinker,
Blue Comet Blues (aka. Blue Home Blues), Calling All Comets, Choo Choo
Ch' Boogie, A Rockin' Little Tune, Hot Dog Buddy Buddy, Rockin' Thru the
Rye.
CD 2: Don't Knock the Rock (without overdub), Teenager's Mother,
Rip it Up, Don't Knock the Rock, Forty Cups of Coffee, Miss You, Billy
Goat, Rockin' Rollin' Rover, Please Don't Talk About Me When I'm Gone,
You Can't Stop Me From Dreaming, I'm Gonna Sit Right Down and Write
Myself a Letter, Rock Lomond, Is it True What They Say About Dixie?,
Carolina in the Morning, The Dipsy Doodle, Ain't Misbehavin', The Beak
Speaks, Moon Over Miami, One Sweet Letter From You, In Apple Blossom
Time, Somebody Else is Taking My Place, How Many?, Move it On Over, Rock
the Joint, Rip it Up (without handclaps).
CD 3: Me Rock-a-Hula, Rockin' Rita, Jamaica DJ (vocal by
Williamson), Piccadilly Rock, Pretty Alouette, Rockin' Rollin'
Schnitzlebank, Rockin' Matilda, Vive le Rock and Roll, It's a Sin, Mary
Mary Lou, El Rocko, Come Rock With Me, Oriental Rock, Wooden Shoe Rock,
The Walkin' Beat, Skinny Minnie, Sway With Me, Lean Jean, Don't Nobody
Move, Joey's Song (stereo), Chiquita Linda, Dinah, Ida Sweet as Apple
Cider, Whoa Mabel!, Marie, Eloise, Corrine Corrina (without handclaps),
Joey's Song (mono).
CD 4: Corrine Corrina, B.B. Betty (vocal by Williamson), Sweet
Sue Just You, Charmaine, Vive le Rock and Roll (vocal by Bill Haley and
Catarina Valente), Hot Dog Buddy Buddy, The Dragon Rock, ABC Rock (vocal
by Williamson and Franny Beecher), The Catwalk, I Got a Woman, A Fool
Such as I, Be By Me, Where Did You Go Last Night?, Caldonia, Shaky, Ooh
Look-a There Ain't She Pretty?, Summer Souvenir, Puerto Rican Peddlar,
Music Music Music, Skokiaan, Drowsy Waters, Two Shadows, In a Little
Spanish Town, Strictly Instrumental, Mack the Knife, The Green Door,
Yeah She's Evil, Football Rock and Roll, Six Year Olds Can Rock and
Roll.
CD 5: Behind-the scenes studio recordings from 1959, featuring
incomplete and alternate takes of : The Dragon Rock, ABC Rock (vocal by
Williamson), The Catwalk, I Got a Woman, A Fool Such as I, Be By Me,
Where Did You Go Last Night?
(Posted June 25, 2001; Updated May 8, 2002)
The Greatest LIVE Show on Earth:
Live at the Paris Olympia '58-'66 -- Various Artists
(Europe Records GLS 1001)
I must confess that this can only be a partial
review of this CD. That's because I have only heard the tracks featuring
Bill Haley and the Comets. The remaining 14 tracks on the CD are by a
range of famous 50s and 60s performers who, like Haley, are captured for
the most part in their prime during visits to the famous Paris Olympia
theatre.
This CD has also, apparently, been withdrawn
from sale, with some debate over whether it is actually a bootleg.
This is unfortunate, because the 10 brief tracks
recorded during Bill Haley and the Comets' 1958 European tour are among
the most exciting ever made of the band.
From the beginning, when the crowd goes wild as
Haley launches into "The Saint's Rock and Roll," you know you*re in for
something special.
As with Rock 'n' Roll
Show, the sound quality is fantastic. Even with a screaming
crowd, most instruments and vocals are heard clearly. And the
performances shine through.
This is Haley near the end of his Golden Era.
The 1958 tour would be wrought with troubles financial, political and
otherwise. The band would soon appear in a German movie with Catarina
Valente, but they would only have one top-40 hit in the US this year:
"Skinny Minnie."
Earlier in 1958, bass player Al Rex had
resigned, and for the European tour, sax man Rudy Pompilli's cousin Al
Pompilli would step into the other Al's shoes. For some reason Haley is
heard introducing Al Pompilli as "Rudy's little brother" instead of
cousin. This CD features the only known recording of Al Pompilli doing a
vocal lead, on "For You My Love" and he does a terrific job making one
wonder why he never got the chance to on a Decca recording session.
We also get the only release of a "Guitar
Boogie"-inspired instrumental spotlighting Franny Beecher called
"Beecher Boogie Woogie," which is a fine variation on Beecher's other
guitar-driven showstoppers like "Goofin' Around."
But the highlight of Haley's portion of the CD
-- and I'm willing to bet, of the whole CD itself -- is a barnstorming
performance of "Rudy's Rock." You don't need to be able to see all the
stage antics in order to get caught up in the electricity of the
performance. Rudy Pompilli's performance of his signature tune likely
never equalled what he was able to do with it in Paris on Oct. 15,
1958.
The origin of these recordings is a bit of a
mystery. It's been suggested they were recorded off a radio program,
while others say they were soundboard recordings. Unfortunately two
songs are cut off midway through, implying the first scenario: "Feelin'
Happy," a version of the Big Joe Turner classic featuring a fine vocal
by steel guitar player Billy Williamson (and misidentified as "Jump
Children" on the liner note), and -- most unfortunately -- "Rock Around
the Clock," which is truly cut off in its prime. Haley also chose to
sing a sinfully abbreviated version of "See You Later Alligator,"
leading to the only sour note on the recording.
Since Greatest LIVE Show on Earth has
apparently been withdrawn from circulation, it could be difficult to
locate, particularly in North America. But used or collectors shops may
still have copies and it's a wonderful addition to your Haley
collection.
if you can find it.
Postscript May 2002: Big Beat Records has reissued these
recordings, along with other performances not included on this CD. Go to
Page One for
a review of this CD.
TRACKS (Bill Haley and the Comets only): The Saint's Rock and
Roll,
Shake Rattle and Roll, For You My Love (vocal by Al Pompilli), Beecher
Boogie Woogie, I'm in Love Again (vocal by Billy Williamson), Mambo
Rock, Feelin' Happy (aka. Jump Children) (vocal by Williamson;
incomplete), Rudy's Rock, See You Later Alligator, Rock Around the Clock
(incomplete).
Additional tracks (non Bill Haley) -- Roy Orbison: Crying, Dream
Baby, Blue Bayou, Mean Woman Blues, Oh Pretty Woman. Cliff Richard and
the Shadows: Apache, Do You Wanna Dance, Bachelor Boy, We Say Yeah.
Jerry Lee Lewis: Your Cheatin' Heart, What'd I Say, Whole Lotta Shakin'
Goin' On. Johnny Burnette: Bony Maronie. Vince Taylor:
Maybelline.
(Posted June 25 2001)
Crazy Man, Crazy
(Hallmark 300242)
I wish I could give a rave review for this
unusual collection of rare Bill Haley recordings, but I can't.
With the exception of one track, the sound
quality is suprisingly poor on this release, affecting the enjoyment of
many of the recordings, which cover a period from c.1948 to 1961.
Considering a number of tracks are actually from Haley's pre-"Rocket 88"
country western days, a bit of muted sound does little harm. But there's
no excuse for the poor sound quality of the Essex-era recordings
featured, which we know have been issued on CD with far superior sound
on releases such as Rollercoaster Records/Schoolkids Records' Rock
the Joint! collection.
Sound aside, this is an intriguing collection of
songs. Along with relatively easy-to-obtain Essex sides such as the
title track, which was Haley's first national hit in 1953, we also get
rarer material such as "Tearstains on My Heart" from 1951, which was the
flipside to Haley's groundbreaking version of "Rocket 88."
Worth the price of admission alone are several
country-era tracks that, to my knowledge, had never been released on
CD until this point. "Behind the Eight Ball" features a harmony vocal by
Bashful Barney Barnard and dates back to Haley's days fronting the Four
Aces of Western Swing, while "Foolish Questions" is a droll commentary
on the stupid statements people sometimes make.
Rounding out the set -- seemingly out of nowhere
-- we get the 1961 Warner Brothers single "Chick Safari" which shows
Haley at the top of his form even if the song itself missed the charts.
Many alternate takes of "Safari" exist and it appears this version may
be different from the one included in the Warner
Brothers Years and More box set.
A number of tracks date from the end of Haley's
tenure with Essex Records in 1953-54, including "love 'em or hate 'em"
songs such as "Straight Jacket," "Ten Little Indians" and "Chattanooga
Choo Choo."
If you're looking for a quick survey of some of
Haley's earliest work, and aren't picky about sound quality, the CD
might be worth checking out. Serious collectors may wish to look
elsewhere.
TRACKS: Crazy Man Crazy, Rockin' Chair on the Moon, Chattanooga
Choo Choo, Sundown Boogie, Behind the Eight Ball, Live it Up, I'll be
True, Jukebox Cannonball, Chick Safari, Ten Little Indians, Icy Heart,
Straight Jacket, Tearstains on my Heart, Foolish Questions.
POSTED: March 11, 2001
On the Air
(Hydra BCK 27112)
Listing to the latest Bill Haley and the Comets
release from Hydra Records, you're forgiven if you think you've stumbled
onto a Benny Goodman Orchestra recording instead.
