Finally! After nearly 40 blogs, rock’n’roll has arrived. Although not the first song of the genre (nobody really knows if such a song actually exists, although Rocket 88 by Jackie Brenston and His Delta Cats is often credited as such), and not the best either, Rock Around the Clock is understandably credited as the tune that brought it to a wider audience, and influenced millions, including many youngsters who were taking note and went on to become star musicians themselves. Rock’n’roll was about feeling rather than form, about stripping away such soppy, sappy lyrics over flowery, string-packed instruments. There’s no wonder it helped bring about the dawn of the teenager. Why should young adults grow from children to instant adulthood? Why not have some fun first, before life gets too dull and dreary? Bill may have been way too old to be a teenager, but it didn’t matter. Rock Around the Clock represented the new young energy that would help sweep the country out of the post-war doldrums. It’s just a shame it had taken so long to get there.
The song is believed to have been first written in 1952. Credited to Max C. Freedman and Jimmy De Knight (a pseudonym belonging to James E. Myers), it was first recorded by Sonny Day and His Knights, although apparently they’d always had Haley’s group in mind. They had previously been a country music act known as Bill Haley and the Saddlemen, but changed their name and adopted an early rock’n’roll sound after covering Rocket 88. They had their first hit with Crazy Man, Crazy, which is perhaps the first song of the genre to be shown on television, used on the soundtrack to a play starring James Dean.
They recorded Rock Around the Clock as a last minute B-side to Thirteen Women And Only One Man In Town, a track about the survivors of a nuclear bomb. Luckily for Haley and co, the son of a famous actor had become quite the fan of that B-side. Ten-year-old Peter Ford was Glenn Ford’s son, and Glenn was due to co-star alongside Sidney Poitier in a film about teenage delinquents called Blackboard Jungle. He suggested to director Richard Brooks to stick the song over the opening credits. Swiftly capitalising on the attention, the song was re-released and spent two months at number 1 in the US. It was only a matter of time before their success was repeated in the UK, a nation starving for the return of the good times.
I’m stating the obvious by saying it sounds quaint compared with the songs it later influenced, but there’s more raw energy packed into the opening of Rock Around the Clock than any UK number 1 up to that point. Haley’s voice commands you to take note and to have a good time, and the Comets ably assist, in particular guitarist Danny Cedrone, who couldn’t think of a new solo and simply redid his performance on earlier track Rock This Joint. It didn’t matter, it’s blistering and easily the highlight of the song. In a genre full of tragedy, Cedrone was one of the first victims. He never had chance to enjoy the group’s fame as a month after they had recorded Rock Around the Clock, he fell down some stairs and broke his neck, dying at the age of 33. By the time they became number one, the Comets were a different group to the ones that recorded the song. In addition to Cedrone’s death, three other members left the group over money issues.
Before long, the younger acts they had helped influence suddenly made Bill Haley & His Comets look old and staid by comparison. They had become victims of the youth movement they helped usher in. Stardom lasted longer in Europe, where they enjoyed a few more years of being mobbed by fans. But rock’n’roll came and went many times over the years, with several revivals, and Rock Around the Clock was re-recorded several times and often reissued. Bill Haley died in 1981 of a heart attack, aged 55, but hopefully he knew the impact he had in his heyday was permanent. Rock Around the Clock‘s influence makes it immortal, and it will always be respected for this reason.
During its initial run at number one (Dickie Valentine’s festive Christmas Alphabet took the top spot over the holiday season), several newsworthy events took place. Yet another rail crash happened on 2 December in Barnes, South London, leaving 13 dead and 35 injured. And as well as the changes in music, politics was moving on, too. Long-running Labour leader Clement Attlee resigned on 7 December, recognising that, for all the positive changes he helped bring about after the war, it was time for to pass on the torch if the party was to usurp new Tory Prime Minister Anthony Eden. On 14 December, Hugh Gaitskell, a right-wing politician by many Labour members’ standards, defeated Nye Bevan and was named as the new leader.
Written by: Max C Freedman & Jimmy De Knight
Producer: Milt Gabler
Weeks at number 1: 5 (25 November-15 December 1955, 6-19 January 1956) *BEST-SELLING SINGLE OF THE DECADE*
Singer Billy Idol – 30 November
Politician Philip Hammond – 4 December
The Clash bassist Paul Simonon – 15 December
Presenter Angus Deayton – 6 January
Archbishop of Canterbury Justin Welby – 6 January
Actress Imelda Staunton – 9 January
Singer Paul Young – 17 January
Ecologist Sir Arthur Tansley – 25 November