Bill Haley and the Comets

Bill Haley was like no other. He didn’t just arise out of country and rock a billy – He came roaring out with all instruments blazing. Far from being a teenager when he began to hit the charts with rock and roll – he was 26 when “Crazy Man, Crazy” hit and 30 years old when he released his anthem, “Rock Around the Clock”.

Haley and his Comet’s also defied the racial barriers when touring the deep South – appearing often with black musicians of the day – even in the face of severe threats – On one occasion a bundle of dynamite was planted by a KKK faction at a Comet concert but failed to detonate.

But for nearly a decade Haley would defy the odds of endurance for a pure rock and roll band scoring over 30 charting singles during his run.

Bill Haley was born William John Clifton Haley on July 6th, 1925 in Highland Park, Michigan William John Clifton Haley – He died on February 9th, 1981.

Cousin Lee and His Boys/Down Homers

In 1943, Haley joined Cousin Lee and His Boys included leader Arlee “Cousin Lee” Ellsworth – fiddle player Wayne “Brother Wayne” Wright and Bill “The Smilin’ Cowboy” Haley along with many others.

The next group Haley joined in 1945 was the “Down Homers” out of Harford, Connecticut. The group was comprised of Everett “Shorty Cook” Hinderer. Haley likely played on Down Homers’ sessions but may not have been involved on the two Vogue discs listed below. Haley is definitely pictured with the group in the photo below.

Haley joined to replace the band’s yodeler who went into the Navy (yes Haley started off as a supreme yodeler). Kenny Roberts was the group’s bass fiddler and he worked very closely with Haley to develop his state presence. They performed out of Fort Wayne, Indiana on radio station WOWO.

Other members included Bob Mason, Guy Campbell and Lloyd Cornell. Kenny Roberts would return from the service to yodel on the below Vogue recordings – relegating Haley to playing guitar on the tracks dispelling theories that Haley was not in this group – it was verified by John Haley in his biography of Bill.

Range Drifters/Four Aces Of Swing/Bill “Jack” Haley & His Western Sextette

In 1946, Haley formed his first band on his own the “Four Aces of Western Swing” and very popular band performing in the Philadelphia region. With this group Haley was often featured yodeling and was one of the best, becoming known as “Silver Yodeling Bill Haley”.

This band was put together by Haley in part to fulfill a vision he held of a new kind of music – He was joined by his long-time friend James Allsman along with Albert Constantine on accordion and “Bashful Barney” Bernard on bass.

They signed with Jack Howard and cut several tracks in 1949 – Only two were released on Howard’s Cowboy label – Many musicians passed through the band while it lasted – a few being Rusty Keefer, Jimmy Maise and others – Haley gave up on the group sometime late in 1949 and went into a quiet and for him a depressing period.

**Billy “Jack” Haley & Western Sextette**

1949 Haley would form his All Western Sextet. This was a temporary arrangement of Haley working with various friends and members of his past groups with the intent of raising some additional cash in small venues such as movie houses and children’s venues.

Bill Haley and His Saddle Men

Haley would next form a band in 1952 called “Bill Haley and the Saddle Men”. He doubled up at the time as a DJ on radio station WPWA out of Chester, Pennsylvania. The Saddle Men were signed to the Keystone Records label and then Holiday Records in 1951.

This band was the historic basis of great things to come. Bill was joined by two eager musicians – Billy Williamson (steel guitar) and Johnny Grande (accordion – arranger). For a short time they were rounded out with 400 pound Al Thompson on bass – who also served as the band’s clown. By 1950 Thompson was replaced by Albert (“Al Rex”) Piccirlli and the first solid line-up of future rock pioneers was firmly in place.

Bill Haley in the Comets

As early as late 1951 the stage was set for Haley and his legacy. The Saddle Men would record the bopper “Rocket 88”.

In the summer of 1952 the group would take a new name “Bill Haley with Haley’s Comets”. The idea came from a fellow WPWA employee.

Haley and the Comets would take their next big landmark step when their recording of “Crazy Man, Crazy” would become the first true rocker to enter the American national pop charts.