That's because Hydra has released what might be
some of the most unusual series of recordings ever made by the Fathers
of Rock and Roll.
On the Air marks the first release of two
radio programs Haley made for Armed Forces Radio (AFN) in August and
September of 1962, during a hectic tour of German army bases. This was
soon before Haley and the Comets took residence at the Star Club in
Hamburg, where one of their opening acts was a little-known group called
the Beatles.
These two programs showcase the diversity of
musical ability in the individual Comets in a way no other recording yet
released has ever done.
The first half of the CD is straightforward Rock
and Roll, with the Comets performing laid back, enjoyable versions of
"Rock Around the Clock" and "Shake, Rattle and Roll." They also launch
into several songs they never recorded in the studio -- guitarist Johnny
Kay delivers a rockin' version of "Peppermint Twist" (remember at this
time Latin Americans considered Haley the King of the Twist, not that
Chubby Checker guy), and steel guitarist Billy Williamson gives us a
fine rendition of Big Joe Turner's "Feelin' Happy."
Rounding out this first set are rare live
versions of Bill Doggett's "Honky Tonk," "Joey's Song," which was one of
Haley's last hits for Decca, and a shamefully abbreviated "See You Later
Alligator" which is cut off by the ending credits of the radio show.
An interesting trivia note is this first show,
recorded in Frankfurt, was produced by Joey Welz, who would later
briefly replace Johnny Grande as piano player for the Comets. These
might well be the last recordings Grande ever made with Haley before
ending his 13-year association with the band; fellow Comets founder
Billy Williamson would give up playing rock music about six months
later.
It is the second AFN show, recorded two weeks
later, that is the true revelation on this CD.
It opens with a very relaxed performance of
"Saint's Rock and Roll," featuring fine jazz-styled solos by Johnny Kay
and sax legend Rudy Pompilli, as well as rare solos by Grande and
drummer Dave Holly.
The remainder of the show is a somewhat
convoluted attempt by Haley to explain the evolution of rock and roll,
as well as showcase the fine musicianship of his Comets. If ever there
was evidence that the Comets was (and still is) one of the best groups
of musicians in the history of Rock and Roll, this is it.
Beginning with the Dixieland tune "Ja-Da,"
featuring a good vocal by bass and trumpet player Al Rappa, the Comets
go through a checklist of different styles.
We get rhythm and blues via Williamson's
interpretation of the Ray Charles classic "Hallelujah I Love Her So,"
and an incredible jazz clarinet blowing session by Rudy Pompilli on "The
World is Waiting for the Sunrise," and a remarkable medley of old-world
tunes highlighted by Johnny Kay's flying-fingers work on "Malaguena."
Rounding out this collection: a country tune,
"Wolverton Mountain," sung by a very twangy-sounding Johnny Kay, more
jazz work by Rudy Pompilli, and a semi-rocking version of "Never on
Sunday" featuring all the Comets. Haley's only singing vocal is on
"Saints."
Perhaps the most fascinating parts of this CD
are the interview snippets between each song. Whether it's the announcer
comically trying to list all of Haley's German appearances in under a
minute (anyone who thinks Haley was retired by this point is in for an
education), or rare recordings of Rudy Pompilli and Billy Williamson
discussing the finer points of music, these segments are almost worth
the price of admission alone.
Chris Gardner's liner notes feature many
fascinating tidbits of information and trivia that even I didn't know
about, and there are some very funny stories to be told about this
hectic and bizarre period of Haley's career. Hydra owner Klaus Kettner,
by the way, is looking for any good-quality recordings that may exist of
Haley and the Comets performing at the Star Club during this time (a
low-fidelity private tape has circulated amongst fans for nearly 40
years). If you can help, drop him a line at rockithydra@t-online.de.
Be warned that the original source tape used for
this CD*is far from pristine. As a result, the sound often drops out, or
sounds a bit muted -- though this in a way adds to the atmosphere in
simulating what the original broadcast must have sounded like. Hydra has
done a good job cleaning up the sound as best they can. That, and maybe
Kay's camp vocal on "Wolverton Mountain", are the only real negatives I
could find with this CD, and that's pretty good.
On the Air is a German release, so you
may need to turn to the Internet to find a copy. Once again, you can
contact Kettner; the CD may also be available soon from other outlets
such as Hepcat Records or D4Haley International.
I was amazed at the versatility of the material
on this CD, though one can only wish what former Comets such as Franny
Beecher and Joey Ambrose might have also contributed to this. But I'm
not complaining -- there is remarkable work here by all concerned, and
this qualifies as a "must-have" for any serious Haley fan, and I'd even
go so far as to recommend this CD to casual or first-time fans as
well.
TRACKS (only songs listed):
Rock Around the Clock, Shake Rattle and Roll, The Peppermint Twist
(vocal Johnny Kay), Honky Tonk (instrumental), Feelin' Happy (vocal
Billy Williamson), Joey's Song (instrumental), See You Later Alligator
(incomplete), Saint's Rock and Roll, Ja-Da (vocal Al Rappa), Hallelujah
I Love Her So (vocal Williamson), The World is Waiting for the Sunrise
(instrumental), Medley: Malaguena/Tales From the Vienna Wood/La
Paloma/Hungarian*Rhapsody No.5 (instrumental), Wolverton Mountain (vocal
Kay), Bernie's Tune (instrumental), Never on Sunday (ensemble vocal).
(POSTED: Sept. 1, 2000)
Twist Bill Haley
(Orfeon/Dimsa CDN-13600)
In 1961, Bill Haley and the Comets went south
and managed to reclaim much of the fame and glory that had been lost
following the end of their contract with Decca Records.
Haley ended up going to Mexico in 1961,
following the success in Latin America of the song "The Spanish Twist"
which had been recorded for Gone Records. Haley travelled to Mexico,
re-recorded the song in Spanish (as "Twist Espanol"), and also debuted a
new song co-written by sax player Rudy Pompilli called "Florida Twist."
Suddenly, Bill Haley and the Comets were topping the charts once again
and found themselves proclaimed Kings of the Twist!
This CD recaptures the spirit of those early
days in Mexico, and is a very strong collection of instrumentals and
vocals. Originally released in 1961, Orfeon/Dimsa has reissued the first
Twist Bill Haley album to CD.
Running a fraction over 22 minutes (divided into
10 songs), this album is shorter than some of today's CD EPs. Still,
what it lacks in quantity it makes up for in quality.
Until only a couple of years ago, most of
the Orfeon label material I had heard came from the 1966 sessions that
produced
terrible remakes of "See You Later Alligator" and "Shake,
Rattle and Roll" (example LP: Twenty Golden Pieces of Bill Haley
on the Bulldog label). Some of
the instrumental stuff from that period, as well as the remakes of
Decca-era material such as "A.B.C. Boogie" and "How
Many?" were actually quite good, as was the samba-influenced version of
"Rock Around the Clock," but otherwise I wasn't very impressed. But the
same does not apply to Haley's early Mexican recordings from 1961 and
1962. Clearly rejuvenated by their unexpected success south of the
border, everyone tries hard to make these tracks a success -- and they
work well because of the effort.
The
CD features several bonifide Orfeon classics such as "Florida Twist" (at
one point the biggest-selling single of all time in Mexico) and
"Silbando Y Caminando," great instrumentals. "Tampico Twist" is one of
the
best Comets instrumentals of all time, featuring Franny Beecher doing
some of his best guitar work since 1956. Another highlight is "Actopan,"
which is
perhaps more familiar as "The Hucklebuck." Once you get past a somewhat
annoying
rattle that makes its presence felt every few bars, it's top notch Rudy
Pompilli sax solo with an extended, unexpected, and very welcome piano
solo by
Johnny Grande (possibly one of the longest he ever recorded while with
Haley). "Tren Nocturno" ("Night Train") is cool and fast-paced, possibly
influenced by James Brown's trademark version.
"Twist Espanol" is far superior in both vocals
and arrangement to the English-language version ("Spanish Twist"), with
a better Pompilli sax solo.
And "Caravana Twist" -- a version of the Duke Ellington classic,
"Caravan," is one of the best Haley versions of that song I've
heard, though I miss not having a five-minute long drum solo which John
"Bam-Bam" Lane provided in the 1968 Sonet live version.
Does Haley sing on this record? Barely -- he
only appears on three of the tracks. But he does well -- including a fun
version of "Mas Twist" ie. "Let's Twist Again." And yes, he does
sing in Spanish!
All told, Twist Bill Haley is a terrific
introduction to the Haley's Mexican era, and a great party record, if a
little short. It's a shame Orfeon didn't include some bonus tracks to
pad its length out a bit, as there are a number of non-album tracks such
as "Cerca Del Mar" that could have been included.
As a Mexican release, this CD might be a little
tough to find away from perhaps Texas and southern California. One good
source for the CD is Denise Gregoire's Web site.
TRACKS: Florida Twist, Silbando Y Caminando (Whistlin' and
Walkin' Twist), Twist Espanol (Spanish Twist), Tampico Twist, La Paloma,
Caravana Twist (Caravan), Negra Consentida, Tren Nocturno (Night Train),
Actopan (The Hucklebuck), Mas Twist (Let's Twist Again).
Photo courtesy Chris Gardner
(POSTED: Sept. 1, 2000; revision of earlier posts from May 1999 and July
2000)
The Warner Brothers Years and More
(Bear Family BCD-16157)
The Warner Brothers Years and More may
well be the most complex release ever dedicated to Bill Haley -- or any
other artist, for that matter.
