The American Rock Revolution

 

What will people be saying 100 years from now about 

rock n’ roll? Will Elvis Presley, Chuck Berry, Little Richard, Johnny Cash, Buddy Holly, Bo Diddley and Jerry Lee Lewis be given their proper due as the founders of rock n’ roll? 

 

It is a fascinating subject. 

 

The youth of America has always been served by rebellion. Kids question authority and rock music has always been on the cutting edge of questioning authority. TV, movies and the media in general were all controlled by an establishment who insisted on trying to mold everyone into what would serve their needs. 

 

Rock music offered a differing viewpoint. AM (and later FM) radio had their own corporate needs and carefully paid attention to THEIR constituents: The youth. Money was and still is a driving force in this art form. To deny that would be naïve. It is important to remember that the music industry was created out of need, just like any products the marketplace demands. 

 

Back in the early part of the 20th century, roots records were produced by companies promoting cabinets and furniture makers and other companies. There was a demand for the “Product” and these early entrepreneurs set out to give the people what they wanted. 

 

That practice carried on throughout the 1920s, 1930s and 1940s. Jazz and Big band music trends created interest and demand in the marketplace for the youth and adults of America. 

 

In the 1950s AM radio gained a lot more traction regionally and the fusion of country music and rhythm and blues exploded in 1956 when RCA Records released Elvis’s debut album after regional success with his Sun Records recordings. This book traces those early days right up to the “Corporate” phase in the mid-1970s.

 

The American Rock Revolution 1956-1976 covers a lot of changes and a vast amount of history in what is a short amount of time numerically, but THE CONTEXT was huge. For instance, there is a big difference from Elvis Presley’s music in 1956 to his music in later years up to his death in 1977. 

 

I am focusing on pop, rock, blues and R&B records. I tried to cover as much popularmusic, even a little disco. I have left out novelty records, which have always been a big money-making machine. The record companies have always jumped on the novelty bandwagon when they could cash in on it. 

 

One example would be an early (1959) Carole King 45rpm called 

“Short Mort,” which was a novelty response record to Annette 

Funicello’s “Tall Paul” hit record of the same year. RCA rushed 

King’s response record out quickly and had meager sales. 

 

There will be anecdotes and notated quotes throughout the book. 

 

I hope you enjoy this user-friendly book that has been written to easily explain the rich American history of rock n’ roll music.