[78-L] Escott, was Arnold Covey

[eugene hayhoe]

The thing that always trips me out about this argument is how could someone 'invent' in the 1950s what literally thousands of 'non-whites' (and some 'whites, like Jimmy Wright & Porky Harris, to name a couple) were already doing in the 1940s? The only evidence we have 'are the ''stars'' who recorded; there were many more who did not.  MANY participants contributed; not all were musicians either - Syd Nathan's idea that  'if it was a hit in one genre it might be a hit in another' was certainly a profitable one for him; 'Chuck Berry's' "Ida Red" also comes to mind.


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On Fri, 3/7/14, Joe Scott <joenscott at mail.com> wrote:

 Subject: Re: [78-L] Escott, was Arnold Covey
 To: "78-L Mail List" <78-l at klickitat.78online.com>
 Date: Friday, March 7, 2014, 1:45 PM
 
 ----- Original Message -----
 From: Mark Bardenwerper
 Sent: 03/06/14 09:58 PM
 To: 78-L Mail List
 Subject: Re: [78-L] Escott, was Arnold Covey
 
 [...]I think it was almost entirely how it was marketed and
 brought into prominence.Bill Moore's "We're Gonna Rock" was
 #3, Jimmy Preston's "Rock The Joint" #6, Roy Brown's "Boogie
 At Midnight" #3 on the black charts (etc.). That was early
 prominence for rock and roll, before Bill Haley or Alan
 Freed, for example, had taken an interest in it. (For
 comparison, on that same 1945-1957 Billboard jukebox chart,
 Coleman Hawkins, Lester Young, and Saunders King had no top
 ten hits, and Billie Holiday, Duke Ellington, Guitar Slim,
 Earl King, and Otis Rush each had one.)[...]possible taken
 on as a symbol of independence to an emerging adolescent
 culture[...]Wild Bill Moore's "Rocking With Leroy," recorded
 at the same session as "We're Gonna Rock," was a tribute to
 black deejay Leroy White. The black poet Al Young recalled
 that responsible black parents didn't approve of his show,
 Rocking With Leroy. Rock and roll was about black kids
 rebelling against their parents before there was si
  gnificant white interest in rock and roll. For instance,
 although Jay McNeely had an increasing number of young white
 fans throughout the early 1950s, he already had young black
 fans in 1948 when he recorded "Man Eater" (which wasn't
 their parents' Mills Brothers).Joseph Scott
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