Originating as a form in the United States in the first half of the 20th century, it became extremely popular in the United Kingdom in the 1950s, where it was played by such artists as Lonnie Donegan, the Vipers Skiffle Group, Ken Colyer, and Chas McDevitt.
The origins of skiffle are obscure but generally thought to lie in African-American musical culture in the early 20th century. Skiffle is often said to have developed from New Orleans jazz, but this claim has been disputed.[1] Improvised jug bands playing blues and jazz were common across the American South in the early decades of the 20th century.[2] They used instruments such as the washboard, jugs, washtub bass, cigar-box fiddle, musical saw and comb-and-paperkazoos, as well as more conventional instruments, such as acoustic guitar and banjo.[3]
The origin of the English word skiffle is unknown. However, in the dialect of the west of England to make a skiffle, meaning to make a mess of any business, is attested from 1873.[4] In early 20th century America the term skiffle was one of many slang phrases for a rent party, a social event with a small charge designed to pay rent on a house.[5] It was first recorded in Chicago in the 1920s and may have been brought there as part of the African-American migration to northern industrial cities.[1]
The first use of the term on record was in 1925 in the name of Jimmy O'Bryant and his Chicago Skifflers. Most often it was used to describe country blues music records, which included the compositions "Hometown Skiffle" (1929) and "Skiffle Blues" (1946) by Dan Burley & his Skiffle Boys.[6] It was used by Ma Rainey (1886–1939) to describe her repertoire to rural audiences.[1] The term skiffle disappeared from American music in the 1940s.
Revival in the United Kingdom
Skiffle was a relatively obscure genre, and it might have been largely forgotten if not for its revival in the United Kingdom in the 1950s and the success of its main proponent, Lonnie Donegan. British skiffle grew out of the developing post-war British jazz scene, which saw a move away from swing music and towards trad jazz.[1] Among these bands were Bill Bailey Skiffle Group and Ken Colyer's Jazzmen, a band formed by Chris Barber. Lonnie Donegan played banjo for the Jazzmen, and also performed skiffle music during intervals. He would sing and play guitar with accompaniment of two other members, usually on washboard and tea-chest bass. They played a variety of American folk and blues songs, particularly those derived from the recordings of Lead Belly, in a lively style that emulated American jug bands. These were listed on posters as "skiffle" breaks, a name suggested by Ken Colyer's brother Bill after recalling the Dan Burley Skiffle Group.[7] Soon the breaks were as popular as the traditional jazz. After disagreements in 1954, Colyer left to form a new outfit, and the band became Chris Barber's Jazz Band.[1]
The first British recordings of skiffle were carried out by Colyer's new band in 1954, but it was the release by Decca of two skiffle tracks by Barber's Jazz Band under the name of the "Lonnie Donegan Skiffle Group" that transformed the fortunes of skiffle in late 1955.[1] Donegan's fast-tempo version of Lead Belly's "Rock Island Line" was a major hit in 1956, featuring a washboard (but not a tea-chest bass), with "John Henry" on the B-side. It spent eight months in the Top 20, peaking at No. 6 (and No. 8 in the U.S.). It was the first debut record to go gold in Britain, selling over a million copies worldwide.[1]
The Acoustic Music organization makes this comment about Donegan's "Rock Island Line". "It flew up the English charts. Donegan had synthesized American Southern Blues with simple acoustic instruments: acoustic guitar, washtub bass and washboard rhythm. The new style was called 'Skiffle' .... and referred to music from people with little money for instruments. The new style captivated an entire generation of post-war youth in England."[8] After splitting from Barber, Donegan went on to make a series of popular records as "Lonnie Donegan's Skiffle Group", with successes including "Cumberland Gap" (1957), "Does Your Chewing Gum Lose Its Flavour" (1958) and "My Old Man's a Dustman" (1960).[1]
It was the success of Donegan's "Rock Island Line" and the lack of a need for expensive instruments or high levels of musicianship that set off the British skiffle craze. A few bands enjoyed chart success in the skiffle craze, including the Chas McDevitt Skiffle Group ("Freight Train"),[9]Johnny Duncan and the Bluegrass Boys, and the Vipers, but the main impact of skiffle was as a grassroots amateur movement, particularly popular among working class men, who could cheaply buy, improvise, or build their own instruments and who have been seen as reacting against the drab austerity of post-war Britain.[1][10] The craze probably reached its height with the broadcasting of the BBC TV programme Six-Five Special from 1957. It was the first British youth music programme, using a skiffle song as its title music and showcasing many skiffle acts.