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Strona Główna Rock, Metal Classic Rockabilly Classic Rockabilly Vol. 3 Swing Bop Boogie (2007)

Classic Rockabilly Vol. 3 Swing Bop Boogie (2007)

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Classic Rockabilly Vol. 3 Swing Bop Boogie (2007)

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1. Be-Bop-A-Lula - Gene Vincent
2. Bop Man Bop - Doug Amerson
3. Bop-A-Dee Bop-A-Doo - Hal Willis
4. Be-Bop Baby - Autry Inman
5. Bop Crazy Baby - Vern Pullens
6. Boppin' The Blues - Carl Perkins
7. Onie's Bop - Onie Wheeler
8. Boppin' Bonnie - Eddie Bond
9. Bop Baby Bop - Brad Suggs
10. Rock-A-Bop - Sparkle Moore
11. Be-Boppin' Daddy - Mack Banks
12. Bop Bop Ba Doo Bop - Lew Williams
13. Fiddle Bop - Rhythm Rockers
14. Beetle Bug Bop - Collins Kids
15. Chicken Bop - Truitt Forse
16. Bop Cat Bop - Simon Crum
17. Be Bop Blues - Earl Epps
18. Bop - Bill Woods
19. Swing Bop Boogie - Alvis Wayne
20. Gonna Shake This Shack Tonight - Sid King
21. Whop-T-Bop - Sammy Masters
22. Blue Jean Bop - Gene Vincent
23. Tear It Up - Johnny Burnett Trio
24. Dig Boy Dig - Freddie Hart
25. Jitterbug Drag - Arkie Bittle
26. We Wanna Boogie - Sonny Burgess
27. Teenage Boogie - Webb Pierce
28. Romp Stompin' Boogie - J.C. Hill
29. Swinging Boogie - Ray Smith
30. Koolit - Tommy Blake


There were certainly numerous musicians in the South experimenting with primitive rockabilly-like sounds by mid-1954. Sam Phillips and his Memphis record label, Sun Records, were chiefly responsible for honing the sound and capturing it on vinyl.

Often quoted as having said that he could make a fortune with a white singer who sounded black (though he has denied saying this in such explicit terms), he found the perfect vehicle for doing so with Elvis Presley, who recorded five singles for Sun between mid-1954 and the end of 1955. Supported by guitarist Scotty Moore and bassist Bill black, this was rockabilly, if not rock & roll, at its best and purest; as great as his subsequent achievements were, by critical consensus this handful of 45s ranks as Elvis' finest work. Presley didn't set off a mass wave of imitators right away; he was primarily a regional sensation until his contract was bought by RCA. Sam Phillips used the money from the sale to develop his own formidable stable of rockabilly performers. Carl Perkins's "Blue Suede Shoes" almost beat Elvis' "Heartbreak Hotel" to the top of the charts, and although Perkins was never able to duplicate the success, Sun generated a wealth of great rockabilly hits and misses over the next few years by Jerry Lee Lewis, Billy Lee Riley, Sonny Burgess, Carl Mann, and Roy Orbison. The Sun Sound -- echo-chamber vocals, crisp electric guitar leads, and slap-back bass -- became the standard of rockabilly excellence, often imitated, never recaptured. Presleymania overran the country in 1956, setting off a wave of rockabilly recordings, nationally and (more often) regionally distributed, that was similar in some respects to the garage band explosion of a decade later. Hundreds of performers found their way into studios in Tennessee, Texas, California, and other locales, embracing the new sound with a hepped-up enthusiasm that often bordered on mania. The singles were usually crudely recorded and extremely basic and derivative, their not inconsiderable saving grace being their infectious energy. ------Richie Unterberger, AMG

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