Musician’s Notebook

We can’t really move ahead to the Great Rock Explosion without mentioning the Hoy Hoy era. The phrase, itself, was coined by Cab Calloway (”Minnie The Moocher”) back in 1937, and was used through the Forties and early Fifties by R&B musicians who played their music faster, stronger and (occasionally) a bit sexier.

It also defined the music of R&B artists from the poorer neighborhoods — guys who had to work harder and play louder in order to be accepted by the mainstream rhythm-and-blues artists. In this case, “hoy hoy” meant “insignificant”. But some of these artists, like Chuck Berry and Little Richard, went on to become true pioneers and influences in the world of rock-and-roll!

Since most of the Hoy Hoy artists were pushed back into obscurity by radio stations and record companies alike, the field was opened for groups like The Crows, Orioles, etc. (mentioned in the last post) to take the stage. It was at that point that rock radio momentarily “surrendered” itself to the schmaltzy, slow-dance romance of the crooner groups.

It wasn’t until the record-buying audiences flipped … the … records … over that rock really began to catch on to the mainstream white listener. But there was one fellow who was able to bridge the gap between black R&B and restless white teenagers … and set the stage for an eventual INVASION!

Now, I mentioned the Hoy, Hoy era of R&B back at the first of the ’50s decade — and especially the way the term was used to describe “insignificant” acts. Well, this next line is important:
If it hadn’t been for the “insignificant” acts like Chuck Berry, there wouldn’t be rock-n-roll as we came to know it!
The reason’s simple: The Southern acts couldn’t really afford the fancy horns, etc., for their shows … so they relied on heavier guitar and drums to fill in. So, in reality (and despite whatever you read in these fancy “rock history” things), there’s the start of MODERN rock-n-roll!

One of the acts to start “small” and build his way up by using the Hoy Hoy R&B along with the louder elements we mentioned earlier was the legendary Little Richard.
His flamboyant style, coupled with his lively gestures, revved up the rock engine across-the-board. But he was held back from reaching the white audiences.

That was all changed when a young truck driver from Memphis, who’d already patterned his crooning style after the great Dean Martin, tuned into Berry and Richard’s R&B Hoy Hoy and, by using the simplest of instruments and what he’d picked up from the new rockabilly movement, became the superstar who bridged the gap between “black” R&B and “white” audiences — turning it into solid ROCK!

Okay, Rockaholics, that’s it for this edition of the Notebook! Until later this evening, remember to keep your eyes on the skies, your feet on the ground, your heart with the music — and I’ll see ya on the flip side …