In order to collect the 157 tracks in the set,
spread out over six CDs, the German Bear Family label had to track down
master tapes from many different small labels in the U.S. -- no easy
feat. Yet the job was done, and while this set doesn't include
everything Haley recorded in the U.S. during the period 1960-1969, it
comes about as close as you can get.
The 1960s are very much an underappreciated time
in Bill Haley's career. His chart-busting days at Decca were over, he
had debts with both The Mob and the IRS (which one is worse is a matter
for debate), his second marriage was failing, and he was finding it
difficult to keep his musicians. But Haley never stopped working,
whether to perform in clubs from New York to Hamburg, or to record
tracks for a succession of small labels.
The Warner Brothers Years and More
focuses on Haley's American work during this period, leaving his
prolific recordings for the Mexican labels Orfeon and Dimsa (1961-1966)
for a possible future box set. Likewise, the beginnings of Haley's
tenure with the Swedish label Sonet in 1968 are also left out, once
again with the possibility of inclusion in a future box set dedicated to
the 1970s.
Some 30 unreleased tracks are included in the
set. By comparison, Bear Family's previous box, The Decca Years and
More was only five CDs in length, with only about 20 previously
unreleased
masters, most of which were false starts and alternate takes from one
recording session in 1959.
Make no mistake -- Haley spent much of the
decade desperate for a hit, and sometimes he tried too hard. As a
result,
it is fair to say that not every track on this set is a classic. A few
are downright awful. But for fans of Bill Haley, it is a treasure trove
of rare material, much of it of much higher quality than many of us
might have expected.
If I had a major complaint to make about the
set, it is that Bear Family chose not to present the tracks in
chronological order. While all the Warners and Gone and Newtown tracks
(for the most part) are grouped together, too often you'll be listening
to something from 1961 and suddenly you're in 1964. The live tracks near
the end of the set jump jarringly from 1969 to 1962 and then back to
1969.
Here's a quick CD-by-CD rundown of what's in
store:
CD 1 covers most of Haley's tenure with
Warner Brothers Records (and hence provides the rationale for the box
set's title), with all tracks dating from 1960. When Haley moved to
Warner's from Decca, he wanted a change of pace, and so his first single
was a version of George Morgan's "Candy Kisses" (a song Haley previously
recorded in 1948), and a Dixieland-style instrumental called "Tamiami."
Although both songs were as far from Rock and Roll as you could get,
they were both well done and nearly provided Haley with a hit. In fact,
the performances on CD 1, a mixture of country standards and covers of
rock and roll classics (including "Rock Around the Clock," display the
versatility of Haley and his musicians in a way that was rarely
repeated. I found a couple of the country weepies on the CD a little
hard to sit through, but these moments were few and far between.
Additional highlights: the bizarre "bunny hop" instrumental "Hot to
Trot," an even more bizarre and previously unreleased instrumental with
nonsense lyrics sung by Haley called "Happy Homer," a solid cover of Guy
Mitchell's "Singin' the Blues" and the prophetic "One Has My Name, the
Other Has My Heart" which would soon describe Haley's personal life as
his marriage to Cuppy Haley collapsed.
CD 2 picks up still in 1960 at Warner
Brothers and the excellent "Hawk," a song cut from the same mold as
Peggy Lee's "Fever" -- and recorded a full month before Elvis Presley
tackled that song. Haley puts aside his usual trappings for a simple
backdrop of bass, drums and a backing chorus. The effect is amazing,
though I must say an alternate take included later in the box is even
better. Another underappreciated Haley classic, "Chick Safari" follows,
as does the tremendous "Let the Good Times Roll, Creole." Why none of
these scored hits is beyond me -- though apparently "Chick Safari" did
hit the top of the charts in India! Also included are two bizarre tracks
featuring Bob Hayes -- a business associate of Haley's -- singing lead
vocal. Possibly recorded as a joke, or as a present to Hayes for
services rendered, they do stick out like a sore thumb compared to the
rest. A final WB single from 1961 -- "Honky Tonk" and "Flip, Flop and
Fly" -- leads us into the start of Haley's small label period. The two
singles recorded for the Gone label in 1961 included "The Spanish
Twist," which was not Haley's best work. An alternate take which did not
make it into the set, and a Spanish version recorded in Mexico were much
better performances, but you can tell that Haley badly wanted a hit from
the song here (which he did get, albeit south of the border). The
excellent instrumentals "Riviera" and "War Paint" are
followed by a set of recordings I consider to be a low point in Haley's
career.
In early 1964, Haley and the Comets gathered in
Las Vegas to record an album's worth of material for Guest Star records.
Originally these tracks were thought to have been recorded in 1962, but
in recent months new information came forward to suggest they were
actually taped in 1964. Aside from a fine remake of "See You Later
Alligator," some nice instrumental moments in "Panic" and "Yakety Sax,"
and the very Decca-sounding "Don't Mess Around," there's not much to
recommend here. We jump to 1963 and the Newtown sessions as the CD
closes, for an example of Haley's Comets working as session musicians,
backing
Carrie Grant and the Grandeurs on a very Motown-sounding single
"Mish-Mash."
Rudy Pompilli, left, and Johnny Kay in action. Photo courtesy Rik Hull.
CD 3 takes us to 1965 and Haley's bizarre
sessions for APT records. I say bizarre because a major attempt to
change the Haley style is made here, with the band adopting the "jerk"
style of recording. It's only moderately successful. The CD opens with a
song called "Stop, Look and Listen," which is entertaining but not Haley
at his best. Its main claim to fame was that Elvis later covered the
song for his movie Spinout. A remake of "Burn That Candle" from
1955 and a bizarre (and previously unissued) rearrangement of the 1954
hit "Dim, Dim the Lights" follow. Later in the year, Haley returned to
APT to record more songs, but save for sax man Rudy Pompilli, only
session musicians were used instead of the regular Comets. Among these
pseudo-Comets were noted jazz guitarist Don Arnone and drummer Panama
Francis, who had drummed on the original Decca "Shake, Rattle and Roll"
single back in 1954. The results are astounding, with an excellent
Dixieland instrumental called "Haley a Go-Go," a fine remake of Haley's
1960 tune "There's a New Moon Over My Shoulder" and a strange David
Seville pastiche called "Tongue-Tied Tony."
Arguably the best tracks in the entire box set
are buried in the middle of CD 3. Dating from two Arizona recording
sessions in 1967, "Rock on Baby" and "Jealous Heart" are wonderful
discoveries. Never before issued, these were attempts by Haley to find a
new sound -- and a new record deal. "Rock on Baby" paints Haley in the
uncharacteristic role of contemporary rocker, backed not by the Comets,
but a band called Superfine Dandelion. The second track, "Jealous Heart"
features a Phoenix Mariachi band backing Haley on a terrific country
weepie ballad that harks back to his days as a country singer. Some have
called this one of the finest Haley recordings ever. I disagree -- I
don't think it's that good, but it's still a wonderful
performance. Also included on the CD are a set of tracks recorded for
United Artists in 1968, including a terrific cover of Tom T. Hall's
"That's How I Go to Memphis" (my vote for best Haley recording of the
1960s), a frantic remake of "Flip, Flop and Fly" and a couple of
Decca-sounding Christmas tunes.
The remainder of CD 3 consists of the 1963
recording sessions for Newtown Records. These are a mixed bag, with the
instrumental work far outweighing Haley's telephoned-in vocals. Although
the very low-key "Up Goes My Love" has an interesting sound, and "Tenor
Man" is enjoyable with strong work by Pompilli, Haley doesn't seem too
interested in the chore this time around. Much better are the numerous
instrumentals, many never issued before, such as the boogaloo "You're
Too Much," and Pompilli's after hours sax ballad "One Phone Call." Also
surprising is a very contemporary-sounding country song, "Cottonfields."
According to the liner notes, the lead vocal on this track is supposed
to be by Rudy Pompilli, however I am of the opinion it's actually
guitarist Johnny Kay singing.
CD 4 jumps us to 1969 and a set of three
live shows recorded at the Bitter End in New York. Selections from these
shows originally appeared on the Kama Sutra/Buddah LP Bill Haley's
Scrapbook back in 1970. The sound quality leaves something to be
desired, especially when compared to Haley's live work for Sonet the
previous year, but those familiar with Scrapbook will enjoy
hearing alternate performances of songs like "Dance Around the Clock." A
big surprise is an alternate performance of "See You Later Alligator,"
which features a sax solo by
Pompilli that isn't in the version on the original Kama Sutra LP (which
is also on the CD, so you can compare).
Other highlights: "Night Train," Nick Nastos delivering a frantic
"Guitar Boogie," and Bill Nolte drumming the hell out of "Wipe Out."