Two more rockers would follow, first “Shake, Rattle and Roll” in the summer of 1954 and then “Dim, Dim the Lights (I Want Some Atmosphere)” in late 1954. Then came the ‘big one’ “(We’re Gonna) Rock Around the Clock” which catapulted to the top of the charts entering the Hot 100 in May, 1955 and spending eight weeks at the top!

The early members of the Comets at the start of things were Johnny Grande (piano), Billy Williamson (steel guitar), and Marshall Lytle (string bass). Many others would pass through the ranks – over 100 – Others who soon joined were Earl Famous (drums) who was quickly replaced by drummer Charlie Higler – who in turn was replaced by the guy who recommended him, Dick Boccelli. Beyond this in the early recording dates – session musicians were often used.

Even preceding “Crazy Man, Crazy” would be “Rock the Joint” which the group recorded in 1952. The Comets had been signed to Essex Records where “Crazy Man” was cut but then jumped over to Decca Records in New York City. The label has an entry/candidate of releasing the ‘first rock and roll record’ with “Saturday Night Fish Fry” by Louis Jordan in 1949!

By the way, the ‘first rock and roll’ record discussion will probably never be agreed upon especially if rhythm and blues and early rockabilly are tossed in.

Ironically, “Rock Around the Clock” was issued as a ‘b’ side with “Thirteen Women (And Only One Man In Town)” being the intended hit! So much would follow for Bill and his Comets – They would be the first rock and roll act to appear on Ed Sullivan (yes, ahead of Elvis) on August 7th, 1955. In May, they had appeared on Milton Berle’s TV show – Uncle Milty got into the act – dancing around the stage to Rock Around the Clock!

Haley in the Jungle – 1955

There would be several appearances on American Bandstand and then the movies: Alan Freed’s “Rock Around the Clock”, and “Don’t Knock the Rock”. We all know what the movie “Blackboard Jungle” did for Haley as well as for the movie and rock music!

Haley and James Myers would learn that Decca had promoted “Thirteen Women” as the A side of this record and directed all the label’s publicity to the Garber composition. To make things worse – the label describes the song as a “Fox Trot”! James Myers never gave up and shopped “Rock Around the Clock” far and wide – personally delivering new copies to DJ’s who had probably never played the first one’s they received. But the big break comes when Decca is contacted by the director Richard Brook. Notice the promotional poster makes no mention of Haley or his riotous recording.

Richard Brook is looking for a song for his new movie and overheard “Rock Around the Clock” at his home where his teenage daughter was playing the the Comets platter. Decca feels that perhaps the publicity will help the track which never quite made it so they take one dollar from Brooks for the rights. This was the great game changer of all time for rock and roll!

Other young rockers would begin to displace the older – fatherly-like Haley starting in 1957 although the Comets remained wildly popular in the U.K.

**Haley & Comets – Europe Tour – February, 1957**

Haley would depart Decca when record sales waned – move over to Warner Bros., but it was too late – None of the WB singles would reach the charts. Several incarnations of Comets would carry on sometimes with sometimes without Bill and often competing assemblages of Comets.

Colorado Connections

The co-song writer for Rock Around the Clock, James Myers, would record on Denver’s independent Band Box Record label in the Fall of 1961 cutting two tracks in Philadelphia and contracting them out to Band Box. De Knight under his real name – James Myers – would contract more than a half dozen of his artist recordings to Band Box.

These included songs by Buddy Kain, Terry Sawyer, Bobby Latin, Sue Leban, Dean Hayden, Joe Valino and Steve Gibson and His Red Caps!

Bill Haley appeared in Colorado:

May 15th, 1956 with Bo Diddley at the Denver Coliseum
February 16th, 1964 at The Pitcher 3.2 Club
April 13th, 1970 with The Coasters, The Shirelles, The Drifters, Bo Diddley and Chuck Berry at the Denver Auditorium Arena

Haley and Comets Bright Trail Fades

Haley was an entertainer and continued to perform for many years post-hit-era – He passed through many record labels releasing many singles without any success. Haley passed away at the age of only 55 on February 9th, 1981 – Remarkable how much life he packed into those 55 years.

The original three Comets have also passed on as have many of the more noted members from along the way.

He was cremated and there are no grave stones commemorating his life.

