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DISCID=a509450f
DTITLE=Bill Haley & His Comets / Rock Around The Clock
DYEAR=1955
DGENRE=Rock & Roll
TTITLE0=(We're Gonna) Rock Around The Clock
TTITLE1=Shake, Rattle & Roll
TTITLE2=A.B.C. Boogie
TTITLE3=Thirteen Women (And Only One Man In Town)
TTITLE4=Razzle-Dazzle
TTITLE5=Two Hound Dogs
TTITLE6=Dim, Dim The Lights (I Want Some Atmosphere)
TTITLE7=Happy Baby
TTITLE8=Birth Of The Boogie
TTITLE9=Mambo Rock
TTITLE10=Burn That Candle
TTITLE11=Rock-A-Beatin' Boogie
TTITLE12=R-O-C-K
TTITLE13=The Saints Rock 'n' Roll
TTITLE14=See You Later, Alligator
EXTD=Originally Released as Decca LP 8225 (1955-12-19) in June 1956\n\n
EXTD=Remastered + Expanded CD Edition Released \n\nAMG EXPERT REVIEW: 
EXTD=Rock Around the Clock was basically the Shake, Rattle & Roll 10" 
EXTD=disc with four fine 1955 vintage numbers -- "Two Hound Dogs," "Ra
EXTD=zzle Dazzle," "Rock-a-Beatin' Boogie," and "Burn That Candle" -- 
EXTD=added on. Frannie Beecher's break on "Razzle Dazzle" was worth th
EXTD=e price of the platter (probably all of four dollars, albeit in 1
EXTD=956 dollars, when that represented most of a tank of gas, eight s
EXTD=ubway rides, or dinner for two at a drive-in restaurant), and the
EXTD= band as a whole never sounded more inspired and driven. Most of 
EXTD=the tracks have been widely reissued, but this release shows off 
EXTD=some of the most exciting music that you could buy in one shot in
EXTD= 1956 -- this and Elvis' first two albums were as good as rock & 
EXTD=roll LPs got that year.  -- Bruce Eder\n\nAMG EXPERT REVIEW: If t
EXTD=his reissue doesn't confirm precisely how cool Bill Haley was -- 
EXTD=yes, Bill Haley, checkered jacket, spit curl, and all -- then not
EXTD=hing will. The first great LP of the rock & roll era, Rock Around
EXTD= the Clock never got the recognition it deserved from historians,
EXTD= mostly owing to the neglect that attached itself to Bill Haley i
EXTD=n the decades after his heyday, and the fact that its biggest hit
EXTD=s were parceled out to various compilations. Now it's back, a lit
EXTD=tle more than 48 years after its first appearance, and it never s
EXTD=ounded better; indeed, the only time it sounded fresher was in la
EXTD=te 1955 and early 1956, when its music was all new to most listen
EXTD=ers. On the 2004 remastered edition, even the triangle on "A.B.C.
EXTD= Boogie" comes out in sharp relief, and Danny Cedrone's guitar so
EXTD=lo is almost in the room with you, and that's practically the lea
EXTD=st of the songs here. Frannie Beecher handled most of the guitar 
EXTD=action on the album, and he soars on "Happy Baby" and "Birth of t
EXTD=he Boogie," among other cuts here -- even people who aren't sold 
EXTD=on Haley have to class this as one of the first great white guita
EXTD=r records ever released, and Billy Gussack's drumming is also wor
EXTD=th the price of admission. The three bonus cuts, "R-O-C-K," "The 
EXTD=Saints Rock & Roll," and "See You Later, Alligator," are an excel
EXTD=lent match for the original dozen songs and just extend the drivi
EXTD=ng, exciting beat of the LP by another eight minutes, which makes
EXTD= it all the more valuable. The sound matches the quality of the B
EXTD=ear Family box covering this period in Haley's career.  -- Bruce 
EXTD=Eder\n\nAMAZON.COM CUSTOMER REVIEW\n"Rock Around The Clock" More 
EXTD=Than a Great Album - It's an album of Rock n Roll History, Januar
EXTD=y 18, 2006 \nBy  Edward Dixson "Dix" (New York, NY USA)\n\nRock A
EXTD=round The Clock - the album, should be just as significant in mus
EXTD=ic history as James Brown's Please Please Please album, a not onl
EXTD=y great sounding album but an album demonstrating the roots of Br
EXTD=own. \n\nI do however have a special interest in both albums. My 
