Rock and Roll; Renegades; 101

Thank you. Rock n Roll is provided by the Corporation for Public Broadcasting. And financial support of viewers like you. The Experience Music Project a celebration of the digital and innovation through American popular music and culture opening Seattle in 1998. The National Endowment for the Arts banned by the Boston Beer Company. Brewers of Samuel Adams. Do you love bigger. And RadioShack with this line of optimism or you with official sponsor of the Rock n Roll Hall of Fame and Museum. Wow. Planned. It seemed like.

On Monday. There was no rock and. There was Perry Como and Patti Page and. The Four Lads or whoever all these people were. And then on Tuesday it was like all of these people had been waiting in the chute ready to come charging out flow as. Planned. Thank you Larry. Lanny Lanny let her as.

0. 0. 0 0. 0 0. You. Guys made. It i would. Read. It. W-well a Sabers bad news night

lying on the head. Good luck in the night. It began in the American South in the first few years after World War 2 in New Orleans Louisiana and Memphis Tennessee in Georgia and Texas and Arkansas. It spread up the Mississippi to Chicago east New York west to California. Rhythm and Blues was being discovered by ever growing numbers of white teenagers and long standing boundaries of music and race and class began to buckle as late night radio beam of the sounds crossed the American I was a phenomenon that was just something that was happening it was completely new. Now I had been black music forever and all of these songs have been around Blues had been around forever but they'd been in the black community and nowhere

else. All right friends coming up right now Louis Jordan the temple and then Saturday Night Fish Fry letteris Well then in 1946 a few disc jockeys at the all white w will AC Nashville began playing rhythm and blues for black listeners if you're white kids too and drawn by the mystery of these late night sounds. They reckon if it did and it would just come out you know something would come out and people would say. He was black or white. Or you're black or white. Oh man are you black. And I said is making a difference. And I never said one where the people knew about. Black music. All. Over the country because it was a clean white station. He went way down way way over.

Way across you can hear. How sat. Down in a white disc jockeys across the country caught the trend right in Cleveland. Alan Freed began playing rhythm and blues in 1951 and called it rock n roll. Black slang for sex and fast talking hard drinking Dewey Phillips in Memphis loved by blacks and whites alive right here and there was Hunter Hancock in Los Angeles. Hound dog Lorenzo in Buffalo John Richburg and Jean nobles as mentors a W L A C. For the most part they ignored the white mainstream labels that dominated popular music in the late 1940s and played the records of small independents like King and Atlantic and people started writing in from El Paso to Richmond and from Detroit to New Orleans and from the Bahamas and all over.

New Orleans way back to. New Orleans gave birth to many of the first rhythm and blues records that crossed over to a large white audience. Fats Domino sold over 30 million records during the 1950s alone. Working here at the edge of the French Quarter in tiny J an M studio. The studio was run by an Italian who grew up with black music. Although the New Orleans of his youth was officially segregated I lived in what was called a mixed neighborhood because you know the white black family lived cheek by jowl practically in a neighborhood. But my father had two bars side by side. One was a white bar and one was a black bar because that's the way the law was and to jukeboxes with kind of different sets of music. But people from each side played the other side because strangely enough a lot of black people played country music that they liked.

And of course white guys played a lot of blues and rhythm and blues. Yeah. You. Know. Fats dominoes music combined country with rhythm and blues and caught the ear of New Orleans writer producer arranger Dave Bartholomew in one thousand forty nine. That's a lot of country and western in his advice. You know like Fern might more people might say well look go walk and walk and you. Walk into the same with that and with that the beat just flowed along and you know it was a complicated thing you know. And his material is something that you hear it once. And you can sing it right away. And I may remember lyrics but you hum the melody would just start right with you because it was so simple. And that's what get to people and what they started on is a package to pay for that record. Thank you.

Fats Domino offered white kids an easy first step into the world of black music. He was completely non-threatening. Which could never be said of a young singer from Georgia who was about to rattle cause mama tosses walls with the force of a hurricane off the Gulf of Mexico. Literature was a total extrovert. He really wanted to be the very best and if you talk to him and even till today he'll tell you the best. When I first met Richard it was credible. I was in Augusta Georgia and Richard

came up and he can remember what the Call it was it was a young man you know. I want a card just like that. I will give you a card just like that. I want to get out of Georgia. Georgia was always too subdued for young Richard Penniman. He was born in Macon in 1932 and lived with 11 brothers and sisters in a poor black neighborhood by the railroad tracks the train tracks. Everybody would get out of the train shook the house because they couldn't sleep and the train was so. Talk talk talk and it was to me it was a rhythm. To me it was just like a song you know. And yet this thing took to me. The.