Bill Haley and the Comets Discography (& Related)

78 Picture Disk – Down Homers – Vogue – Out Where The West Wind Blows b/w Who’s Gonna Kiss You When I’m Gone – July, 1946

78 Picture Disk – Down Homers – Vogue – Baby I Found Out All About You b/w Boogie Woogie Yodel – April, 1947

78 – Cowboy – Bill Haley and the 4 Aces of Western Swing – Too Many Parties And Too Many Pals b/w Four Leaf Clover Blues – August, 1948

Earliest known single

78 Cowboy – The 4 Aces of Swing – Tennessee Border b/w Candy Kisses – March, 1949

78 – Cowboy (as Reno Browne and Her Buckaroos) Bill Haley on Vocals – My Sweet Little Girl From Nevada b/w My Palomino and I – Recorded 1949 – Released 1950

Reno Browne was an actress and did not appear on this record – It was Bill Haley & The Saddle Men. Reno appeared in “B” type western movies and this was a PR favor on her behalf.

78 RPM - Reno Browne And Her Buckaroos - My Sweet Little Girl From Nevada / My Palomino And I - Cowboy - USA - CR-1701

78 – Center – (as) Johnny Clifton and His String Band – Stand Up and Be Counted b/w Loveless Blues – 1949

78 – Keystone – Bill Haley and the Saddle Men – Deal Me A Hand b/w Ten Gallon Stetson – April, 1950

“Stetson” was composed by Jimmy DeKnight (James Meyers) composer of “Rock Around the Clock”

78 – Keystone – Bill Haley and the Saddle Men – Susan Van Dusan b/w I’m Not To Blame – April, 1950

78 – Atlantic – Bill Haley and the Saddle Men – Susan Van Dusan b/w I’m Not To Blame – April, 1950

This was one of four tracks leased to Atlantic records – two were not released

78 – Holiday – Bill Haley and the Saddlemen – Rocket ’88 b/w Tearstains On My Heart – July, 1951

For this first record on the Holiday label – the group was supplemented by lead guitarist Danny Cedrone. Shortly after it’s release – bass player Al Rex departs the band to form his own and is replaced by Marshall Lytle a guitar player who Haley teaches his style of bass. The Holiday recordings were a conscious effort by label owner Dave Miller to capture a “black sound” without revealing the group was white (ref: “Sound & Glory”).

78 – Holiday – Bill Haley and the Saddlemen – Greet Tree Boogie b/w Down Deep In My Heart – August, 1951

78 – Abbey – Rose Of My Heart – November, 1951

The Saddle Men backed vocalist Curly Herdman on this one-off session

At this point Haley’s band was essentially transformed into what would be recognized as the first true rock and roll band in the world – although they would still perform country when it was necessary.

78 – Holiday 111 – Bill Haley and the Saddlemen – I Don’t Want To Be Alone For Christmas b/w A Year Ago This Christmas

78 – Holiday 113 – Bill Haley and the Saddlemen – Juke Box Cannon Ball b/w Sundown Boogie – 1952

This is the only known Holiday 45 rpm release and was also the final release for the Saddlemen on Holiday

78 – Gotham – Two Timin’ Blues b/w Long Gone Baby – late 1951

Haley adds another vocalist to perform with the Saddle Men on their outdoor engagements – Lou Graham – They accompany him into the studio to record on the Gotham record label

Haley would next add fiddle player Arrett “Rusty” Keefer to the lineup – According to John Haley he was a bass and guitar player as well but primarily “was his prolific ability to write some of the best tunes in the business”. And in the coming years Rusty would be valuable contributor of many Haley/Comets releases.

78 – Essex – Bill Haley with the Saddle Men – Icy Heart b/w Rock the Joint – February, April, 1952

This was to be Haley’s first recorded venture into rock and roll – Once again guitarist Danny Cedrone was invited into the studio to assume lead duties – Cedrone laid down the licks which would be replicated in short order on the Comets monster hit to come.

45 – Essex – Dance With A Dolly (With A Hole In Her Stockin’) b/w Rocking Chair On the Moon – July, 1952

Now in 1952 Haley asked promoter, composer, and record publishing company owner James Myers to support his band with his services. Myers would in short order compose the big one with Max Freedman – “(We’re Gonna) Rock Around the Clock” – Haley also quickly added James “Lord Jim” Ferguson as a hustling and “crafty” band manager.

