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Determining the first actual rock & roll record is a truly impossible task. But you can't go too far wrong citing Jackie Brenston's 1951 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; <a href="spotify:artist:2oolIWne8t9nCr3P0v5v2Y">Raymond Hill</a>'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 <a href="spotify:artist:3KBAzxR13j4mPRhf1aSSER">Ike Turner's Kings of Rhythm</a>, an aggregation that Brenston had joined the previous year. <a href="spotify:artist:0FAxkBiT0g3jKF2AaKEipb">Turner</a> 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 <a href="spotify:artist:0FAxkBiT0g3jKF2AaKEipb">Turner</a> in 1955, holding down the baritone sax chair until 1962. He cut a series of terrific sides fronting <a href="spotify:artist:0FAxkBiT0g3jKF2AaKEipb">Turner's Kings of Rhythm</a> 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 <a href="spotify:artist:1h0hOL3bVcYlg4xcSjU7fP">Otis Rush</a> and <a href="spotify:artist:2gCsNOpiBaMNh20jQ5prf0">Buddy Guy</a>), 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. ~ Bill Dahl, Rovi
Sam Phillips, then a fledgling in the record business, produced "Rocket 88," Brenston's debut waxing, in Memphis. The singer/saxist was backed by <a href="spotify:artist:3KBAzxR13j4mPRhf1aSSER">Ike Turner's Kings of Rhythm</a>, an aggregation that Brenston had joined the previous year. <a href="spotify:artist:0FAxkBiT0g3jKF2AaKEipb">Turner</a> 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 <a href="spotify:artist:0FAxkBiT0g3jKF2AaKEipb">Turner</a> in 1955, holding down the baritone sax chair until 1962. He cut a series of terrific sides fronting <a href="spotify:artist:0FAxkBiT0g3jKF2AaKEipb">Turner's Kings of Rhythm</a> 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 <a href="spotify:artist:1h0hOL3bVcYlg4xcSjU7fP">Otis Rush</a> and <a href="spotify:artist:2gCsNOpiBaMNh20jQ5prf0">Buddy Guy</a>), 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. ~ Bill Dahl, Rovi
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