[1] However, the British rock and roll scene was starting to take off, producing home-grown stars like Tommy Steele, Marty Wilde and Cliff Richard and the Shadows (themselves originally involved in skiffle). By February 1958, Pete Murray, host of Six-Five Special, noted a trend of groups wishing to "play down that word skiffle", considering it limiting.[11] By the end of 1958, the boom was over as enthusiasts either abandoned music for more stable employment or moved into some of the forms of music that it had first suggested, including folk, blues and rock and roll. As a result, it has been seen as a critical stepping stone to the second folk revival, blues boom and the British Invasion of the US popular music scene.[1] Donegan continued his career in skiffle until his death in 2002.[12]
In a 2010 radio interview, Tony Sheridan recalls his encounter with skiffle: "I always felt a bit out of place anyway. So when the puberty thing started, Lonnie Donegan came along, I think it was the end of '55, early '56. Rock Island Line. All I heard was the beginning [of the song]... It sort of turned a switch in me. I'm sure John Lennon on the other side of the country, in Liverpool, I'm sure he felt something very, very similar... the first time he heard Donegan. It was usually Donegan with us, you know, before Elvis."[16]
During summer 1970, the skiffle-like song "In the Summertime" by British band Mungo Jerry reached the top of the charts in several countries around the world. In 2017, performer Billy Bragg's book Roots, Radicals and Rockers, a history of the skiffle movement, was published.[17] Bragg has compared the development of skiffle in Britain in the 1950s to punk rock in the 1970s, noting that skiffle was a revolt by young people against the culture of their parents, and allowed them to create their own style of music without expensive equipment or great musical virtuosity.[18]
Notes
1 2 3 4 5 6 7 8 9 10 11 12 M. Brocken, The British folk revival, 1944–2002 (Aldershot: Ashgate, 2003), pp. 69–80.
↑ L. R. Broer and J. D. Walther, Dancing Fools and Weary Blues: the Great Escape of the Twenties (Popular Press, 1990), p. 149.
↑ J. R. Brown., A Concise History of Jazz (Mel Bay Publications, 2004), p. 142.
↑ A Glossary of Provincial Words & Phrases in Use in Somersetshire (Longmans, London: 1873), 33.
↑ J. Simpson and E. Weiner, eds, The Oxford English Dictionary (Oxford: Oxford University Press, 2nd edn., 1989), c.f. "skiffle".
↑ J. Minton, 78 Blues: Folksongs and Phonographs in the American South (University Press of Mississippi, 2008), pp. 119–20.
1 2 R. D. Cohen, Folk Music: the Basics (CRC Press, 2006), p. 98.
The washtub bass, or gutbucket, is a stringed instrument used in American folk music that uses a metal washtub as a resonator. Although it is possible for a washtub bass to have four or more strings and tuning pegs, traditional washtub basses have a single string whose pitch is adjusted by pushing or pulling on a staff or stick to change the tension.
A jug band is a band employing a jug player and a mix of conventional and homemade instruments. These homemade instruments are ordinary objects adapted to or modified for making sound, like the washtub bass, washboard, spoons, bones, stovepipe, jew's harp, and comb and tissue paper. The term 'jug band' is loosely used in referring to ensembles that also incorporate homemade instruments, but that are more accurately called skiffle bands, spasm bands, or juke bands because they do not include a jug player.
The washboard and frottoir are used as a percussion instrument, employing the ribbed metal surface of the cleaning device as a rhythm instrument. As traditionally used in jazz, zydeco, skiffle, jug band, and old-time music, the washboard remained in its wooden frame and is played primarily by tapping, but also scraping the washboard with thimbles. Often the washboard has additional traps, such as a wood block, a cowbell, and even small cymbals.
The Quarrymen are a British skiffle and rock and roll group, formed by John Lennon in Liverpool in 1956, which evolved into the Beatles in 1960. Originally consisting of Lennon and several school friends, the Quarrymen took their name from a line in the school song of their school, the Quarry Bank High School. Lennon's mother, Julia, taught her son to play the banjo, showed Lennon and Eric Griffiths how to tune their guitars in a similar way to the banjo, and taught them simple chords and songs.
Anthony James "Lonnie" Donegan was a British skiffle singer, songwriter and musician, referred to as the "King of Skiffle", who influenced 1960s British pop and rock musicians. Born in Scotland and brought up in England, Donegan began his career in the British trad jazz revival but transitioned to skiffle in the mid-1950s, rising to prominence with a hit recording of the American folk song "Rock Island Line" which helped spur the broader UK skiffle movement.