Memories of the railroad helped shape Little Richard Cizik. So to listen to the elders in his neighborhood church piano and organ and you know he would stop the feet about just you know hear about and hear about Iraq or hear about a room there but no music. And everybody you know that was that thing and now what no piano and what no what no organ playing. It was just people stomping their feet and moan and groan. Lucile was recorded in one thousand fifty seven. But Little Richard showbusiness career had begun a

decade earlier when he left making to join a traveling circus from Alabama. Then I started the show. And then I started. It. Then I took a. Job in the early 50s Little

Richard began to make a name for himself around the south for black audiences in clubs like New Orleans do drop in between exotic dancers and female impersonators mostly. He sang the blues. Then in September 955 at the suggestion of Lloyd Price an independent company called Specialty Records brought Little Richard to New Orleans to a recording studio. We had finished the session in the studio and they wanted me to sound like Ray Charles and B.B. King but then you know being young and a teenager I wanted to sound different me and the young kids we was talking about their slogan is we want the book you know same as when rap music came in today. They got tired of what's going on they want to something different. They want something from that generation you know. So what I'm saying a true fruit

allowed a lot of screaming and people say oh he's going crazy. Little Richard was so high that he went into town behind Richard. So in Annapolis I mean you had to wait two months if he was there three months because he would sweep the whole town clean. Everybody went to see what Richard he was so excited to do my bamboo but the white station would play black records you had to it was about Full of five black radio stations in the whole country and a white station would play me but I was hidden big but the white kids had my record. But I went on the radio you know and they would hear from Debbie Allen Sicko you don't really see him across the whole country. That's one thing and then it took Pat Boone and to Pat Boone on me.

It wasn't something that was done. In the beginning when it was rhythm and blues because it was supposed to be. Not nice music at all. So you didn't have white audience doing black music it wasn't acceptable. But when he crossed over to the white audience and it was a song that. Did well. With blacks and some whites they said well hey this is a good vehicle will make even more money. And I stress just what I mean not a lot bamboo and white kids want to know what I mean about a lot of what they want to hear me. And so they they they will step by them in the house and they don't want that moment I was in house so they put Pat Boone on top of the bed to put me in the dro.

But I was still in the same house. I'm not allowed. Up the Mississippi in Memphis Tennessee. Black Energy and white energy had started coming together in a way that would cause rock'n'roll to explode all across the country. The power of the music from black juke joints around Memphis was about to be harnessed by a more marketable singer a white board. Clean enough to bring home to mom. But dangerous enough to lure teenage girls to concerts and record stores in unprecedented numbers.

The catalyst for this trans racial fusion was a 27 year old radio engineer from Alabama. Sam Phillips. I knew we were touching. The elements that were different in music because I hadn't heard the effects that we were getting with a simple little studio with just some very relatively inexpensive microphones. All of our equipment was relatively inexpensive but believe me we had to know what to do with it or we would have had nothing. And all of the young people this is the thing I'm proudest of I guess that we had here in this studio black and white. Believe me take my word fart on a quick thing I'm proud of stop. All of us were just we were just the gangers you know just like hers. It was 1952 when Phillips first opened the Memphis Recording Service and began to record black blues men from around the mid south. A Twenty six year old

B.B. King got his first record there and recommended Phillips studio to a new band led by his childhood friend Ike Turner. Good you guys let me set up I'll put it with you for you at the record company that I'm with. And we say Yeah really. So we didn't get it with no way to Memphis. We have nothing original He said this is like on a Sunday. So he said he was going to set it up with the guy which he was referring to was Sam Phillips. You know women often leave me when I recorded Rocket 88.