CD 5 concludes the 1969 Bitter End shows,
featuring a fine version of "Honky Tonk" and a previously unreleased
performance of the comedy song "Next Time" by Nick Nastos. I didn't much
care for bass player Ray Cawley's performance of "Hey Momma," however --
but Bill Nolte delivers a surprisingly effective performance of the
country ballad "Almost Persuaded," which I'm surprised wasn't included
in the Sonet LP Rock Around the Country the next year. Midway
through CD 5, listeners fall into a sudden time warp and find themselves
back in 1962 at the famous Roundtable club in New York. Haley and the
Comets recorded their first live LP there, titled Twistin' Knights at
the Roundtable. These performances include some of the band's
best-ever guitar
work -- by Franny Beecher in his final recordings with Haley along with
Johnny Kay. "Florida Twist," "Whistlin' and Walkin' Twist" and "Twist
Marie" come off the best. You might scratch your head wondering what
Haley was thinking when he launches into a twist waltz called
"One-Two-Three Twist." One song that sounds MUCH better on CD than on
original vinyl is Haley's reading of Joe Turner's "I Want a Little
Girl." On the original LP, this track is terrible -- but on CD, even
though Haley's vocals aren't as good as they should be, the backing by
Beecher and the Comets is very good. The CD ends with a single track
("Rip it Up")
from Haley's 1969 Madison Square Garden performance, which resulted in
the famous 8 1/2-minute standing ovation. Sadly, the tape of the version
of "Rock Around the Clock" from this date appears to have gone
missing.
CD 6 contains the obligatory alternate
takes collection. Unlike the Decca Years set, which included
multiple alternate takes from a relatively few songs, this time Bear
Family has collected an assortment of alternate takes from several
sources. The first half of the CD consists of alternates from the Warner
Brothers sessions. Sadly, as Chris Gardner mentions in his extensive
Warner Brothers Years booklet, there really isn't a lot of
difference between these alternates and the final versions -- with a few
notable exceptions. "Detour," for example, is a much better performance
and includes a guitar solo from Franny Beecher that wasn't used in the
final version. We also get multiple attempts at "Chick Safari" by Haley
(but an excellent alternate take featuring Billy Williamson on vocals
was somehow missed), and there is also an excellent version of "Let the
Good Times Roll, Creole," which is sabotaged by annoying backing vocals.
The best track of the lot is an alternate version of "Hawk" that ditches
the female chorus heard on the final single, leaving us a very sparse,
soulful performance by Haley. Next up on the CD are a series of
alternate takes from the Newtown sessions. I mentioned earlier how I
felt Haley "phoned in" his vocals for these tracks -- this is evident
here, as Haley is nowhere to be heard! At one point we hear discussion
of writing lyrics for a song for Haley "on the fly," giving an
interesting
insight into how the band worked during the 60s. "Tenor Man" is featured
in a series of interesting instrumental try-outs featuring Rudy
Pompilli. It's clear the song is based on the Orfeon recording "Que
Pachanga" ("What a Party") as on the first take you can hear people
singing it in the background. A later take features Johnny Kay and what
sounds like Billy Williamson duetting on a version of "What a
Party"/"Tenor Man" that sounds nothing like what Haley later
recorded!
The CD ends with a selection of worthwhile
leftovers not included in The Decca Years and More: several demos
and
alternate takes from 1959. These include remarkable versions of
"Caldonia"
featuring Haley doing his best Louis Jordan impression (if you only know
the final Decca recording, you're in for a surprise), and we get a very
country-sounding Haley on the demo "Way Down in the Bottom of My
Heart."
Whew! I told you it was a complex set! And for
my money one of the most remarkable Haley releases ever! There are some
noticable omissions in the set -- a Bitter End performance of
"Malaguena" is missing-in-action, as is the 1969 Felt Forum performance
of "Rock Around the Clock." Also, Bear Family was unable to uncover
an estimated 25-30 unreleased live recordings from the Roundtable
sessions, plus
the set is missing a series of intriguing rehearsal recordings from
1960 -- not to mention an estimated two dozen alternate takes of "Chick
Safari." But diehard Haley fans should have little to complain about.
The
booklet by Chris Gardner provides a treasure trove of information and a
detailed discography and there are pictures galore.
The
Warner Brothers Years and More is a German release, which may be
available through speciality shops or through special order. You can
also order it direct through
Bear Family Records.
Track listing:
Tracks
marked with an asterisk (*) are previously unreleased. Tracks marked
with a plus sign (+) are to my knowledge making their first appearance
on CD.
CD1 (Warner Brothers sessions)
1. *Happy Homer*; 2. Candy Kisses; 3. Tamiami (inst.); 4. I Almost Lost
My Mind;
5. Love Letters in the Sand; 6. Blueberry Hill; 7. Kansas City; 8. Whole
Lotta Shakin' Goin' On; 9. Rock Around the Clock; 10. Stagger Lee; 11.
Blue Suede Shoes; 12. +Hot to Trot+ (previously issued on the Arcade
label under the name
The Highlights) (inst.); 13. I'm in Love Again; 14. My Special Angel;
15.
Crazy Man, Crazy; 16. Shake, Rattle and Roll; 17. Bouquet of Roses; 18.
This is the Thanks I Get; 19. I Don't Hurt Anymore; 20. Anytime; 21.
Singing the Blues; 22. Cold, Cold Heart; 23. Detour; 24. Afraid; 25.
+One Has My Name, the Other Has My Heart+; 26. No Letter Today; 27. The
Wild Side of Life; 28. There's a New Moon Over My Shoulder.
CD2 (Warner Brothers, Newtown, Gone sessions)
29. +Hawk+; 30. Chick Safari; 31. +So Right Tonight+; 32. Let the Good
Times Roll, Creole; 33. *Jack in the Box* (Bob Hayes vocal); 34. *Pistol
Packin' Mama* (Bob Hayes vocal);
35. +Honky Tonk+ (inst.); 36. +Flip, Flop and Fly+; 37. +Spanish Twist+;
38. +My
Kind of Woman+; 39. Riviera (inst.); 40. War Paint (inst.); 41. See You
Later,
Alligator; 42. ABC Boogie; 43. Panic (inst.); 44. I've Got News for Hugh
(inst.); 45.
Don't Mess Around; 46. The Wobble; 47. This is Goodbye, Goodbye; 48.
Train of Sin; 49. Altar of Love; 50. Helena (inst.); 51. +Yakety Sax+
(inst.); 52. +Mish
Mash+ (vocal: Carrie Grant and the Grandeurs); 53. +Let the Girls Sing+
(vocal: Carrie
Grant and the Grandeurs).
CD3 (APT, United Artists, Newtown sessions)
54. +Stop, Look and Listen+; 55. +Burn That Candle+; 56. *Dim, Dim the
Lights*; 57. *There's a New Moon Over My Shoulder*; 58. *Pepito* (inst);
59.+Haley a Go Go+; 60. +Tongue Tied Tony+; 61. *Jealous Heart*; 62.
*Rock on Baby*; 63. That's How I Got to Memphis; 64. Ain't Love Funny,
Ha Ha Ha; 65. Jingle Bell Rock; 66. Rockin' Around the Christmas Tree;
67. Flip, Flop and Fly; 68. +What Can I Say+; 69. +Tenor Man+; 70.
+Tandy+;
71. *Caroline's Pony* (inst); 72. +Dance Around the Clock+; 73. +Up Goes
My
Love+; 74. +White Parakeet/Travelin' West+ (inst.); 75. +Midnight in
Washington+ (inst.); 76. +You Call Everybody Darling+; 77. *One Phone
Call* (inst.); 78.
*You're Too Much* (inst.); 79. *Little Meanie Jeanie* (inst.); 80.
*Cottonfields* (vocal by either Rudy Pompilli or Johnny Kay); 81.
*Tally Ho Rock* (inst.); 82. *Double Mint Rock and Twist*
(inst).
CD4
All tracks on this CD are from the Buddah/Kama Sutra Bitter End sessions
recorded
for the LP Bill Haley's Scrapbook in 1969.
83. *Shake, Rattle and Roll*; 84. Dance Around the Clock; 85. Rip it Up;
86. *Night Train* (inst.); 87. *Guitar Boogie* (inst.); 88.
Razzle-Dazzle; 89. *You Are
My Sunshine* (vocal by Ray Cawley); 90. Rock-a-Beatin' Boogie; 91.
Skinny Minnie; 92. Johnny
B. Goode (vocal by Nick Nastos); 93. Kansas City (vocal by Rudy
Pompilli); 94. *Rock Around the Clock*; 95. The Saints' Rock
and Roll; 96. Rudy's Rock; 97. Rock the Joint; 98. Fingers on Fire
(inst.); 99.
*See You Later Alligator*; 100. Wipe Out (inst.); 101. There Goes My
Everything (vocal by Bill Nolte);
102. *Alabama Bound* (aka. Big Daddy's Alabamy Bound) (vocal by Rudy
Pompilli); 103. Whole Lotta Shakin' Goin'
On (vocal by Nick Nastos); 104. Rock Around the Clock.
CD5
More Bitter End recordings. "Lullaby of Birdland" begins a set of
1962 live recordings for Roulette (Twisting Knights of the
Roundtable LP). The last track on the CD is from a 1969 concert at
the
Felt Forum
in New York (original release on Buddah).
105. Shake, Rattle and Roll; 106. Honky Tonk (inst); 107. *Dance Around
the
Clock*; 108. *Hey Momma* (vocal by Ray Cawley); 109. *Almost Persuaded*
(vocal by Bill Nolte); 110. Yakety Sax (inst.); 111.
Framed (vocal by Nick Nastos); 112. *Next Time* (vocal by Nick Nastos);
113. Crazy Man, Crazy; 114. See You Later
Alligator; 115. Lullaby of Birdland Twist (inst.); 116. Twist Marie;
117.
One-Two-Three Twist; 118. Down by the Riverside Twist (vocal by Billy
Williamson); 119. Queen of the
Twisters; 120. Caravan Twist (inst.); 121. I Want a Little Girl; 122.