It is 1952 and a band meeting takes place with Ferguson – He urges the band to lose the cowboy hats and cowboy getup – and to find a more appropriate name – Haley’s “Comets” are born. Haley switches out the band’s use of a baritone sax with a tenor sax – providing the final element of “the sound” he has searched so hard for.

78/45 – Essex – Stop Beatin’ Around the Bush b/w Real Rock Drive – September, 1952

45 – Essex – Farewell, So Long, Goodbye b/w Live It Up! – 1953

45 – Essex – Pat-A-Cake b/w Fractured – June, 1953

45 – Essex – I’ll Be True b/w Ten Little Indians – December, 1953

Earliest Essex 45 rpm

45 – Trans-World – Crazy Man Crazy b/w Whatcha’ Gonna Do – 1954

45 – Essex – Crazy Man Crazy – Number 12 Pop Charts b/w Whatcha’ Gonna’ Do – May, 1954

“Whatcha’ Gonna Do” was the intended “A” side but teenagers were flipping over “Crazy Man, Crazy” – and the song would change the future direction of the band. The line-up for these tracks included lead guitarist Art Ryerson, Bill Gussack on drums (and new instrument for the group) Billy Williamson on steel guitar, Marshall Lytle on bass, Johnny Grande on piano and Haley on rhythm guitar.

45 – Trans-World – Yes, Indeed b/w Real Rock Drive – 1954

45 – Essex – Live It Up b/w Farewell – So Long Good-Bye – September, 1953

45 – Essex – Chattanooga Choo Choo b/w Straight Jacket – March, 1954

Joey Ambrose – a 19-year-old sax player is brought into the group completing the classic Comet rock line-up. Ambrose brings much additional excitement to the Comets’ stage act – Joey often wades into the audience toting and blowing his sax like a wild man.

1954 Decca Records Era

Bill Haley – far from being the “country bumpkin” many would ascribe to him later, was a devout R&B fan – listening and learning from the genre at every opportunity. The Comets would be thrown out of many southern honky-tonks when they would launch into their new style of music – which nobody seems to understand.

This would all change when James Myers approaches a contact at Decca in New York after being rejected by RCA and Columbia – A&R man for R&B releases Milt Garber. He likes what he hears and signs the Comets to a contract. “(We’re Gonna) Rock Around the Clock” would be the Comets first’ time out along with Garber’s “Thirteen Women”. The record would not take off – even though it was receiving some air play. Starting with “Shake Rattle & Roll” – most of Haley’s releases would chart – Amazingly for the yodeling and singing cowboy he had formerly been – Haley never charted on the Country Charts. He was often scorned by country purists for his “experimental” sound which he never quite nailed until embarking on these Decca years.

45 – Decca – Shake Rattle and Roll – Number 7 Hot 100 – Number 4 UK b/w A.B.C. Boogie – August, 1954

This was the Comets second session with Decca with both tracks being recorded on July 7th, 1954 – with Panama Francis on drums and Danny Cedrone on lead guitar

Having lost the Comets to Decca – David Miller of Essex Records wasn’t about to stand still – After the success of “Rock Around The Clock” Miller floods the market with Comets releases on Essex as well as Trans-World – another Miller label. Eventually Haley would file suit to prevent the release of these tracks which Haley felt lacked the new feel and sound of the Decca tracks – but would halt the suit when Essex went bankrupt.

Things ended up better for Miller eventually with his work in Europe bearing fruit – and over time his releases there (by other artists) would sell over 200 million total copies.

45 – Decca – Dim, Dim the Lights – Number 11 Hot 100 – Number 10 R&B b/w Happy Baby – November, 1954

These two tracks were Haley’s third session which occurred on September 21st, 1954. New studio guitar player Frank “Franny” Beecher would join the Comets for this release. He had formerly played with The Buckaroo Ramblers, then Benny Goodman and Buddy Greco. After this session Haley would ask Beecher to join the Comets permanently for stage appearances.