EXTD=father co-wrote Dim Dim The Lights featured on the Rock Around Th
EXTD=e Clock album. My father knew Haley and Alan Freed so what I am a
EXTD=bout to say not only gives this album its deserved kudos, it also
EXTD= sets the record straight via primary source information about th
EXTD=e history of some of the songs on the album. \n\nHaley first reco
EXTD=rded Rock Around The Clock in April of 1954. It didn't do that gr
EXTD=eat, coming in at #33 and only staying on Billboard's Popular cha
EXTD=rt for one week. \n\nFreed had met Haley in 1953. He showed great
EXTD= interest in Haley, even having him on his radio show out in Clev
EXTD=eland Ohio. What interested Freed about Haley, like Elvis interes
EXTD=ted Sam Phillips, was that he was looking for a white artist to t
EXTD=ake R&B to the mainstream and thought Haley could be that vehicle
EXTD=. Freed wasn't naive. He knew he had to do it in this racist worl
EXTD=d using a white music act. However, he was not willing to do it a
EXTD=t the expense of legitimacy. Haley would first have to get the st
EXTD=amp of approval not by white music critics or a white music audie
EXTD=nce. Haley would have to get his stamp of approval by the Black m
EXTD=usic audience. This is why, other than a featured guest spot,you 
EXTD=don't hear Haley songs until Dim Dim The Lights on Freed's radio 
EXTD=shows. \n\nHaley than scored a #7 pop hit doing a cover of Joe Tu
EXTD=rner's "Shake Rattle and Roll." He recorded his version somewhere
EXTD= in July of 54. Even that song was not played on a Freed show, al
EXTD=though maybe Freed wanted to play it. \n\nHowever, after Haley re
EXTD=corded Dim Dim The Lights in the month of November 54, Freed noti
EXTD=ced that it was getting a lot of airplay on R&B stations. Freed s
EXTD=tarted playing the song when Dim Dim The Lights became the first 
EXTD=R&B song recorded by a white artist to not only get on the R&B ch
EXTD=arts but land in its Top Ten. Freed was on WINS New York by then 
EXTD=playing an authentic R&B program. Dim Dim was also a Top Ten Pop 
EXTD=hit on the Variety Charts, which was a more prestigious chart tha
EXTD=n Billboard or Cash Box back then, making Dim Dim The Lights the 
EXTD=first record by a white act to be on two charts - top ten at that
EXTD=. \n\nEveryone started playing and buying the three Haley songs t
EXTD=hat were lingering out there, which included left over Rock Aroun
EXTD=d The Clock 45's still hanging around record stores from 54 and j
EXTD=uke boxes. That's why one might see Rock Around The Clock getting
EXTD= significant juke box play around January of 55, which was clearl
EXTD=y off the heels and success of Dim Dim The Lights. \n\nThis would
EXTD= explain why the producer of the movie "The Blackboard Jungle" st
EXTD=arring Glen Ford heard his little preteen daughter playing Rock A
EXTD=round The Clock in January of 55 on her record player. He liked t
EXTD=he response his daughter was giving the record so he decided to u
EXTD=se it in the movie's soundtrack. \n\nThe success of the movie and
EXTD= its soundttrack told Decca Records to re-release Rock Around The
EXTD= Clock as a single in July of 55. That's why this album gets to u
EXTD=s in 56. \n\nWhile there is no question that Rock Around The Cloc
EXTD=k became the anthem of the R&B genre under the now agreed term Ro
EXTD=ck n' Roll with its first Rock n' Roll Icon, Bill Haley, rather t
EXTD=han Rhythm and Blues and historically is considered the first int
EXTD=ernational R&B/RR record, Dim Dim The Lights no doubt led the way
EXTD= and as Alan Freed said, "...is the grand daddy song of Rock n Ro
EXTD=ll." \n\nThere is room for little doubt that when Haley put an or
EXTD=iginal thumb print on an R&B song he clearly performed a song in 
EXTD=the Rhythm and Blues' spirit. That he didn't do with Shake Rattle
