Rockabilly
Rockabilly is one of the earliest styles of rock and roll music. It dates back to the early 1950s in the United States, especially the South. As a genre it blends the sound of Western musical styles such as country with that of rhythm and blues,[1][2] leading to what is considered "classic" rock and roll.[3] Some have also described it as a blend of bluegrass with rock and roll.[4] The term "rockabilly" itself is a portmanteau of "rock" (from "rock 'n' roll") and "hillbilly", the latter a reference to the country music (often called "hillbilly music" in the 1940s and 1950s) that contributed strongly to the style. Other important influences on rockabilly include western swing, boogie-woogie, jump blues, and electric blues.[5]
This article is about the genre of music. For wrestler formerly known as Rockabilly, see Monty Sopp. For the 1957 popular song, see Rock-a-Billy (song).Rockabilly
Defining features of the rockabilly sound included strong rhythms, boogie woogie piano riffs, vocal twangs, doo-wop acapella singing, and common use of the tape echo;[6] but progressive addition of different instruments and vocal harmonies led to its "dilution".[2] Initially popularized by artists such as Carl Perkins, Elvis Presley, Johnny Burnette, Jerry Lee Lewis, and others, the rockabilly style waned in the late 1950s; nonetheless, during the late 1970s and early 1980s, rockabilly enjoyed a revival. An interest in the genre endures even in the 21st century, often within musical subcultures. Rockabilly has spawned a variety of sub-styles and has influenced the development of other genres such as punk rock.[6]
Use of the term "rockabilly"[edit]
Early rockabilly singer Barbara Pittman told Experience Music Project that "Rockabilly was actually an insult to the southern rockers at that time. Over the years it has picked up a little dignity. It was their way of calling us 'hillbillies'."
One of the first written uses of the term rockabilly was in a press release describing Gene Vincent's "Be-Bop-A-Lula".[96] Three weeks later, it was also used in a June 23, 1956, Billboard review of Ruckus Tyler's "Rock Town Rock".[97]
The first record to contain the word rockabilly in a song title was "Rock a Billy Gal", issued in November 1956.[98] The Burnette brothers had been playing a song called "Rock Billy Boogie" since 1953, but did not record or release it until 1956 and 1957, respectively.[33][34]
Characteristic sound and techniques[edit]
Some effects and techniques strongly associated with rockabilly as a style include slapback, slapback echo, flutter echo, tape delay echo, echo, and reverb.
The distinctive reverberation on the early hit records such as "Rock Around The Clock" by Bill Haley & His Comets was created by recording the band under the domed ceiling of Decca's studio in New York, located in an echoing former ballroom called The Pythian Temple. This same studio would also be used to record other rockabilly musicians such as Buddy Holly and The Rock and Roll Trio.[33][99] Memphis Recording Services Studio, where Sam Phillips recorded, had a sloped ceiling covered with corrugated tiles. This created some of the desired resonance, but Phillips used technical methods to create additional echo: the original signal from one tape machine was fed through a second machine with a split-second delay.[100][101] The echo effect was noticeable on Wilf Carter records from the 1930s and in Eddy Arnold's "Cattle Call" (1945).[101] When Elvis Presley left Phillips' Sun Records and recorded "Heartbreak Hotel" for RCA, the RCA producers placed microphones at the end of a hallway to achieve a similar effect. The echoing sound created the impression of a live show.[102]
In comparison to country songs, rockabilly songs generally have simplified form, lyrics, chord progressions and arrangements, faster tempos, and amplified percussion. There is greater variability in lyrics and melodies, and the singing style is more flamboyant.[103] Compared to rhythm and blues, fewer instruments are used, but percussion is amplified to fill in the sound. The singing style is less smooth and mannered.[103]
Influence on the Beatles and the British Invasion[edit]
The first wave of rockabilly fans in the United Kingdom were called Teddy Boys because they wore long, Edwardian-style frock coats, along with tight black drainpipe trousers and brothel creeper shoes. Another group in the 1950s that were followers of rockabilly were the Ton-Up boys, who rode British motorcycles and would later be known as rockers in the early 1960s. The rockers had adopted the classic greaser look of T-shirts, jeans, and leather jackets to go with their heavily slicked pompadour haircuts. The rockers loved 1950s rock and roll artists such as Gene Vincent, and some British rockabilly fans formed bands and played their own version of the music.
The most notable of these bands was The Beatles. When John Lennon first met Paul McCartney, he was impressed that McCartney knew all the chords and the words to Eddie Cochran's "Twenty Flight Rock". As the band became more professional and began playing in Hamburg, they took on the "Beatle" name (inspired by Buddy Holly's band The Crickets[104]) and they adopted the black leather look of Gene Vincent. Musically, they combined Holly's melodic songwriting sensibility with the rough rock and roll sound of Vincent and Carl Perkins. When The Beatles became worldwide stars, they released versions of three different Carl Perkins songs, more than any other songwriter outside the band, except Larry Williams, who also added three songs to their discography.[105] (Curiously, none of these three were sung by the Beatles' regular lead vocalists—"Honey Don't" (sung by Ringo) and "Everybody's Trying to be my Baby" (sung by George) from Beatles for Sale (1964) and "Matchbox" (sung by Ringo) on the Long Tall Sally EP (1964)).
Long after the band broke up, the members continued to show their interest in rockabilly. In 1975, Lennon recorded an album called Rock 'n' Roll, featuring versions of rockabilly hits and a cover photo showing him in full Gene Vincent leather. About the same time, Ringo Starr had a hit with a version of Johnny Burnette's "You're Sixteen". In the 1980s, McCartney recorded a duet with Carl Perkins, and George Harrison collaborated with Roy Orbison in the Traveling Wilburys. In 1999, McCartney released Run Devil Run, his own record of rockabilly covers.[106]
The Beatles were not the only British Invasion artists influenced by rockabilly. The Rolling Stones recorded Buddy Holly's "Not Fade Away" on an early single and later a rockabilly-style song, "Rip This Joint", on Exile on Main St. The Who, despite being mod favorites, covered Eddie Cochran's "Summertime Blues" and Johnny Kidd and The Pirates' Shakin' All Over on their Live at Leeds album. Even heavy guitar heroes such as Jeff Beck and Jimmy Page were influenced by rockabilly musicians. Beck recorded his own tribute album to Gene Vincent's guitarist Cliff Gallup—Crazy Legs—and Page's band, Led Zeppelin, offered to work as Elvis Presley's backing band in the 1970s. However, Presley never took them up on that offer.[107] Years later, Led Zeppelin's Page and Robert Plant recorded a tribute to the music of the 1950s called The Honeydrippers: Volume One.
Rockabilly Hall of Fame[edit]
The original Rockabilly Hall of Fame was established by Bob Timmers on March 21, 1997, to present early rock and roll history and information relative to the original artists and personalities involved in this pioneering American music genre. It is headquartered in Nashville.[132]
In 2000, an International Rock-A-Billy Hall of Fame Museum was established in Jackson, Tennessee.[133]