Rock and roll is a genre of popular music that evolved in the United States during the late 1940s and early 1950s. It originated from African American music such as jazz, rhythm and blues, boogie-woogie, electric blues, gospel, and jump blues, as well as country music. While rock and roll's formative elements can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954.
Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated within the African-American community in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to African Americans, at a time when "rocking, jazz based music ... [with a] heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American history and experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of societal racism, oppression, relationships, economics, and aspirations.
The origins of rock and roll are complex. Rock and roll emerged as a defined musical style in the United States in the early to mid-1950s. It derived most directly from the rhythm and blues music of the 1940s, which itself developed from earlier blues, the beat-heavy jump blues, boogie woogie, up-tempo jazz, and swing music. It was also influenced by gospel, country and western, and traditional folk music. Rock and roll in turn provided the main basis for the music that, since the mid-1960s, has been generally known simply as rock music.
"Blue Moon" is a popular song written by Richard Rodgers and Lorenz Hart in 1934 that has become a standard ballad. Early recordings included those by Connee Boswell and by Al Bowlly in 1935. The song was a hit twice in 1949, with successful recordings in the U.S. by Billy Eckstine and Mel Tormé.
The old hymn and jazz tune "When the Saints Go Marching In" is used by several teams in various sports. It may be used as the team's theme song or reserved for when they scored. Liverpool fans used it as a football chant to honour their player Ian St John in the 1960s, a song that was also adopted by other clubs. Southampton Football Club, for example, use it as a football chant as their nickname is The Saints; other football clubs use different variations of the song. It may be used with the standard lyrics, specialized lyrics, or no lyrics at all. When sung by a crowd, it is often started at a very slow tempo, around 70 beats per minute. The next verse is then dramatically sped up to somewhere around 140 beats per minute.
"Lawdy Miss Clawdy" is a song by New Orleans singer-songwriter Lloyd Price that "grandly introduced The New Orleans Sound". It was first recorded by Price in 1952 with Fats Domino and Dave Bartholomew during his first session for Art Rupe and Specialty Records. The song became one of the biggest selling R&B records of 1952 and crossed over to other audiences. "Lawdy Miss Clawdy" inspired many songs and has been recorded by a variety of artists.
"Move It" is a song written by Ian Samwell and recorded by Cliff Richard and the Drifters. Originally intended as the B-side to "Schoolboy Crush", it was released as Richard's debut single on 29 August 1958 and became his first hit record, reaching number 2 on the UK Singles Chart. It is often described as Britain's first authentic rock and roll song. It is credited with being one of the first authentic rock and roll songs produced outside the United States. "Schoolboy Crush", written by Aaron Schroeder and Sharon Gilbert, had already been recorded in the US by Bobby Helms. Cliff Richard and the Drifters recorded their own version, which was intended to be the A-side of their debut single. However, when producer Jack Good heard "Move It", he insisted that Richard would have to sing that if he was to appear on Good's TV show Oh Boy! On the planned single, "Move It" was flipped to be the A-side and it went to number 2 in the charts, starting Cliff Richard on a career which included British hits through six decades.
Who dat? is an alternative pronunciation of the question "who's that?"
"Just a Closer Walk with Thee" is a traditional gospel song and jazz standard that has been performed and recorded by many artists. Performed as either an instrumental or vocal, "A Closer Walk" is perhaps the most frequently played number in the hymn and dirge section of traditional New Orleans jazz funerals. The title and lyrics of the song allude to the Biblical passage from 2 Corinthians 5:7 which states, "We walk by faith, not by sight" and James 4:8, "Come near to God and He will come near to you."
"Up Above My Head" is a gospel song of traditional origin, first recorded in 1941 by The Southern Sons, a vocal group formed by William Langford of the Golden Gate Quartet. In the version that is now the best-known, it was recorded in 1947 by Sister Rosetta Tharpe and Marie Knight as a duo.
"Oh Happy Day" was a 1952 surprise hit song, one of the first whose initial popularity was driven by teenagers rather than support from the music industry.
("Give Me That") "Old-Time Religion" is a traditional Gospel song dating from 1873, when it was included in a list of Jubilee songs, or earlier. It has become a standard in many Protestant hymnals, though it says nothing about Jesus or the gospel, and covered by many artists. Some scholars, such as Forrest Mason McCann, have asserted the possibility of an earlier stage of evolution of the song, in that "the tune may go back to English folk origins". In any event, it was by way of Charles Davis Tillman that the song had incalculable influence on the confluence of black spiritual and white gospel song traditions in forming the genre now known as southern gospel. Tillman was largely responsible for publishing the song into the repertoire of white audiences. It was first heard sung by African-Americans and written down by Tillman when he attended a camp meeting in Lexington, South Carolina in 1889. Popular versions of the song were recorded in the 1950s by singers including Tennessee Ernie Ford and Jim Reeves.
"The House of the Rising Sun" is an American traditional folk song, sometimes called "Rising Sun Blues". It tells of a person's life gone wrong in the city of New Orleans. Many versions also urge a sibling or parents and children to avoid the same fate. The most successful commercial version, recorded in 1964 by the British rock band the Animals, was a number one hit on the UK Singles Chart and in the US and Canada. As a traditional folk song recorded by an electric rock band, it has been described as the "first folk rock hit".
"Nobody Knows the Trouble I've Seen" is an African-American spiritual song that originated during the period of slavery but was not published until 1867. The song is well known and many cover versions of it have been recorded by artists such as Marian Anderson, Lena Horne, Louis Armstrong, Harry James, Paul Robeson, and Sam Cooke among others.
This article includes an overview of the major events and trends in popular music in the 1950s.
"Down by the Riverside" is an African-American spiritual. Its roots date back to before the American Civil War, though it was first published in 1918 in Plantation Melodies: A Collection of Modern, Popular and Old-time Negro-Songs of the Southland, Chicago, the Rodeheaver Company. The song has alternatively been known as "Ain' go'n' to study war no mo'", "Ain't Gwine to Study War No More", "Down by de Ribberside", "Going to Pull My War-Clothes" and "Study war no more". The song was first recorded by the Fisk University jubilee quartet in 1920, and there are at least 14 black gospel recordings before World War II.
"Trouble" is a blues song written by Jerry Leiber and Mike Stoller, originally performed by Elvis Presley in 1958 and covered by a number of artists in later years.
"Hey Lawdy Mama" is a Piedmont blues song recorded by Buddy Moss in 1934. The song became popular among jazz musicians with early recordings by Count Basie and Louis Armstrong. In 1943, a version recorded by Andy Kirk and His Twelve Clouds of Joy, with vocals by June Richmond, was a hit, reaching number four on the Billboard R&B chart.
"Milk Cow Blues" is a blues song written and originally recorded by Kokomo Arnold in September 1934. In 1935 and 1936, he recorded four sequels designated "Milk Cow Blues No. 2" through No. 5. The song made Arnold a star, and was widely adapted by artists in the blues, Western swing and rock idioms.
"Dear Old Southland" is a 1921 jazz standard. It was composed by Turner Layton, with lyrics by Henry Creamer. It uses basically the same melody as the song Deep River. Popular recordings in 1922 were by Paul Whiteman and by Vernon Dalhart. Jack Mills published sheet music for it.