45 – Essex – Juke Box Cannonball b/w Sundown Boogie – 1954

45 – Essex – Green Tree Boogie b/w Rocket 88 – 1954

45 EP – Essex – For Your Dance Party – 1954

First Extended Play for Bill Haley and the Comets

45 EP – Shake Rattle and Roll – 1954

The first Extended Play released by Decca for Haley and the Comets

The Colonel Comes Calling

In the fall of 1954 Haley was contacted by Colonel Parker – manager for a young Elvis Presley. Parker asked if Elvis could possibly appear on a tour of the Midwest with the Comets – Bill agreed and so Omaha, Nebraska became the venue for their dual appearance, Elvis and Haley would team up again in New York City at a Brooklyn High School concert for no fee.

45 – Decca – (We’re Gonna) Rock Around the Clock – Number 1 8 Weeks Hot 100 – Number 3 R&B – Number 17 UK – January, 1955

This record was released before his first two charting Decca singles but hit big when Blackboard Jungle was released

The song would chart a twice again – first in April of 1968 peaking at number 118 and then again in March of 1974 topping out at number 39 due to it’s appearance and the soundtrack of the Happy Days TV show. It would be the final chart appearance for Haley and the Comets.

45 – Decca – Mambo Rock – Number 18 Hot 100 – Number 14 UK – b/w Birth of the Boogie – Number 17 Hot 100 – March, 1955

45 – Decca – Razzle Dazzle – Number 15 Hot 100 – Number 13 UK – b/w Two Hound Dogs – July, 1955

The Comets song “Razzle Dazzle ” is featured in the motion picture “Running Wild” – May of 1955

45 – Essex – Farewell, So Long, Goodbye b/w Rock the Joint – 1955

This image has an empty alt attribute; its file name is haley-comets-55-07-02.jpg

September, 1955 – Comets Burn Out

In a shocking move – three of the Comets quit the band in September of 1955 over a pay dispute – Haley is not present when they submit their resignation to management – The Comets would lose the talents of Joey Ambrose, Marshall Lytle, and Dick Richards. They go on to form the Jodimars and record for Capitol Records –

They are soon replaced by bass player Al Rex who had played with The Comets previously, premier sax player Rudy Pompilli, and drummer Don Raymond. Pompilli would stay with The Comets for 21 years – He previously had played with Ralph Marterie’s orchestra. Raymond was a veteran from the Desi Arnez band.

Bill and Buddy – October 14th, 1955

On October 14th, 1955 – Haley becomes separated from his band on the way to a performance in Lubbock – A frantic promoter asks Haley to take the stage without them and says he has a band who can back him up. Backstage Haley meets a young Buddy Holly asking him “Do you know my songs?” “All of them!” Holly replies and so for the first 30 minutes of the performance – Haley takes the mike backed by The Crickets. Finally the Comets arrive.

45 – Decca – Rock-A-Beatin’ Boogie – Number 9 Hot 100 b/w Burn That Candle – November, 1955

Drummer Departs

November 1955 – drummer Don Raymond departs after a fist fight with Haley – having been a Comet for two short months. Ralph Jones formerly of Little Ernie’s Four Horsemen” with Rudy – takes his place.

45 – Decca – See You Later Alligator – Number 6 Hot 100 – Number 7 R&B – Number 7 UK – b/w The Paper Boy – January, 1956

The tiny little voice that opens the song belongs to Comet Franny Beecher. The recording becomes the Comets first gold record.

Racism and Hatred Rear Their Ugly Heads

1956 was a tumultuous year for Haley and his Comets – Politicians, the police, the KKK, DJ’s and other performers launched a vicious campaign against the band and their music calling it the devil’s music and “nigger jungle music”. At one point a rock and roll performance in the deep South is evacuated and police find 7 sticks of dynamite hooked up to a timing device that failed trigger. The KKK appear at many of the Comets performances – The New York Times and many other papers lash out at Haley.

Columbia Pictures Beckons – January, 1956

In January, 1956 Columbia calls again – this time to feature Bill Haley & The Comets in movie paralleling their own rise to fame – It would appropriately be called “Rock Around The Clock”. The adult world protests it’s release but teenagers love it and the soundtrack is one of the best and most exciting in rock history.

The “Super Atrraction” Tour – The Hatred Intensifies

On January 25th Bill Haley & the Comets headline and kickoff a rock ‘n roll tour featuring his Comets as the only white act – accompanied by his dear friend Big Joe Turner, the Platters, the Turbans, the Five Keys, the Drifters and Red Prysock & His Rock ‘n Roll Orchestra.