Whistlin'
and Walkin' Twist (aka. Silbando Y Caminando) (inst.); 123. Florida
Twist; 124.
Eight More Miles to Louisville (vocal by Johnny Kay and Billy
Williamson); 125. Rip it Up.
CD6
Outtakes and alternate takes, all *unreleased* except "Trouble in Mind."
"Way Down..." is a previously unreleased track from the late 1950s;
"Caldonia" dates from 1959.
126. Happy Homer (take 1); 127. Love Letters in the Sand (take 1); 128.
Hot to Trot (take 9) (inst.); 129. Hot to Trot (overdub take 1) (inst.);
130. Hot to
Trot (overdub take 5) (inst); 131. Anytime (take 1); 132. Singing the
Blues
(take 1); 133. Detour (take 2); 134. One Has My Name, The Other Has My
Heart (take 1); 135. No Letter Today (take 1); 136. Hawk (take 2); 137.
Chick Safari (take 4); 138. Chick Safari (take 6); 139. Chick Safari
(take 7); 140. Chick Safari (take 9); 141. So Right Tonight (take 1);
142. So Right Tonight (take 5); 143. Let the Good Times Roll, Creole
(take 1); 144. Tenor Man (take 1) (inst.); 145. Tenor Man (take 3)
(inst.); 146. Tenor
Man (take 5) (vocal by Johnny Kay and Billy Williamson); 147. Tenor Man
(take 6) (inst.); 148. Dance Around the Clock (take
1); 149. Midnight in Washington (alternate take) (inst.); 150. Midnight
in Washington (alternate take) (inst.) 151. Tandy (take 1) (vocal by
???); 152.
You're Too Much (take 2) (inst); 153. One Phone Call (take 1) (inst);
154. Way Down in
the Bottom of My Heart/My Little Sweetheart; 155. +Trouble in Mind+;
156; Caldonia (take 1);
157. Caldonia (take 2).
POSTED: January 6, 2000 (slightly revised July
2000)
Still Rockin' Around the Clock - The Original Band
(Rollin' Rock CD-103)
The original 1950s Comets are back - and they're
giving Father Time a
run for his money!
Still Rockin' Around the Clock is the
first of
two CD releases planned
for the original 1954-1955 Comets on Ronny Weiser's Rollin' Rock label
out of Las
Vegas. A lifelong fan of Bill Haley and the Comets, Weiser fulfilled a
dream last summer by getting the original band into his recording studio
to lay down a bunch of classics. The result - a very strong, enjoyable
album that shows age hasn't slowed the boys down one bit.
You might notice, however, that the name
"Haley's Comets" is nowhere to
be found on the CD. This is due to the fact that there are other
individuals in the U.S. who lay claim to the name "Comets." The original
1954-55 Comets recorded a number of CDs through the 1990s, but these
were all produced for German or British labels. This is actually the
first completely American-produced Haley-related CD to be released since
Bill Haley's Scrapbook back in 1970. Due to legal
technicalities over the Comets, the billing has therefore had to be
changed to "The Original
Band."
But enough politics. The fact remains Still
Rockin' Around the Clock
is one of the most enjoyable CDs I've heard in a long time. For one
thing, the sound quality is excellent. The Comets' previous
British-recorded CD, The House is Rockin' (1998), boasted
excellent
performances. Sadly, the sound quality left something to be desired. In
fact, several tracks from that CD have been rerecorded for Rollin' Rock,
including the title track from the earlier album. The only exception to
this is "Let's All Rock Together," which sounds a little muted compared
to the rest of the CD.
It does take a little while to get used to
another singer handling Bill
Haley's original vocals. But Jacko Buddin -- a 10-year veteran of The
Comets but still the "baby" of the group -- does some of his best work
ever on this CD. To be honest, I didn't think he got a fair shake on the
1993 live CD "We're Gonna Party" (which was reportedly a last-minute
affair), he didn't participate in the 1993 release You're Never Too
Old
to Rock, and he only appeared on a few tracks on
The House is Rockin'. But this time he's front and center on the
majority
of the cuts, and he handles the job well. And while he still has a
tendency to play around with the lyrics a bit, he usually gets back on
track. He manages the daunting task of singing "Rock Around the Clock"
in formidable fashion, and his fresh takes of "R-O-C-K" and "Crazy Man
Crazy" are excellent.
Of course, for many the main point of entry on
this CD will be to hear
the classic members of Bill Haley's original Comets: Marshall Lytle
(bass), Franny Beecher (lead guitar), Johnny Grande (piano), Joey
Ambrose (sax - and flute!), and Dick Richards (drums). Max Daffner, who
played drums for the Jodimars back in the '50s, reunites with his old
bandmates for a couple of numbers as well.
It's been often said that the Comets are playing
better now than they
did 40 years ago. I'm willing to believe that. I was able to see the
band perform live in Edmonton in 1998 -- that's where I took the
photograph that adorns the cover of this CD -- and the feeling I got
then is the same as the feeling I got this past week listening to tracks
like "The Saint's Rock and Roll" and especially Franny's signature
instrumental, "Goofin' Around." You can tell these are a bunch of guys
making music for a pure pleasure of it - they have nothing to prove,
except perhaps Marshall's favorite phase -- "You're never too old to
rock!" The playing is smooth and clean throughout, proof positive that
practise makes perfect!
Marshall and Dick do the vocals on a couple of
numbers: Lytle does "Rock
the Joint," which in concert serves as the band's encore. In the studio,
the arrangement stays the same, complete with a reprise of "Rock Around
the Clock" at the end. Dick, meanwhile, turns in a fun performance of
"Let's All Rock Together," which was one of the Jodimar's biggest hits.
With Daffner back on drums for this track, plus other former Jodimars
Lytle and Ambrose, it's a veritable Jodimars reunion here.
Sax man Joey Ambrose provides some of the
album's best moments, and some
of the most surreal as well. An incredible impersonator, Joey sings "Hey
Baba Reba" in the style of Lionel Hampton, and later gives a bang-on
take of Louis Armstrong's "What a Wonderful World." In a way I wish Joey
had chosen to do these songs in his own style, instead of going the Rich
Little route, but those tracks are still a lot of fun and demonstrate
his versitility -- something that was never properly exploited (on
record, at least) during his time with Haley or the Jodimars. The
highlight of "Hey Baba Reba" comes when Joey introduces scat singing to
the Comets' repertoire - and it works very well.
Joey's most interesting work comes on his sax
instrumental, "Joe's
Rockin'." Fans might also recognize this as "Hand Clappin'," which is
the
band's showpiece on concert. On CD you can't see Marshall throwing his
bass into the air, or some of the band's other antics, but you do get
some strong blowing by Joey. The song takes a weird turn half-way
through - during a Dick Richards drum solo, Joey starts a duelling sax
break (thanks to the miracle of overdubbing) that goes completely crazy.
It had me thinking of the work of noise music artist John Zorn for a
moment. It was an interesting change of pace.
Disappointments were few and far between on this
CD. I would have liked
to hear more vocals from Dick and Marshall, but all told this is an
entertaining CD, with
as I've shown, a few surprises thrown in. It's a welcome addition to
any Bill Haley fan's CD collection.
The best news is this is only volume one.
Another dozen or so songs are
still in the can, awaiting release in late 2000. Marshall Lytle reports
that the band is scheduled to go back into Ronny Weiser's studio later
this month to record more tracks for the eventual release. I can't
wait!
Still Rockin' Around the Clock is
available through online
sources such as Hepcat Records and Bear Family Records in Germany.
Weiser says the first pressing of the CD is going to be limited to only
1,000 copies, and he expects them to sell out quickly.
The CD can be ordered direct from Rollin' Rock
Records. The price for
one CD is $13.98 (U.S.), plus $2 shipping and handling; foreign shipping
costs are $4 shipping and handling. Weiser is also offering wholesale
prices for any stores that wish to stock this CD; contact him for more
details. Please note that these prices are as of January 2000 -- it's
probably a good idea to contact Ronny to confirm prices and
availability.
For more information, you can write Weiser at RockRonny@aol.com, or by
snail mail at: Ronny Weiser, 2460 Casey Drive, Las Vegas, NV, USA,
89120. (Please note: if you send a check or money order, be sure to make
it out to Ronny Weiser, not his nickname, "Rockin' Ronny.")
TRACKS (Vocals by Jacko Buddin unless noted): Rock Around the
Clock, See You Later Alligator, Rock-a-Beatin'
Boogie, Hey Baba Reba (vocal by Joey Ambrose), Shake Rattle and Roll,
Mambo Rock, The House is
Rockin' (vocal by Joey Ambrose and Marshall Lytle), Let's All Rock
Together (vocal by Dick Richards), R-O-C-K, Birth of the Boogie, Joe's
Rockin' (inst.), Crazy Man Crazy, Rock the Joint (vocal by Marshall
Lytle), Goofin' Around
(inst.), What a
Wonderful World (vocal by Louis Armst...er...Joey Ambrose), The Saints
Rock and Roll.
(Posted February 1999)
Bill Haley and Friends Vol. 1:
Merry Christmas - Various Artists
(Hydra Records BCK 27109)
On this, the first of a promised series of
Bill
Haley and Friends CDs from Hydra Records of Germany, Haley only
participates on a few of the 18 tracks. This intriguing compilation
brings together
a number of rare Haley and Haley-related sides with a holiday theme.