It really did get a lot of attention because it broadened almost immediately the base which young white males and females began to get even more interested in rhythm and blues or black music or white bubblegum kids in those days started just into the rocket age you know it where I think is mostly you know whites like whites like actually a lot of boogie woogie a lot of boogie woogie and saying you know on top of it it's actually nothing but that's what it really is. The success of Rocket 88 inspired Phillips to start his own label Sun Records. Over the next few years he recorded a score of local black artists including piano player Roscoe Gordon Memphis disc jockey Rufus Thomas Chester Burnett

better known as Howlin Wolf and a group of Tennessee State Penitentiary inmates. The prison airs. But he was always frustrated by the limited acceptance of black music. How could you stage pulldown quote. Could you stage these people on except people places. Until we started eating away at the resistance. By society. Of the things that were being done so beautifully. I had oh always thought at that. But take a look time in history is exactly what it is. And what. That if I could find a quiet southern Mo I we just might be able to do it at least a few of the things that I knew it would take a long time to do.

In the summer of 953 an 18 year old truck driver walked into Sam Philips studio and paid $3 a 98 cents to cut a record of himself singing my happiness. I knew and he walked in the door and I said OK if anybody can do this I believe this is the person. And Philips recruited Scotty Moore a guitar player with the Starlight wranglers to join bass player Bill Black and work up some songs with presently. If you left a call center almost always got you know this voice knows a lot of songs just matter. You know what. Which might be to put together.

Phillips brought Presley more and black into the studio to record the ballads they had worked up but the feeling Sam had hoped for wasn't coming through. This day we had wound and Sasha. And bout ready to bag a fan's ferments and go home. So I went in and talked to him as a hey we still believe we should be and I think we all agree on this and so I turned around went back in the control room and next thing I know Elvis still had his guitar in his flat top around his neck with a strap on his shoulder and he cut down on. That's all right mama. Sam. Came out so what do you all do it was just goofing around you know. He said well it. Sounds pretty good. You know Mike loose.

Went through a couple more times there was just a certain rhythm that he started out with and man that minute I heard that thing and I said oh Lord yeah I mean if we can just a touch a few little appendages to this thing it's going to make some noways that satisfied so that's all that's all there is to the way we live it. All right. And we turned around and I said Hey do you know anything else as wild as that and he cut down. I mean I could let you do a lot of classic women in Kentucky. Railway. Well number four our job was to do Blue Moon of Kentucky I'd always heard it by Bill Monroe and cause he did it he wrote it and he did it completely different. He did it as a wall. Talk about like old Kentucky he keep on child

and. Home the one that's gone on and said goodbye. Blue Moon again duckweed T-Bone shine. Shine On the one that's gone and said goodbye. And here comes out was No. Moon. Right. Man. Made. Presley's feel for country music and for the Blues was deeply rooted in his childhood. His parents had always struggled to make ends meet living in subsidized housing. Cheek by jowl with poor blacks and poor whites first in Tupelo Mississippi and then in Memphis.

It was just tough times back in those days you know and I guess to kids that's all we had to do for you to get out we have street fights to get your guitars to play it so I would get trouble so I got to get caught up you can get on. And while my friends most my friends Dick I guess we all came out same old same like oh yeah but I knew John Burnet Bill Blass guy they all came out the same type environment. Memphis was also rich in gospel music which young Presley loved. He nearly joined a gospel quartet when he was 19 and he loved the hillbilly music that filled southern airwaves from broadcasts of the Grand Ole Opry and Louisiana Hayride. Featuring country stars like Bill Monroe. And young Elvis heard the blues on Tupelo front porches and NWA Lacie from

people like Arthur Big Boy credit who wrote and recorded thats alright ma my nine hundred forty six. Thats all right for you. As a young man Presley was attracted to many aspects of black culture around Memphis shopping at Lansky brothers on deal street for flashy clothes. And slipping into black juke joints. He was driving a gravel truck and he used to come around to the alley. To the back of his plays. And. The. Piano. Not just I was an overdue upright piano was sitting right by the door and I had it pull out from the wall to where I could kind of face the audience because it's set against a wall I'd be looking straight across. So I want to see the audience I had to pull out. Well the gist is that I would pull it from the wall or was where he would be behind the piano and he would watch me play this way. When you see him stand him he be doing his legs when he be playing with

bigots. Oh this came from one from back in those days when we used to do it you know. That's the way. Memphis disc jockey doing Phillips broke that's all right mama on it's red hot and blue show on the 8th of July 1954. But I heard that song and I said Gosh what a sight. You know I was going to work I was driving I had a radio and I said wow that knocks me out you know. And he called out I was past the start of Montville but that's I.