EXTD= and Roll. Maybe because he leaned away from the genre due to a c
EXTD=ommand R&B performance by Joe Turner. But when he recorded Rock A
EXTD=round The Clock it was original and in the true R&B vain. It just
EXTD= had to wait for a stamp of approval. That came after he decided 
EXTD=to record Dim Dim The Lights. My father told me that Haley did fo
EXTD=llow his demo that was given to him. \n\nSo when listening to thi
EXTD=s great album you will see Haley at his finest R&B performance le
EXTD=vel with most of the songs. Pay close attention to Thirteen Women
EXTD=. It has a Cab Calloway Band feeling to hit. \n\n\n\nAMAZON.COM C
EXTD=USTOMER REVIEW\nOne two three o'clock, four o'clock rock..., June
EXTD= 25, 2004 \nBy  Daniel J. Hamlow (Farmington, NM USA)\n\nMost of 
EXTD=the songs that put Haley's indelible stamp on early R&R are prese
EXTD=nt in this, a remastered version of the Comets first original stu
EXTD=dio album for Decca Records, on which he was onboard following th
EXTD=e success of "Crazy Man Crazy." As it is, the material here is mo
EXTD=re engaging, the group tighter. Signature motifs, such as the har
EXTD=mony chants and steel guitars, are joined by sizzling guitar solo
EXTD=s and some hot tenor sax.\nIt seems strange that "Rock Around The
EXTD= Clock" initially only made it to #23 when first released, but wh
EXTD=en it was featured in the opening credits of the Glenn Ford/Anne 
EXTD=Francis movie The Blackboard Jungle (1955), it shot to #1, where 
EXTD=it stayed for eight weeks, its immortality in rock history thus i
EXTD=nsured. When rereleased in the UK, it made the Top 20 in 1968 and
EXTD= 1974.\n\nThe B-side, "Thirteen Women (And Only One Man In Town)"
EXTD= is a black nuclear fantasy about an H-bomb explosion, with the o
EXTD=nly survivors being, well, figure it out. He has two girls look a
EXTD=fter him, feeding him, giving him money, etc. but it shows that e
EXTD=ven after a nuclear catastrophe, women in rock songs were still p
EXTD=ortrayed in demeaning roles.\n\nHis cover of Big Joe Turner's "Sh
EXTD=ake, Rattle, and Roll" is sanitized, placing the action in the ki
EXTD=tchen--"rattle those pots and pans" and away from the bedroom, bu
EXTD=t the third most riveting tune after "Rock/Clock." It reached #7 
EXTD=on the charts and became his first million-seller. Its B-side is 
EXTD=the relatively tame "A.B.C. Boogie," a watered down R&B throwback
EXTD= to the material he covered under the Saddlemen.\n\n"On your mark
EXTD=, get set, now ready, go" goes the opening lines to "Razzle Dazzl
EXTD=e" a #15 hit faster than "Shake, Rattle, Roll" about a dance the 
EXTD=hipsters do, full of the frat harmonies and its silly "wackadoo w
EXTD=ackadoo" refrain. On its B-side, Haley gives a nod to one of his 
EXTD=influences, "Two Hound Dogs" named Rhythm and Blues. The "hound d
EXTD=og" refrain the Comets chant reflect Big Mama's Thornton's "Hound
EXTD= Dog." Similar recognition is given to "Mambo Rock," a #18 hit ab
EXTD=out the Latin dance craze also sweeping the nation at the time.\n
EXTD=\nIf parts of "Rock A Beatin' Boogie," garnished with Rudy Pompil
EXTD=li's honking and wailing tenor sax, sounds like Louis Jordan's "I
EXTD= Want You To Be My Baby," it's because Haley's producer was Milt 
EXTD=Gabler, who managed Jordan a decade earlier. The chanting refrain
EXTD= of "rock rock, rock, everybody, roll roll roll, everybody" furth
EXTD=er cemented rock as a genre that wasn't going to be just a passin
EXTD=g craze, as is the inclusion of the phrase "crazy man crazy" (Hal
EXTD=ey's first hit) in the chanting jam of "R.O.C.K.", presented as a
EXTD= bonus track.\n\nThe other two bonuses are "The Saints Rock and R
EXTD=oll," a rock arrangement of "When The Saints Go Marchin' In," ben
EXTD=efiting from Rudy Pompilli's tenor sax. And lastly, one of Haley'
