Trying to get property of non-object [ On /var/www/virtual/jpop.com/public_html/generatrix/model/youtubeModel.php Line 63 ]
Jackie Brenston - JPop.com
Artist info
Jackie Brenston

Jackie Brenston

Jackie Brenston


Determining the first actual rock & roll record is a truly impossible task. But you can't go too far wrong citing Jackie Brenston's 1950 Chess waxing of "Rocket 88," a seminal piece of rock's fascinating history with all the prerequisite elements firmly in place: practically indecipherable lyrics about cars, booze, and women; Raymond Hill's booting tenor sax, and a churning, beat-heavy rhythmic bottom. Sam Phillips, then a fledgling in the record business, produced "Rocket 88," Brenston's debut waxing, in Memphis. Read more on Last.fm
Determining the first actual rock & roll record is a truly impossible task. But you can't go too far wrong citing Jackie Brenston's 1950 Chess waxing of "Rocket 88," a seminal piece of rock's fascinating history with all the prerequisite elements firmly in place: practically indecipherable lyrics about cars, booze, and women; Raymond Hill's booting tenor sax, and a churning, beat-heavy rhythmic bottom. Sam Phillips, then a fledgling in the record business, produced "Rocket 88," Brenston's debut waxing, in Memphis. The singer/saxist was backed by Ike Turner's Kings of Rhythm, an aggregation that Brenston had joined the previous year. Turner played piano on the tune; Willie Kizart supplied dirty, distorted guitar.

Billed as by Jackie Brenston & His Delta Cats, "Rocket 88" drove up to the top slot on the R&B charts and remained there for more than a month. But none of his Chess follow-ups sported the same high-octane performance, though "Real Gone Rocket" was certainly a deserving candidate. Brenston's slide from the spotlight was swift. After a few more Chess singles stiffed (including a duet with Edna McRaney, "Hi-Ho Baby"), Brenston reunited with Turner in 1955, holding down the baritone sax chair until 1962. He cut a series of terrific sides fronting Turner's Kings of Rhythm along the way: "Gonna Wait for My Chance" and "Much Later" for Federal in 1956, "You've Got to Lose" for Chicago's Cobra label in 1958 (also doing session work there with Otis Rush and Buddy Guy), and "You Ain't the One" for Sue in 1961.

After a final single for Mel London's Mel-Lon imprint, Brenston was through; he worked as a truck driver and showed little interest in reliving his glory years Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
Top Albums

show me more

showing 4 out of 20 albums
Shoutbox
No Comment for this Artist found
Leave a comment


Comments From Around The Web
No blog found
Flickr Images
No images
Related videos
No video found
Tweets
No blogs found