The term "Haley-related" is used rather loosely
here, with most of the performers having been either labelmates or
business associates of Haley at one point or another. Most were
connected with Jack Howard's Arcade label, with which Haley was
associated at one point, along with Cowboy, the label Haley recorded for
with the Four Aces of Western Swing and the Saddlemen.
For many Haley fans, the main reason for buying
this album will be to obtain two of the rarest Bill Haley and the
Saddlemen sides in existance. "I Don't Want to be Alone for Christmas"
and "A Year Ago this Christmas" were recorded for Dave Miller's Holiday
Records in 1951, not long after the Saddlemen did their version of the
groundbreaking "Rocket '88." Don't expect the same clean sound heard on
other Holiday/Essex recordings made available to CD. Due to their
rarity,
the best Hydra could come up with is a VERY scratchy 78, rendering the
two tracks difficult to listen to.
As for the songs themselves, "Don't Want to be
Alone" is a standard Xmas weepie in the spirit of "I'll be Home for
Christmas," while "A Year Ago" -- written by Haley -- has Bill moaning
about the loss of his girlfriend and wondering what he ever did to Santa
to deserve this mess!
Seeing as the original 78 if ever found in good
condition would probably cost upwards of $1,000 U.S., Hydra is letting
us fans have copies of these songs at a bargain price. Until a cleaner
78 or acetate is located and released, these scratchy, faded recordings
will have to do.
Two previously available Haley holiday tracks
from 1968 -- "Rockin' Around the Christmas Tree" and "Jingle Bell Rock"
show Haley in top form and the transfer to CD from the original United
Artists master tapes is very clean indeed. These tracks are also
available as part of a Bill Haley bonus section of the Rockstar Records
Jodimars collection Let's All Rock Together.
For me, the real highlight of the CD --
musically
at any rate -- has to be the two performances by Bill Haley's original
1954-55 Comets, recorded in Austria in 1997. "Blue Christmas" features
vocals by
German rockabilly star Schurli Weiss backed by strong, rockin'
performances by Marshall Lytle (bass), Dick Richards (drums), Franny
Beecher (guitar), Joey d'Ambrosio (sax) and Johnny Grande (piano).
This is followed up by a brilliant instrumental
performance of the European standard "Ring a Chime," which the Comets
interpret in a near jazz style. In fact, this is probably the closest
I've heard the Comets come to playing straight jazz on record. This
track alone is worth the price of admission.
The rest of the CD, once the original Haley and
Haley's Comets tracks fade out, is very much a mixed bag. British Haley
fan
Ian Fenn -- who otherwise has no direct Bill Haley connection --
delivers a very Haleyesque performance of his original composition
"Rockin' Rollin' Christmas" which I found to be a lot of fun. We also
get to hear Haley's onetime manager Jack Howard give Christmas greetings
from a rare promotional record recorded in 1971.
As for the remainder of the tracks, don't expect
much by way of rockabilly. Performances by Rusty Wellington, Rex Zario,
Dick Thomas and Jimmy Collett (Collett once played fiddle for a
Saddlemen recording session) are straight country Christmas tunes. Haley
afficionados will note that Rusty Keefer -- co-writer of many of Haley's
Decca recordings -- is credited as songwriter several times on these
tracks.
Zario -- a longtime friend of Haley's who later
managed much of Bill's business and music publishing affairs -- delivers
a bizarre rendition of "Here Comes Santa Claus" complete with an
instrumental break that sounds like two off-key fiddles playing
different melodies! There's probably good reason why this track has
remained unreleased until now.
The weakest tracks in the collection belong to
Joey Welz. Welz played piano for the Comets in the mid-1960s and
participated in a Comets reunion in the early 1980s. The two previously
unissued 1996 recordings of "Santa Claus is Coming to Town" and "Winter
Wonderland" (mistitled "Sleigh Ride" on the CD label) are painful to
listen
to. Again, there's probably good reason why they are marked "unissued"
in the liner notes.
I file this CD in with an earlier Hydra release,
titled On Screen, (reviewed below) as another example
of a disc
geared for the Haley fan who has almost everything. The CD booklet
contains fascinating background info, including a fascinating look at
letters sent to the official Bill Haley fan club in 1956 by Haley and
his manager, Lord Jim Ferguson.
But shame on Hydra for not indicating more
clearly on the CD case that Haley and the Comets are only involved on a
few tracks. Someone going in blind hoping for a CD full of previously
unheard Comets recordings might be in for a disappointment.
More Bill Haley and Friends CDs are
expected
in the future. While this raises the possibility of more rare
tracks being unearthed, I'm hoping a stronger selection of tracks is
made next time around.
My wish list includes the Esquire Boys' original
recording of Haley's "Rock-a-Beatin' Boogie" (featuring Danny Cedrone),
another rare set of Holiday recordings that paired Haley with Loretta
Glendenning, Ralph Marterie's recording of "Crazy Man Crazy" featuring
future Comet Rudy Pompilli on sax, and the first-ever recording of "Rock
Around the Clock" as done by Sonny Dae and His Knights for the Arcade
label.
Like all Hydra CDs, Bill Haley and Friends
Vol.
1: Merry Christmas is a German release, but is available through
Hepcat
Records and probably other dealers, as well as direct from Hydra.
TRACKS:
Rockin' Around the Christmas Tree (Bill Haley and the Comets), Jingle
Bell Rock (Haley/Comets), Blue Christmas (Bill Haley's Comets), Ring a
Chime (Comets) (inst.), Santa Claus is Coming to Town (Joey Welz),
Winter
Wonderland (mislabeled Sleigh Ride) (Welz), Rockin' Rollin' Christmas
(Ian Fenn), I Don't Want to be Alone for Christmas (Bill Haley and the
Saddlemen), A Year Ago This Christmas (Haley/Saddlemen), Christmas
Message (Jack Howard), Christmas in the Country (Dick Thomas), Christmas
in the Country - demo (Thomas), All I Want for Christmas (Rusty
Wellington), Christmas Would Come Twice a Year (Wellington), Dear Santa
(Wellington), Here Comes Santa Claus (Rex Zario), I Remember Christmas
(Jimmy Collett), I Don't Want to be Alone for Christmas (Collett).
(Posted August 1998)
On Screen
(Hydra Records BCK 27107)
When I was a kid, I remember watching a battered
print of the film Rock Around the Clock on late night TV. It was
my
first time seeing Bill Haley and the Comets perform on film, and one of
my favorite memory of that night was watching sax great Rudy Pompilli
and
bass-playing acrobat Al Rex steal the show with the blockbusting
instrumental "Rudy's Rock."
For years, I tried to find a recording of the
film version of that track. The Decca version, released for the first
time on the classic Rock 'n' Roll Stage Show LP in 1956, bears
little
resemblance to what I saw and heard in the film.
With the release of On Screen from Hydra
Records of Germany, I finally have the original "Rudy's Rock" -- along
with many other fascinating and previously unissued tracks. On
Screen
is a grab bag of songs collected from film and TV appearances Haley made
between 1954 and 1958. And if there's a single reason for recommending
this CD, it is for the presence of three live tracks recorded for an
obscure 1954 short titled Round Up of Rhythm.
The tracks: versions of "Crazy Man Crazy,"
"Straight
Jacket!" and "Shake, Rattle and Roll," feature Haley and the Comets at
their prime, nearly a year before "Rock Around the Clock" opened the
rock 'n' roll floodgates. The first thing one notices is the lack of a
regular lead guitar player. At this time, Franny Beecher was not yet a
full-time Comet, and Danny Cedrone -- who rarely if ever performed with
Haley anyway -- had died soon after the Decca recording session that
produced "Shake, Rattle and Roll."
Still the great energy of these tracks is
infectious, with "Straight Jacket!" a standout. Joey d'Ambrosio's sax
playing is unbelievable and also remarkable is a rare glimpse of Haley
playing an electric guitar melody line -- he usually didn't do lead
guitar duties. This is much better than the monotonous version recorded
for Essex Records earlier in the year. As for "Shake, Rattle and Roll,"
recorded here only weeks
after it was first put on wax, Haley and the guys deliver a performance
that nearly tops the Decca original.
The album continues with three "Ed Sullivan
Show" tracks (previously released on TVT Records' The Sullivan Years
--
Rock n Roll Pioneers), and two tracks performed on the Roy Bolger
Show.
One of the Bolger tracks is Joey d'Ambrosio's
instrumental "Huckleberry," which was often performed as a sort of
companionpiece to "Straight Jacket!" But by the time the Ray Bolger
Show rolled around, Joey had quit with bass player Marshall Lytle
and
drummer Dick Richards to form The Jodimars. So newly recruited Comet
Rudy Pompilli gets to play one of Joey's signature tunes! In doing
so, you can hear him introduce many elements that would be part of the
later "Rudy's Rock."
In 1956 Haley barnstormed Alan Freed's radio
show, and all five excellent performances are here for I believe the
first time on CD. "The Saint's Rock 'n' Roll" in particular is a killer
performance.
The remainder of the CD is an illustration of
the philosophy "better to have some than none," featuring a number of
incomplete performances culled from film and TV archives. The first,
"Goofin' Around," is the film version from the 1957 film Don't Knock
the Rock. Beecher's soloing is superior to the Decca release, and I
was
very disappointed Hydra didn't dig up a complete take of the track,
instead of using the film version, which fades out halfway though,
leaving the listener in a state of musical coitus
interruptus.