EXTD=s other big signature tunes, the #6 "See You Later, Alligator," o
EXTD=riginally by Bobby Charles. After being told off by his girl, the
EXTD= guy pays her back with her own putdown when she tries to worm he
EXTD=r way back to his graces: "can't you see you're in my way now, do
EXTD=n't you know you cramp my style?" Oh yes!\n\nThis has most of his
EXTD= famous hits. I presume "Rudy's Rock" and "Choo Choo Ch'Boogie" w
EXTD=ere on other albums. In closing, I know I said in my other Haley 
EXTD=review that his success came at the expense at black R&B musician
EXTD=s, but to totally lambast him as a white impersonator denies his 
EXTD=importance as a rock pioneer. \n\n\nAMAZON.COM CUSTOMER REVIEW\nI
EXTD=ntroductory textbook of early rock 'n' roll, May 5, 2004 \nBy  re
EXTD=dtunictroll (Earth, USA)\n\nThough Haley and his Comets had been 
EXTD=combining western swing and R&B into rock 'n' roll for a couple o
EXTD=f years (see Varese Vintage's "The Best of Bill Haley 1951-1954),
EXTD= these tracks, waxed in '54 and '55, are the finished drafts. Fro
EXTD=m the April 1954 session that begat the title song and "Thirteen 
EXTD=Women (And Only One Man in Town)" through a slew of Top-10s and T
EXTD=op-20s, Haley and His Comets waxed an impressive series of rock '
EXTD=n' roll icons. The "Rock Around the Clock" album originally took 
EXTD=the earlier 8-song "Shake, Rattle and Roll" release augmented wit
EXTD=h four more tracks ("Two Hound Dogs," "Razzle Dazzle," "Rock-a-Be
EXTD=atin' Boogie," and "Burn That Candle").\nHaley's cover of Big Joe
EXTD= Turner's "Shake, Rattle and Roll" (a source Haley was always qui
EXTD=ck to acknowledge) is an entirely new vision of the song. Haley s
EXTD=ounds simply overjoyed to be singing with such a jumpin' backbeat
EXTD=, and the Comets blow and shout with similar abandon. The rest of
EXTD= the album provides numerous rock 'n' roll dance tunes, including
EXTD= "Dim, Dim the Lights (I Want Some Atmosphere)" "Happy Happy Baby
EXTD=," and "Boogie Beat," each framing Haley's smiling vocals with ri
EXTD=pping electric guitar runs and hot blowing on the saxophone. You 
EXTD=can literally hear the Comets moving from their country swing roo
EXTD=ts to meatier R&B sounds.\n\nMCA's expanded edition augments the 
EXTD=original LP with three tracks released in 1956, including the Top
EXTD=-10 "See You Later, Alligator," and the Top-20, "R-O-C-K." These 
EXTD=are fine additions to an essential building block of any collecti
EXTD=on of rock 'n' roll. \n\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe Firs
EXTD=t Rock and Roll Album, April 11, 2004 \nBy  Carl Savich (Detroit,
EXTD= MI, USA)\n\nROCK AROUND THE CLOCK by Bill Haley and the Comets w
EXTD=as the first real rock and roll album released. The LP charted in
EXTD= 1956 and made the Billboard Top 40 Album Chart. The album collec
EXTD=ted the Decca singles or 45s that were released in 1954 and 1955 
EXTD=by Bill Haley and the Comets. The album includes the single ROCK 
EXTD=AROUND THE CLOCK, which was no. 1 for 8 weeks on the Billboard si
EXTD=ngles charts and which eventually sold over 25 million copies. (R
EXTD=ock Around the Clock is in the Guinness Book of World Records. He
EXTD=re is the quote from the 1973 edition of the Guinness Book of Wor
EXTD=ld Records: \n"The top-selling 'pop' record has been Rock Around 
EXTD=the Clock by Wlliam John Clifton Haley, Jr. (born Detroit, Michig
EXTD=an, March, 1927) and the Comets, recorded on April 12, 1954, with
EXTD= sales of 16,000,000 by January, 1972."\n\nRock Around the Clock 
EXTD=was originally the theme song for the teenage angst movie BLACKBO
EXTD=ARD JUNGLE starring Glenn Ford in 1955. It was the first rock and
EXTD= roll record to go no. 1 on Billboard. The record ushered in the 