Backlash is immediate – Audiences are promptly segregated on Southern appearances and the band receives more death threats.

45 – Decca – R-O-C-K – Number 16 Hot 100 – Number 15 R&B – b/w The Saints Rock and Roll – Number 18 Hot 100 – Number 5 UK – April, 1956

“Commie Music”

On March 30th an article appears in the New York Times calling rock and roll music a “communist disease”.

45 – Decca – Hot Dog Buddy Buddy – Number 60 Hot 100 b/w Rockin’ Through the Rye – Number 78 Hot 100 – Number 3 UK – July, 1956

45 – Decca – Rip It Up – Number 25 Hot 100 – Number 4 UK b/w Teenager’s Mother – Number 68 Hot 100 – August, 1956

“Teenage Mother” was a “message song” according to John Haley – perhaps the first ever in Rock ‘n Roll – singing about freedom in music – due to all the intense criticism being heaped on rock and roll in general and Bill Haley & The Comets in particular.

45 – Decca – Rudy’s Rock – Number 34 Hot 100 – Number 26 UK b/w Blue Comet Blues – November, 1956

45 – Trans -World – Yes, Indeed b/w Real Rock Drive – 1956

45 – Decca – Don’t Knock the Rock – Number 30 – Number 7 UK b/w Choo Choo Ch’Boogie – Number 30 – February, 1957

Don’t Knock The Rock Motion Picture Released

The Comets were again featured in this film which was attacked and banned in many cities. The title is a statement thrown back at the critics. In spite of a thin plot – the music is pure and straight ahead rock and roll.

45 – Decca – Forty Cups of Coffee – Number 70 Hot 100 – b/w Hook, Line and Sinker – Number 70 – April, 1957

The Opposition Mounts

Steve Allen mocks rock and roll with his sarcastic readings of song lyrics – After hearing one of these Haley tells his manager to never book the Comets on “that idiots’ show”. Later Allen has Elvis perform “Hound Dog” while dressed in a ridiculous suit – not permitting him to make any stage moves – while singing to a Basset Hound – all designed to belittle the music.

Haley is particularly hurt by criticism from performers which include Teresa Brewer, Frank Sinatra, Mitch Miller, Rosemary Clooney and Meredith Wilson.

FBI Director Edgar Hoover sets up surveillance of the rock music industry – certain that it is communist inspired. The American Communist Party releases its own lambasting of the music! Haley is taken back but never wavers. In interview after interview he maintains his support and love of the music and its fans – black and white.

Some do rally behind Haley with kind words and encouragement such as Kate Smith, Benny Goodman, Sammy Kaye and Duke Ellington.

The Comets Take On the World – The Australian Tour

The Comets head for Australia in January headlining a tour that includes again Big Joe Turner, Lavern Baker, The Platters and Freddie Bell & The Bell Boys. Seven thousand fans attend the Sydney performance and that is topped with 20,000 attending four shows in Brisbane – then 40,000 in Melbourne – When the Australian tour is over – more than 300,000 were treated to the best rock and roll on earth with thousands more turned away and with Haley not giving in presenting integrated rock shows!

The tour takes a health toll on Haley – both physical and mental – but it is then back home for a rest.

45 – Decca – (You Hit the Wrong Note) Billy Goat – Number 60 Hot 100 – b/w Rockin’ Rollin’ Rover – June, 1957

Comet Mania in Britain

Teddy Boys Cheer Haley's Comets — **Teddy Boys Hail Haley**

The Comets board the Queen Elizabeth on January 30th to take their brand of rock ‘n roll to England. They take it by storm – The crowds – the hysteria – the press – the coverage all preview events to come later with the home grown Fab Four.

The legacy of The Comets English tour are so well documented in “Sound and Glory” that alone justifies tracking down a copy to relive that exciting time when Great Britain embraced the greatest rock and roll band on Earth! In a side note “Rock Around The Clock” on the Brunswick label earlier became the first British recording to sell one million copies.

Total concert attendance for the Comet tour exceeded 650,000!

45 – Decca – The Dipsy Doodle b/w Miss You – August, 1957

Valley Brook, Arcade and Seabreeze Publishing

These were Haley’s publishing companies which he dedicated much of his time to and included a large stable of performers including The Matys Brothers, Dotti Malone, The Morrison Sisters, Kitty Nation, Rusty Keefer, Lou Graham and many others.