Haley's infamous 1958 German tour, which was
marked by riots by teenagers and ulcers for promoters, is commemorated
with extracts from several performances, including a complete "Saint's
Rock and Roll" and partial versions of "Razzle-Dazzle" and "Corrine
Corrina," the latter being an excellent version cut off in its prime
after a Pompilli solo that should have been included on the Decca
original, but wasn't. These cuts were filmed for TV and I guess the
crews only taped excerpts for use later, which is why they're so
abbreviated.
Haley's career was in trouble at this point in
his career -- money troubles dogged him throughout his 1958 European
tour -- and riots didn't help matters any. Despite these pressures, as
these snippets show, Haley was still able to deliver some great
performances. For more examples of Haley and the Comets at work during
this troubled period, check out the compilation The Greatest LIVE
Show
on Earth (Europe Records GLS 1001). Apparently no longer available
(though it may be reissued soon),
this CD, which also features performances by Roy Orbison, Jerry Lee
Lewis, Cliff Richard, Johnny Burnett and Vince Taylor, features excerpts
from a terrific show Haley gave at the Paris Olympia on Oct. 15, 1958.
If you have the Bill Haley Rarities LP on
Ambassador Records, you'll recognize the two closing tracks from the
1958 German
film Hier Bin Ich, Hier Bleib Ich (Here I Am, Here I
Stay): "Vive la
Rock n Roll" and "Hot Dog Buddy Buddy." The studio versions recorded for
the film are included in Bear Family's Decca Years and More box
set. But
on this CD we get the actual film soundtrack versions, with the playing
often drowned out by German dialogue. Better to have borrowed the master
tapes from Bear Family, if you ask me. A third song, "Whoa Mabel!" was
also recorded for the movie, but this was missed by Hydra.
If you're a casual Haley fan for whom "Rock
Around the Clock" and "See You Later Alligator" are all you know, you're
in for an education with the great Round Up of Rhythm and Alan
Freed
performances on this CD. If you, like me, are a dedicated Comets fan
always looking for previously unreleased material, On Screen is a
true
goldmine.
On Screen, being a German release, may be
difficult to find in your area. It is available direct from Hydra
Records at: Bruno Hofer Platz 1, 80937 Munchen, Germany. Hepcat Records
in California also carries it.
TRACKS:
Crazy Man Crazy (Round Up of Rhythm, 1954), Straight Jacket
(RUofR,
1954) (inst.), Shake Rattle and Roll (RUofR, 1954), Rock Around
the
Clock (Ed
Sullivan Show, 1955), Huckleberry (Ray Bolger Show, 1956)
(inst.), Rock
Around
the Clock (Bolger, 1956), Rudy's Rock (Rock Around the
Clock film,
1956) (inst.), Hot Dog Buddy Buddy (Alan Freed radio show, 1956), The
Saints Rock and
Roll (Freed), Rock Around the Clock (Freed), Rip it Up (Freed), Goofin'
Around (Don't Knock the Rock film, 1956; incomplete) (inst.),
Forty Cups
of
Coffee (Sullivan, 1957), Rudy's Rock (Sullivan, 1957)
(inst.), The
Saints Rock and
Roll (live, 1958), Razzle-Dazzle (live, 1958; incomplete), Corrine
Corrina (live, 1958; incomplete), Vive la Rock and Roll (Hier Bin
Ich,
Hier Bleib Ich film, 1958), Hot Dog Buddy Buddy (film, 1958;
incomplete).
(Posted August 1998)
The House is Rockin' - The Comets
(Rockstar Records RSRCD 013)
Practise makes perfect -- just ask Bill Haley's
original Comets. Nearly 45 years after "Rock Around the Clock" set the
musical world on its ear, these great musicians have released their
third new CD in six years.
The House is Rockin', recorded at
Chigwell
School in Essex in October 1997, will not disappoint those lucky enough
to see these guys perform in concert in recent years. (For more of my
gushing about The Comets in performance, see my review of
their July 1998
Edmonton, Canada concert.)
The reasoning behind choosing Chigwell school
hall to record this CD is a bit complicated, but as an entertaining
interview segment tacked on the end of the CD indicates, it was a
subject of coincidence and happenstance. For example, Essex was the home
of William Penn, after whom Pennsylvania is named. The Comets' first
major record contract was with Essex Records, based in
Pennsylvania.
OK, it's a bit of a stretch, but The Comets seem
to enjoy explaining the coincidences around the recording. The hall was
also chosen because it is supposedly acoustically similar to the Pythian
Temple in
New York, where "Rock Around the Clock" and most of Bill Haley and the
Comets' Decca sides were recorded.
The album starts out strong with the title
track, a house rockin' George Thorogood number featuring sax man Joey
d'Ambrosio's great
bluesman voice and a jaw dropping guitar solo by 76-year-old Franny
Beecher. If you haven't seen him perform live lately, this album proves
Franny still has the fingers for the job. And Joey's sax playing proves
he still has the chops.
Many other strong performances on the CD are
provided by Marshall Lytle on bass, who adds his distinctive voice to
tracks like "Lili Mae," "Be My Love Tonight" and the remarkable "Cafe a
la Rock" that honest to God sounds like a lost Jodimars track from 1956
-- even down to the funny rocking-on-the-planet-Mars lyrics.
Joey's blues singing and sax playing is brought
to the fore again in the blues "Hey Mr. Dollar," and the Louis Prima
standard "Buena Sera," a longtime staple of Comets concerts.
Meanwhile, drummer Dick Richards gets a chance
to work his tough guy voice around a couple of tracks, including a
version of "Bad Bad Leroy Brown" that the more I listen to the more I
like, and a remake of the Jodimars track "Later," providing a quiet
"Cool, Daddy-o!" performance that leaves the original in the dust. Joey
and Franny show what great jazz musicians they are with letter-perfect
soloing on this song.
"Walking Slow Behind You," again featuring Joey,
ranks as the most sinister track the Comets have ever recorded. I ain't
messin' with any of Joey's women after listening to that song!
Afterwards, Marshall attacks a terrific remake
of an obscure Jodimars song called "Shoo Sue" before taking a left turn
with a rockin' version of the spiritual "Up Above My Head."
Franny Beecher's guitar playing is brought into
focus throughout the album, but he gets a chance to really shine with
two instrumentals, "Car Jam" and "Franny's Medley." In the latter, he
mixes up nursery rhymes with snippets of a melody that sounds like the
mutated stepson of "The Ballad of Jed Clampett." It works
tremendously.
The album ends with a trio of Haley classics,
featuring vocalist Jacko Buddin. "Birth of the Boogie," "Razzle-Dazzle"
and "Crazy Man Crazy" sound terrific, and come off a lot better then
their live counterparts on the Comets' 1992 live album, We're Gonna
Party.
The only complaint I have with the album is the
generally below-average sound quality, coming off quite muddy in places,
especially in comparison with their 1993 CD for Hydra Records, You're
Never to Old to Rock.
Nonetheless, The House is Rockin' comes
off
like an excellent collection of lost Bill Haley and Jodimars material
from the 1950s -- which is proof positive that The Comets still have the
touch.
TRACKS:
The House is Rockin' (vocal by Joey d'Ambrosio and Marshall Lytle), Lili
Mae (vocal by Marshall Lytle), Hey Mister Dollar (vocal by d'Ambrosio),
Shadow of Your Smile (inst.),
Cafe a la Rock (vocal by Lytle), Buena Sera (vocal by d'Ambrosio), Car
Jam (inst.), Sixty Minute Man (vocal by Lytle), Walking Slow
Behind You (vocal by d'Ambrosio), Shoo Sue (vocal by Lytle), Later
(vocal by Dick Richards), Up Above My Head (vocal by Lytle with backing
by Helen Shadow of the Queen B's), Franny's Medley (inst.), Bad Bad
Leroy Brown (vocal by Richards), Be My Love Tonight (vocal by Lytle),
Night Train (inst.), Memories Are Sweeter (vocal by Lytle),
Razzle-Dazzle (vocal by Jacko Buddin), Birth of the Boogie (vocal by
Buddin), Crazy Man Crazy (vocal by Buddin), Interview With the
Comets.
(Originally posted September 13, 1998; editorial notes added July
2000; small update May 2001)
Special Feature:
Bill Haley 1972 Interview
Here is a rare treat for all Bill Haley
fans.
Back in 1972, about two weeks after his famous
performance at Wembley Stadium (seen in the film London Rock and Roll
Show, Bill Haley and the Comets were on the
road again, playing a cross-Canada tour.
One of their stops was in Saskatoon,
Saskatchewan -- my home town. It was Haley's first performance in
Saskatoon since the 1950s, and despite the venue being less than stellar
-- a rundown hockey arena -- from all indications Haley was a hit,
playing several performances in this city of, at the time, 130,000
population.
The morning after one successful concert, Bill
Haley agreed to give a telephone interview to radio station CFQC.
The late announcer Denny Carr got the chance to interview the
rock
legend.
I was able to get a tape of the interview thanks
to some quick thinking on the part of my grandfather, the late Leonard
E. Ball.
The day Bill
Haley's death was announced in February 1981, CFQC Radio and Denny Carr
put
together a quick tribute to Bill, featuring several Decca singles,
reminisences by Carr and others, as well as a rebroadcast of the 1972
interview.
Carr dug up a few interesting items of trivia
for Haley fans as part of his broadcast, such as the fact Bill Haley
claimed to have steered the producers of American Bandstand in
the
direction of new host Dick Clark.