EXTD=rock and roll era and revolutionized pop music, going no. 1 aroun
EXTD=d the world. The reord later was the theme song of the ABC TV ser
EXTD=ies HAPPY DAYS and was in AMERICAN GRAFFITI. April 14, 2004 marks
EXTD= the 50th anniversary of the recording of the record at the Pythi
EXTD=an Temple in New York City. This was the record that launched roc
EXTD=k and roll. John Lennon (in his last Playboy interview in 1980) s
EXTD=aid that Rock Around the Clock was the record that got him into r
EXTD=ock and roll. Elton John, David Gilmour, the lead guitarist of Pi
EXTD=nk Floyd, Jimi Hendrix, John Fogerty, Jeff Beck, were also influe
EXTD=nced by that record.\n\nThe album includes the other important De
EXTD=cca singles as well. The gold single SHAKE RATTLE AND ROLL is als
EXTD=o included. All the Decca hits are on this album. There are also 
EXTD=three bonus tracks: "R-O-C-K", "The Saints Rock and Roll", and "S
EXTD=ee You Later, Alligator". There are five songs that Bill Haley co
EXTD=mposed on this album: "The Birth of the Boogie", "Two Hound Dogs"
EXTD=, "Rock-A-Beatin'Boogie", "The Saints Rock and Roll", and "R-O-C-
EXTD=K". The records showcase the remarkable lead guitar work of Danny
EXTD= Cedrone and Franny Beecher, who were ahead of their time. Danny 
EXTD=Cedone's lead guitar break on Rock Around the Clock is one of the
EXTD= greatest and most revolutionary in rock and roll. It is the guit
EXTD=ar solo everybody knows and remembers from the 1950s. Franny Beec
EXTD=her's guitar solo on "Rock-A-Beatin' Boogie" is years ahead of it
EXTD=s time. The album also features "Mambo Rock", "Dim Dim the Lights
EXTD=", and the B-side to Rock Around the Clock, "Thriteen Women (And 
EXTD=Only One Man in Town".\n\nThis is the album that started it all. 
EXTD=Alan Freed always said he got the term "rock and roll" from Bill 
EXTD=Haley and the Comets. Several records have been cited as the sour
EXTD=ce for the term: "Rock the Joint" (1952), "Rock-A-Beatin' Boogie"
EXTD= (1952 Esquire Boys version with Danny Cedrone;1955, Bill Haley a
EXTD=nd the Comets version with Franny Beecher), and "Two Hound Dogs" 
EXTD=(1955). There is no doubt, however, that Freed got the term from 
EXTD=Bill Haley and his recordings. Haley was consciously attempting t
EXTD=o forge or create a new pop movement and a new sound, which was c
EXTD=alled rock and roll. Bill Haley was always at the forefront of th
EXTD=e rock and roll movement. This album shows his impact and influen
EXTD=ce. It was these Decca singles collected on this album that initi
EXTD=ally were part of the rock and roll explosion that opened the doo
EXTD=r for the new music. \n\nRock Around the Clock was really the fir
EXTD=st rock and roll album or LP. This was what it sounded like at th
EXTD=e beginning. This is an album every rock and roll fan should have
EXTD=. This is the alpha and omega of rock and roll. This is where it 
EXTD=all started.\n\nI highly recommend this album to everyone. Rock a
EXTD=nd roll became the greatest musical idiom of the twentieth centur
EXTD=y. Listen to what it sounded like at the very beginning on Rock A
EXTD=round the Clock. This album remains one of rock and roll's greate
EXTD=st and most important albums. In the record "R-O-Ck", Bill Haley 
EXTD=stated that classical composer Johann Strauss popularized the wal
EXTD=tz in the late 1800s, while William Handy popularized the blues i
EXTD=n the 1920s, but in the 1950s, rock and roll had taken over from 
EXTD=classical music and blues as the dominant form of music: "Strauss
EXTD= discovered waltzing, the Handy man found the blues..." Haley poi
EXTD=nted to his record from 1953 CRAZY MAN CRAZY on Essex as the reco
EXTD=rd that introduced rock and roll. It was the first rock and roll 
EXTD=record to chart on the Billboard singles chart, reaching no. 15. 