Got across much of the South Presley's record cause great confusion. Some disc jockeys even refused to play it was Presley black or white country or rhythm and blues. He needed to get in front of live audiences so people could see for themselves. And at the end of July Elvis Scotty and Bill performed in public for the first time. He went out saying a couple songs that he sang. That's all right mama. So it has gotten a d d d d d dd. I've got a D to shaking his leg you know the girl said she's created a whole leg here. You know there's nothing at all. He stood on the balls of his feet because he was our thanks for the floor. And in planning it's OUR in sing in Leeds get the kind of bounce and. When you start bouncing nude pictures legs started shaking and the girls out in the first two three rows started to scream and holler nobody knew what there was but it was all about.

And but that's they were. That's what it was. Course after we found out we started embellishing an umbrella she didn't even mention it. Those are particular elements that flow one to another. It's what changed the history of music. I don't give a damn about any great. Who cares about that. We got it done. It takes nothing away from all of the people all I want to do when you accuse me of Stanway you got all I bawl are saying man you deserted all your black artists you know what I told him I says No you been is first place second place is there people make it black records as good or better than the one you know. And made him a

real good. When I was a little. At the age of 5. A lot of folks in. Chicago's South Side home with Chess Records. An independent label founded in 1050 by brothers Phil and Leonard Chess. Leonard Chess died in 1989. Leaving his son Marshall and brother Phil. With the. Girls. I always felt that they were a family were immigrants they came from Poland. Blacks that came to Chicago from the south were immigrants. They both came to move to the big city to to do what to make some money to get a better maybe a better life for themselves. So you know my family

and the blacks they work with it was a it was a great marriage you know because for both of them it was a way to better their lives. I don't. Know. And even though. The Justice recorded what came to be known as Chicago blues Mississippi delta blues man like Muddy Waters James Kopp and how and Will were now used electric guitars and amplified harmonicas to be heard over the din in big city nightclubs. We noticed that the electrics the echo all those kind of gimmicks show you doing catch on something new. So chess then we started looking for new and different things you know that's what you know we saw that the original in the fresh stuff the fresh sound was what soul records. In the mid 50s the chess is operated out of a store front studio on Cottage Grove Avenue

in a neighborhood known as Little Mississippi. Where black families who had come up from the south lived in Moore. There was a bus stop right in front of him. So would that would I why don't we have good table and we could have such a night for a week but distributed played over and over and in the U.S. to deal with him standing with muddy water druggie waiting for the bus. Yes what is it. It sure sounds good. Oh we got a record. I think that's right. You know in March 1955 the chess is heard a different sound. Electric guitar played their way by an eccentric black man who called himself Bo Diddley. I mean. He was born Ellis McDaniel in McComb Mississippi in one thousand twenty eight. By the mid 30s his family had moved to Chicago. And until he acquired his first guitar. Young Bo Didley studied violin at the Ebenezer Missionary Baptist Church on Chicago's South Side.

Sister Lucille bought me a guitar for Christmas and my love momma girls who weren't too happy about it but I got it you know and like all parents do you know you're going on to play that in here boy. And insisted they run with it. So I told myself I was this is just going weird fellow. Well when music I want to do my thing I want to do some I heard somebody else do. I mean I played chords and stuff like that in rhythm and the rhythm. Rhythm fanatic. I play the guitar as if I were playing drums. That's the thing that makes my music so different. I do

lives on the only guitar that Donna would do. Women cooking different instruments he had electric violin maracas and his band. He wasn't afraid to experiment with his percussive sound to an audience of millions in November 955 on the country's top rated variety program the Ed Sullivan Show as prime time television was gradually beginning to acknowledge the growing popularity of black music. His rhythms would soon become rock n roll compelling hits by everyone from Buddy Holly and Johnny Otis in the late 50s to punk and heavy metal bands of more

recent decades. All right friends is a big one. Just. Jump into a studio at 47 52 college anymore to lose faith in what if and when you get to relist decided it was different. Again differ different in the wee wee hours was a wee wee hours of the blues. Blues tunes like wee wee hours were the backbone of a St Louis trio led by pianist Johnnie Johnson. Then in one thousand fifty to a 25 year old with a day job in cosmetology and a flair for country rhythms joined Johnson's band. When I hired him then my girl we were planning on just standard blues and whatever

inch Chuck couldn't you were then Mr than that too much. They had it own style he was there then which was carved from Western or hillbilly or whatever you want to call it. It had a different feel to it and everything works when summoned to the. Bank. His guitar style is different from the backfield it's different with the version of the.