Donald Christopher Barber was an English jazz musician, best known as a bandleader and trombonist. He helped many musicians with their careers and had a UK top twenty trad jazz hit with "Petite Fleur" in 1959. These musicians included the blues singer Ottilie Patterson, who was at one time his wife, and Lonnie Donegan, whose appearances with Barber triggered the skiffle craze of the mid-1950s and who had his first transatlantic hit, "Rock Island Line", while with Barber's band. He provided an audience for Donegan and, later, Alexis Korner, and sponsored African-American blues musicians to visit Britain, making Barber a significant figure in launching the British rhythm and blues and "beat boom" of the 1960s.
Beryl Audley Bryden was an English jazz singer, who played with Chris Barber and Lonnie Donegan. Ella Fitzgerald once said of Bryden that she was "Britain's queen of the blues".
The Memphis Jug Band was an American musical group active from the mid-1920s to the late-1950s. The band featured harmonica, kazoo, fiddle and mandolin or banjolin, backed by guitar, piano, washboard, washtub bass and jug. They played slow blues, pop songs, humorous songs and upbeat dance numbers with jazz and string band flavors. The band made the first commercial recordings in Memphis, Tennessee, and recorded more sides than any other prewar jug band.
Denys Justin Wright, known professionally as Denny Wright, was a British jazz guitarist.
A string band is an old-time music or jazz ensemble made up mainly or solely of string instruments. String bands were popular in the 1920s and 1930s, and are among the forerunners of modern country music and bluegrass. While being active countrywide, in Philadelphia and its surrounding suburbs they are a huge part of its musical culture and traditions, appearing, among others, in the yearly Mummers Parade.
John B. "Fritz" Richmond was an American musician and recording engineer. Richmond was a washtub bassist and was also a professional jug player.
The Skiffle Sessions – Live in Belfast is a live album by Northern Irish singer-songwriter Van Morrison, with Lonnie Donegan and Chris Barber, released in 2000. Lonnie Donegan had played with the Chris Barber jazz band when he had his first hit with "Rock Island Line"/"John Henry" in 1955. He had been a childhood influence on Van Morrison, who had performed in his own skiffle band with schoolmates when he was twelve years old in Belfast, Northern Ireland. This was Donegan's second album in twenty years, reviving his career until his death in 2002.
The Bill Bailey Skiffle Group made seven appearances on BBC Radio's Saturday Skiffle Club yet no record company ever signed them up.
Kenneth Colyer was an English jazz trumpeter and cornetist, devoted to New Orleans jazz. His band was also known for skiffle interludes.
William Charles "Diz" Disley was an Anglo-Canadian jazz guitarist and banjoist. He is best known for his acoustic jazz guitar playing, strongly influenced by Django Reinhardt, for his contributions to the UK trad jazz, skiffle and folk scenes as a performer and humorist, and for his collaborations with the violinist Stéphane Grappelli.
"Rock Island Line" is an American folk song. Ostensibly about the Chicago, Rock Island and Pacific Railroad, it appeared as a folk song as early as 1929. The first recorded performance of "Rock Island Line" was by inmates of the Arkansas Cummins State Farm prison in 1934.
Charles James McDevitt is a Scottish musician who was one of the leading lights of the skiffle genre which was highly influential and popular in the United Kingdom in the mid-to-late 1950s.
The Vipers Skiffle Group – later known simply as The Vipers – were one of the leading British groups during the skiffle period of the mid to late 1950s, and were important in the careers of radio and television presenter Wally Whyton, coffee bar manager Johnny Martyn, wire salesman Jean Van den Bosch, instrument repairer Tony Tolhurst, journalist John Pilgrim, record producer George Martin, and several members of The Shadows.
British rhythm and blues was a musical movement that developed in the United Kingdom between the late 1950s and the early 1960s, and reached a peak in the mid-1960s. It overlapped with, but was distinct from, the broader British beat and more purist British blues scenes, attempting to emulate the music of American blues and rock and roll pioneers, such as Muddy Waters and Howlin' Wolf, Chuck Berry and Bo Diddley. It often placed greater emphasis on guitars and was often played with greater energy.
Music of the United Kingdom began to develop in the 1950s; from largely insular and derivative forms to become one of the leading centres of popular music in the modern world. By 1950 indigenous forms of British popular music, including folk music, brass and silver bands, music hall and dance bands, were already giving way to the influence of American forms of music including jazz, swing and traditional pop, mediated through film and records.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