45 – Decca – Rock the Joint b/w How Many b/w How Many – October, 1957

45 – Decca – Mary, Mary Lou b/w It’s A Sin – December, 1957

This image has an empty alt attribute; its file name is 1957-decca-30530-b.jpg

45 – Decca – Skinny Minnie – Number 22 Hot 100 b/w Sway With Me – April, 1958

45 – Decca – Lean Jean – Number 67 Hot 100 August, b/w Don’t Nobody Move – August, 1958

Off to Brazil and Latin America

The Comets head to Brazil and add guitarist and interpreter Joe Oliver – but he is unable to interpret Portuguese which is spoken in Brazil. The concerts are all sold out throughout Latin America.

45 – Decca – Whoa Mabell b/w Chiquita Linda (Un Poquito De Tu Amor) – September, 1958

Writing on the Wall and Comets Moonlight

“In 1958 record sales for Bill Haley and His Comets were slipping at Decca, so the Comets were allowed to do some “moonlighting” work. This was one result and “Week End” made the Billboard Top 40. As Billboard reported at the time, this caused a problem as the Kingsmen were expected to appear on American Bandstand and other TV shows to promote the record but couldn’t because they’d violate the contract with Decca.

A “road band” version of the Kingsmen was formed for concerts and TV appearances as a result. Obviously this is not to be confused with the group that recorded Louie, Louie, but “Week End” is occasionally listed in error as one of the later group’s recordings.”

45 – East West – (as the Kingsmen) – Week End – Number 35 Hot 100 b/w Better Believe It – September, 1958

45 – Decca – Corrine, Corrina b/w B. B. Betty – November, 1958

45 – Decca – I Got A Woman b/w Charmaine – February, 1959

45 – Decca – (Now and Then There’s (A Fool Such As I) b/w Where’d You Go Last Night – March, 1959

45 – Decca – Caldona – Number 113 Bubbling Under b/w Shaky – June, 1959

45 – Decca – Joey’s Song – Number 46 Hot 100 b/w Ooh! Look-A-There, Ain’t She Pretty – October, 1959

45 – Decca – Skokiaan (South Africa Song) – Number 70 Hot 100 b/w Puerto Rican Peddler – January, 1960

1960 – Motion Picture “Here To Stay”

The Comets appear in the German motion picture “Here I Am, Here I Stay” starring Caterina Valente – 1960

45 – Decca – Music! Music! Music! b/w Strictly Instrumental – 1960

The Waning Years – The Legacy

The Comets’ story takes a sad turn as Haley’s enterprises tumble into bankruptcy – He extended his efforts too far and has invested in many artists who would never realize any success. But the glory days were gone – Haley would continue with various recording efforts and revivals of sorts – but it would never be the same – as is the story for nearly every rocker. But he did it his way. He believed in rock and roll and saw it through – launching a sound that would change the world!

45 – Warner Bros. – Tamiami b/w Candy Kisses – January, 1960

From 1960 to the Final Days

The final most valid Comet lineup included long timers and business partners Billy Williamson and John Grande – with guitarist Johnny Kay, drummer Ed Ward, Al Rappa, Franny Beecher and Rudy Pompilii rounding out the lineup. Grande departs in 1962 as does Beecher and Ralph Jones – Williamson leaves in early 1963 – There would still be a Comets’ lineup for years to come but they would never again blaze through the sky as they once did.

I saw Bill Haley and the Comets only once – in 1973 in Fresno, California in a “Caravan of Stars” tour that included The Chiffons, the Shirelles, Ron Holden, Dorsey Burnett, Freddy Cannon, Chubby Checker and Big Joe Turner. Turner was escorted onto the stage to a chair due to his age and being crippled – where he sat and pounded out “Shake, Rattle and Roll” with his original lyrics. Bill Haley and the Comets would follow with “Rock Around the Clock” and the world was a great place!

(John Haley reports that with most of the recordings shown below – proceeds were usually confiscated by the I.R.S. for back taxes. – I am only including recordings for which I have located images – His entire discography around the world is stunning and well preserved in “Sound and Glory”.)