Facts. Good to be with never enough my brother went in the studio and got a phone book and took a dum dum stick it was been begun and it was in keeping time but he just banged it just to get to be heavier man in the summer of 1955 Maybelline reached number five on the pop charts. The first top ten hit for Chess Records memory to get out the seat in the car remember that. You drove it to New York they are free and then again the reality shows in black music to white kids sounds just fine and Mickey sure at that time you were just caught in a break you could you could see what but a trend of what they were playing that white kid was studying for the stuff. A lot of places we played when they were called there will be a lot of you know.

This a sport would be a black man behind there saying in this song you know in Mali with goodness you go and you could hear through the crowd I thought he was white. I thought he was white and then he was scratched out in a song you know and so it was really a novelty on a deal you can give to a black. We care less about Joe. Now we get black skin except Jimmy Reed you get it right. Here. We can accept it. But me I'm still way down in Louisiana. Damn Louisiana. It may. Be true. Working for my father in the white neighborhoods. I never heard Muddy Waters I never heard Elmore James. I heard Frank Sinatra had Bowen you know doing so whoever's number you know selection but then I see now why I can do is buy boom and play

good music for the white people and sell as well there as I could in the neighborhood and that's what I shot for writing school days. Nice music and a hard all morning you know. And half of the people have cars or robot cars and most all the people will soon be in and those that have love and remember. So right about. So I wrote about all three and I thought I hit pretty good fast. Chuck Berry zeroed in on the exploding white market writing songs about

adolescent concerns and desires. Rock n Roll music Sweet Little Sixteen and Johnny Be Good became anthems for a generation and young kids from Bruce Springsteen to John Lennon dreamed of playing the guitar like Chuck Berry. Set up an appointment for me. To. Go right over the. Border and let the nigger rock you know. You know some of you and you're. The rock n roll. We were. Told obviously were all through the night with the wife and children will be driven to the level with a never. Been there with. The carving and why people don't love niggers.

Mutilating music might find an A-grade in trying to copy and yes totally destroy. All that was good in music. And so Billy Mays a resistance song this was absolutely incredible. The backlash didn't then come from from from from from the population in America. It came mostly from the south and a few people who didn't want to see this music because again here's what you're doing. Remember when I say white people white girls like that music they was coming around saying black boys and shaking his stuff like that that was another in this country. Elvis came out and it was save that red bottle come to town saying that black music and all run our children crazy. You understand me I got this black music was so intense it was so full of power and rhythm you have a store full of mad fervency that haven't gone to white America and some black America would

read it for you know understand it what is this you know. In late 1955 Col. Perkins recorded blue suede shoes for Sun Records in Memphis. Sam Phillips was trying to expand in several major record companies were offering him unprecedented sums for Elvis Presley's contract. In December he accepted our CA's bid of thirty five thousand dollars. I needed the money so bad and people have asked me repeatedly. Do you regret so now with Presley. Do not and I did not and I will not. It gave me the financing when I sold it. His contract RCA to come marchin blue suede shoes which I mean you know what it is don't you.

It's an anthem of the mind of. The reader. President his version of blue suede shoes kicked off his first television appearance. RCA and his new manager Colonel Tom Parker were launching presently nationally by the end of one thousand fifty six he would have two number one albums a hit movie and a dozen network television appearances. We didn't do in television that much it was just to. Yet just stand on a strip of tape and turn the volume up too loud and then usually when they were on the show story we would go ahead and move around and turn the volume up whatever anyway. Probably the Milton Berle Show was right the first one and everybody really felt real loose.

