Roots of Rock N Roll: 1946-1954 Review

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Roots of Rock N Roll: 1946-1954 ReviewTypically, we're asked to believe that rock and roll started with Elvis. Or that rock and roll was, more than anything else, an evolutionary variation on country music. Or that rock and roll represented (and continues to represent) a white-black fusion.
Certainly, this collection lays waste to the first two notions. In his informative liner notes, Pete Grendysa tells us that rock and roll existed long before the main (i.e. middle-class white) record-buying public knew about it. And the country examples are relatively few. I'd have been happy if they were none, but I can live with the well-chosen examples here.
In particular, Hank William's "Move It On Over," while not exactly rock and roll (a two-beat pulse doesn't qualify as such, to my ears), does feature a verse identical to the first four bars of "Rock Around the Clock." And, like Hank Snow's "I'm Movin' On" (Disc 2, track 4), it is a hillbilly boogie in standard twelve-bar blues form. It's not far from the mark.
And The Delmore Brother's "Freight Train Boogie," from 1946, turns into pure Carl Perkins near the end, easily out-rocking anything Elvis recorded at Sun. Having heard other Delmore Brothers sides that aren't anything like rock and roll, I was surprised and delighted by this number.
But the black recordings are the real, and whole, point of this collection. Such sides have far too often been disgracefully dismissed by too many rock historians as primitive, artistically-incomplete efforts by African-American musicians struggling toward something higher--"something higher" meaning, of course, Elvis. But listen for yourself. Most of these African-American numbers rock with the force of a thousand Elvises. And these are not performances striving to become whole; they are more than whole. The musicianship, for the most part, is assured and aggressive and infinitely more competent than some of what was to come after rock and roll had conquered the pop charts.
Many thanks to the genius who thought to include Lionel Hampton's 1946 if-it-ain't-rock-and-roll-what-the-heck-is-it masterpiece "Hey! Ba-Ba-Re-Bop" (with its wonderful, be-boppy jazz piano chords in eight-note triplets at the start). Many more thanks for Jimmy Preston's 1949 recorded-in-an-insane-asylum "Rock the Joint" (however did Bill Haley manage to tame this tune down so drastically?). More thanks, even, for Hal Singer's proto-surf "Cornbread" (1948), Percy Mayfield's masterful "Please Send Me Someone to Love" (1950), and Ruth Brown's superbly soulful "Teardrops from My Eyes" (1950, again--a great year for Soul).
The best compilation of its kind. If you want to know the real Story of Rock and Roll, you've got to hear the records. And they're here.Roots of Rock N Roll: 1946-1954 Overview

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