EXTD=\n\nBut it was Rock Around the Clock in 1955 that broke the door 
EXTD=wide open for rock and roll. And this album contains all the Decc
EXTD=a singles that were part of the initial rock and roll explosion. 
EXTD=Do yourself a favor and buy this CD. You will enjoy the seminal r
EXTD=ock and roll records on this historic album. It is a unique exper
EXTD=ience. Enjoy it! And rock around the clock, rock rock rock til br
EXTD=oad daylight! \n\nHalf.com  N/A
EXTT0=(Jimmy DeKnight/Max Freedman)\nRecorded Pythian Temple, New York
EXTT0= US-NY, 1954-04-12.\nOriginally Decca single 29124-B, the B-side
EXTT0= to "Thirteen Women" (4).\nBillboard #23 Pop (1954)/#1 Pop (8 we
EXTT0=eks, 1955)
EXTT1=(Charles E. Calhoun)\nRecorded Pythian Temple, New York US-NY, 1
EXTT1=954-06-07.\nOriginally Decca single 29204.\nBillboard #7 Pop
EXTT2=(Al Russell/Max Spickel)\nRecorded Pythian Temple, New York US-N
EXTT2=Y, 1954-06-07.\nOriginally Decca single 29204.
EXTT3=(Dickie Thompson)\nRecorded Pythian Temple, New York US-NY, 1954
EXTT3=-04-12.\nOriginally Decca single 21924-A.
EXTT4=(Charles E. Calhoun)\nRecorded Pythian Temple, New York US-NY, 1
EXTT4=955-05-10.\nOriginally Decca single 29552.\nBillboard #15 Pop
EXTT5=(Bill Haley/Frank Pingatore)\nRecorded Pythian Temple, New York 
EXTT5=US-NY, 1955-05-10.\nOriginally Decca single 29552.\nBillboard #1
EXTT5=5 Pop
EXTT6=(Beverly Ross/Julius Dixon)\nRecorded Pythian Temple, New York U
EXTT6=S-NY, 1954-09-21.\nOriginally Decca single 29317.\nBillboard #11
EXTT6= Pop
EXTT7=(Frank Pingatore)\nRecorded Pythian Temple, New York US-NY, 1954
EXTT7=-09-21.\nOriginally Decca single 29317.
EXTT8=(Bill Haley/Billy Williamson/Johnny Grande)\nRecorded Pythian Te
EXTT8=mple, New York US-NY, 1955-01-05.\nOriginally Decca single 29418
EXTT8=.\nBillboard #17 Pop
EXTT9=(Bix Reichner/Mildred Phillips/Jimmy Ayre)\nRecorded Pythian Tem
EXTT9=ple, New York US-NY, 1955-01-05.\nOriginally Decca single 29418.
EXTT9=\nBillboard #18 Pop
EXTT10=(Winfield Scott)\nRecorded Pythian Temple, New York US-NY, 1955
EXTT10=-09-23.\nOriginally Decca single 29713.\nBillboard #9 Pop
EXTT11=(Bill Haley)\nRecorded Pythian Temple, New York US-NY, 1955-09-
EXTT11=22.\nOriginally Decca single 29713.\nBillboard #23 Pop
EXTT12=(Bill Haley/Arrett Rusty Keefer/Ruth Keefer)\nRecorded Pythian 
EXTT12=Temple, New York US-NY, 1955-09-22.\nOriginally Decca single 29
EXTT12=870.\nBillboard #16 Pop
EXTT13=(arr. Bill Haley/Milt Gabler)\nRecorded Pythian Temple, New Yor
EXTT13=k US-NY, 1955-09-23.\nOriginally Decca single 29870.\nBillboard
EXTT13= #18 Pop
EXTT14=(Robert Guidry)\nRecorded Decca Studios, New York US-NY, 1955-1
EXTT14=2-12.\nOriginally Decca single 29791.\nBillboard #6 Pop
PLAYORDER=