Doing that. You were as we were doing the brochure we used to do the handle straight here. You know we go out and all of sudden he decides he's going to go into this moves. That was the first time he had done it anywhere. We all looked at each other what do we do now. And so we said we better follow. So we did and I went back into my roots playing strip music actually I used to work and bought us houses when I was a youngster. And I just figured well I better kiss his blues licks in its legs and arms and do everything I can to get out of this song that we don't know how to get out how to get back in. We just it's like every man for himself you know. Presently was becoming the biggest attraction on television. But America's most prestigious

host Ed Sullivan maintained he would never present such vulgar entertainment. But by the fall of 1056 Elvis was just too big for Sullivan to ignore. It. Over the 10 months Presley had been away from Sam Phillips his music had become tamer sweetened with background singers. His delivery more contained. RCA Colonel Parker and Presley himself wanted to reach a wider more mainstream audience. He would never again record with the raw vitality of his early Sun Sessions. But back in Memphis Sam Phillips had discovered another explosive young talent. Jerry Lee Lewis was born midway between Memphis and New Orleans in Farraday

Louisiana in one thousand thirty five. His musical education began in the mid 40s at a black hockey town called Haney's big house banging out all of the great blue siren sounds that one more time or another you know. And. I know this one of like a snake and they're a wonder. I hated that as laugh sometimes. I wonder about eight or nine years old. At the age of 15 Lewis was sent to Texas to study for the ministry of honky tonk music still pulled out his song never young for a Jason Jersey they want me to do my god is real and shared with you a compliment on piano. I wasn't sure of a good day and if I didn't like. Them it was a big deal but I did. Like that and I still do in my book is that you know. And

he actually just tore them up and everybody except the Dean and I lost all that David and I kissed and I. Louis is expulsion from the southwestern Bible Institute tossed him back into delta dives in honky tonks. And in one thousand fifty six. He heard about Sam Phillips. I went up to Memphis ma'am I did and I was so well thought and I'm not a relation manee. Yes and I went over and I met Jack Clement He said Sam was in Florida on vacation. JACK THOMPSON I've got a piano. PICKER that wants you to hear me even hang around a munchies and finally agreed to go and record it. And I listen to it and and I kid you not I mean I think the first thought I heard was you win and on on on on on on on on all Crazy Arms. And I didn't I didn't I didn't get to I did not get

eight bars and I said for an elitist cat. Sam Phillips signed the 21 year old Lewis to Sun Records. Spend some time in one thousand fifty six in a club called the wagon wheel. Lewis heard the song that would ignite his career power woman the close of late that night and I heard this guy singing a lot of shaking going on. And I listen to that man I don't know where that's coming from as a verse John is saying that if I hear it. And he was he done all that Live Aid and I asked that it was but we're going to run a little you know and that's where I learned a lot of shaking. We can't.

Say. That. Yeah that's when you know that. It really is truly.

Something that we at Sun Records and I hate I'm not alone and me alone but it's substance and records did and hey Lord all of these other great independent labels were doing it to what we are proud of as we boldly that we broaden the base rhythm and blues race music spiritual music a gospel music. And if you play rock n roll and on the small adventurous labels on the disc jockeys who played their records at open doors to new sounds and new attitudes. But an unlikely series of events nearly silenced rock'n'roll is the 50s drew to a close. Little Richard traded the devil's music for religion in January one nine hundred fifty eight. Two months later Elvis Presley entered the army. Jerry Lee Lewis was blacklisted after his marriage to his 13 year old cousin was revealed.

Chuck Berry was arrested for transporting a teenage girl across state lines in one thousand fifty nine. And promising new talents were struck down in fatal accidents. Buddy Holly Ritchie Valens the Big Bopper and Eddie Cochran was the news. And his major record labels went after the teen market. They saturated record stores in Airways with non-threatening squeaky clean teen idols. And many radio pioneers came under fire for accepting money from record companies. Even though the practice was common and perfectly legal. Alan Freed's turbulent career was cut short by the so-called payola scandal. He died at the age of 42.

By 1960 the first wave of rock n roll is free spirited renegades had subsided but the genie was out of the bottle. I think you'll meet me here to feel free to bring up the rock and the producer takes center stage. There's a new generation of talent they aspire to. They're to put strings on and orchestral percussion. I mean this was on third of the coasters the Drifters the Shiraz. We did.

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