I have compiled a transcript of the
interview Bill Haley gave to the late Denny Carr of radio station CFQC
in late
August-early September 1972. I added a few editorial notes in July
2000.
DENNY CARR:
Bill, you were first associated with country music before you got into
Rock and Roll. How did the transition evolve?
BILL HALEY:
Well, Denny, it was really quite by accident. When I was a young man I
loved country and western music -- Hank Williams was my idol -- and so
when I started to play professionally, we started as a country and
western group. But I also liked rhythm and blues music, and we saw no
reason why a country and western group couldn't sing rhythm and blues
songs, so we started to do that. We were doing this locally around
Philadelphia, Penn. A record company heard the group on the radio and
decided to record us -- they decided that was unusual. And there was the
birth of Rock and Roll Music. It was just that simple.
DC:
Now your first Rock and Roll song. What was that?
BH:
My very first Rock and Roll song?
DC:
Yeah.
BH:
Well, the first one was a song called "Rocket '88." It was the old
Oldsmobile they used to have years ago and a young man who was a friend
of ours wrote a song about the car, Rocket '88, and that was the first
record we made in the style of today's Rock and Roll, you see.
DC:
Now the one that made it all happen for you ...
BH:
Well, there were many. The first one that started to make it happen was
a song called "We're Gonna Rock This Joint Tonight" [ed.: aka. "Rock
the Joint"]; now that was in
1952. Well, "Rocket '88" was 1951. 1953 was the first million-seller,
that I wrote, it was called "Crazy, Man, Crazy." It was our first No. 1
record. Of course 1954, and I think from then on you're probably
familiar with "Rock Around the Clock," "See You Later, Alligator,"
"Shake, Rattle and Roll"; 1955 -- "Dim, Dim the Lights" and so on and so
forth right up the line. But really the first big one was "Crazy, Man,
Crazy," the first million-seller.
DC:
And what was your reaction?
BH:
[Chuckles] A scared kid to be quite honest! Very happy. We were just
amazed, and of course every young group dreams of one hit record, or
maybe two. We had something like 37 in a row and we really didn't know
what to do! But I'm kinda glad it all happened now, you know.
DC:
Bill, have you got any of the same personnel with you?
BH:
The original three are still together, Denny: Rudy Pompilli, tenor
saxophone, Ray Cawley, bass fiddle, and myself. This is our 19th
professional year now as a group.
[ed.: Haley made this puzzling statement a number of times in the
early 70s. In fact, Cawley had only been a Comet for three years at this
point, and Pompilli technically wasn't an original member, either,
having joined in 1955.]
DC:
You know, I think that's got to be quite amazing. You must really get
along well together.
BH:
Well, yes, we're very good friends, Denny - you have to be in this
business. There's always the clash of personalities and what have you.
But we're very good friends. I think that's the key to it, you
know.
DC:
Now, Bill, do your fellas still go through those gyrations on stage, or
are they getting too old for that?
BH:
No, we still go through them every night! [Chuckles] Besides, we
finished the last one at five o'clock this morning and we have a three
o'clock
matinee today. On days like this, sometimes I think we are getting a
little old for it; but not really, we enjoy it, Denny, you know. It's
really a lot easier than it looks. It looks very hard, but possibly
because we've done it for so long. it's not too hard to do. But we still
do them.
DC:
Bill, what do you think when people come up to you, after entertaining
young audiences for all of your life -- and now that there is a Rock and
Roll Revival taking place -- what do you think of these older people
coming up to you and saying, 'Gosh, I remember I was that high and
really dug your music?'
BH:
Well let's see how I'll answer that, Denny. I think it's kind of nice,
because I remember back ... oh, let's see ... 15, 16 years ago when they
were claiming that Bill Haley was destroying the world and causing
juvenile delinquency, and the music was going to destroy everything.
Here today I have priests and lawyers and state senators -- these were
the juvenile delinquents that they were talking about years ago and it
makes me kind of proud to see them, you know.
DC:
Bill, you were very popular in Canada, and I remember the long line ups
to see your show Rock Around the Clock, and of course I think a
lot of
kids went to see Blackboard Jungle just to hear you play behind
the
credits. Then you came to the Vancouver Forum. Do you remember that?
BH:
Uh, yes, I do. Very clearly, Denny, yup.
DC:
And I think that caused a great deal of emotional outbursts from the
adults of the community because up until that time, kids weren't allowed
to dance at concerts. Do you remember that?
BH:
Yeah, uh-huh.
DC:
What kind of reaction did you get to that 'poor adult press,' shall we
say, in those days?
BH:
Well, let's see now, Denny, you're asking me to go out awfully far this
morning to give you my [garbled word] reaction. I think my reaction, if
I recall it now, was that I was a little mad with them, because at that
time we had made music for the young people, for them to dance to and I
didn't, personally, see any harm in them dancing because
there wasn't any harm done at any of our concerts. They were just
enjoying themselves. I think there was a lot of apprehension that maybe
they were going to tear the seats up or something. But, I don't know, I
kinda think my reaction at that time was just a little bit angry. You
know, I saw one and just let them enjoy themselves. Then of course they
disagreed with me. But it all turned out pretty well I think
now.
DC:
Bill, did you get any of your rhythm and blues music from people like
Chuck Berry and people like that that really haven't been recognized, I
suppose, for their talents maybe up until now in fact?
BH:
Well, you see Denny in those days Chuck Berry hadn't started yet, or
Fats Domino. We were pre-period you see. I would say to answer that, no
I was never influenced by Chuck Berry, because Chuck came along in 19
... let's see if I remember correctly now ... 1956, I think it was about
that time. This was about five years after we started. Chuck was on a
show with us. We became very good friends, we've very good friends
today. I just did a show in London, England with Chuck two weeks ago. I
think I was more influenced my people like Big Joe Turner, the Boss of
the Blues, who is, was, and still is a very good friend of mine. Let's
see, maybe Count Basie. But mostly the rhythm and blues influence came
from really old records I'd heard. Old Dixieland blues records. But
since that time ... well, really, Denny, I don't think anybody
influenced me too much because we always, somehow thank goodness, had
our own style.
[ed.: Haley and Turner were indeed close friends. They toured
Australia together in 1957, and in 1966 Haley helped revive Turner's
career by giving Big Joe the Comets to use as a session group for an
Orfeon recording session.]
DC:
Where's music going today, you think?
BH:
Well, now that's a tough one. I haven't the slightest idea. If I did I'd
[chuckles] ...
DC:
You'd get in on it ...
BH:
... I'd have another "Rock Around the Clock" real quick! I think it has
to find it's ... cycle, let's put it that way. That's why we have the
Revival now. There are many, many great young groups around and
recording artists, and they're all looking for that which way it's going
same as I am. I think though we're gonna stick with the basic things
that are happening now, the Rock Revival things, perhaps another year or
so. And I think with the youngsters coming up, another Bill Haley is
going to come along now, or another Beatles or another Elvis Presley, or
another Chuck Berry. You know, someone's going to get that idea. Just
exactly what it is I don't know. In fact I hope I might even get it
myself, Denny, you know.
DC:
Bill, you live in El Paso, Texas, when you're not touring. Is that
right?
BH:
Yes it is, sir.
DC:
What are your hobbies? What do you like to do when you're not
playing?
BH:
Well, let's see now. I love baseball, I love to watch it, naturally.
Gardening and fishing -- I love [garbled word] fishing. And that just
about takes up what little time I have when I'm off, you know.
DC:
Bill, I want to say all the best of luck to you. I know you made my
younger days a lot happier because of your music and I know I can say
that for many of our audience and we want to thank you very much for
taking the time to talk to us.
BH:
Denny, it's been my pleasure. Congratulations on your [radio
station's] 50th anniversary
there, OK?
DC:
Okay.
BH:
OK, thank you, Denny.
Bill Haley and the Comets would continue to
tour and perform for the next eight years. A few months after this
interview was taped, he recorded the album Just Rock and Roll
Music in
Nashville for Sonet Records, and at about this time, the Comets appeared
in the films Let the Good Times Roll, and London Rock n' Roll
Show
-- the latter filmed at the concert Haley referred to in the interview
above.
UPDATE: May 2001. A soundbite taken from this
interview can now be downloaded from the Bill Haley Central webpage
(Real Player required).
ROCKIN' LINKS
(Webring link added May 2001)
Bill Haley Central: Indexed cross-reference of the best Bill
Haley-related Web sites on
the 'Net. Also home to the new Bill Haley Top 10 Poll.
http://www.d4haley.com>
Bill Haley Online: Denise Gregoire's Haley museum and
marketplace.
Chris Gardner's Bill Haley Database, Discography and Photo
Archives.
Rik Hull's extensive Bill Haley site - photos, rare sound and video
files and more.
The Rockabilly Hall of Fame's Bill Haley Tribute page.
The Rockabilly Hall of Fame's tribute to The Comets.
The Rockabilly Hall of Fame's Jodimars Tribute page.
Comet/Jodimars founder Marshall Lytle's page at the RaBHoF.
My review of a July 1998 performance by Bill Haley's Comets in
Canada.
Chuck Anderson's Web site on Female Cowboy movie heroes, featuring
information about Reno Browne. Haley once recorded a single that was
released under her name.
Page dedicated to James Myers (aka. Jimmy DeKnight), co-writer of
Rock
Around the Clock.
For Information On How To Join P.O.O.L. press gif to Go To Oldies
Unlimited.
"ROCK AROUND THE CLOCK" TRIBUTE PAGE
