Opening of the
BILL HALEY
Museum Munich (Germany)
by Otto Fuchs

On October 27th 2007 the first ever Bill Haley Museum opened it's gates in Munich, Germany at Schleissheimerstraà¸e 321 / Frankfurter Ring.

In March 2007 The Original Comets Marshall Lytle, Dick Richards and Joey D' Ambrosia were in presence at the laying of the comerstone. And for fall 2007 Klaus Kettner the initator of the museum and President of Hydra Records flew Bill Turner in to open the museum.

Turner a long time friend of the Haley family, and one of Bill Haley's outstanding guitarists from the 1970s, was thrilled to do so:

"I was indeed honored to 'officiate' at the ribbon-cutting ceremony for the Hydra Records Bill Haley Museum...that part was a surprise to me - I didn't know about that until about an hour before the event! Had I known, I would've had someone obtain a switchblade knife for me - I'm sure everybody would've gotten a kick out of that ... especially all those who wore the black leather jackets!"

Besides of Bill Turner many high class musicians and insiders were in presence such as Paul Worges, reknown as the german Bill Haley since the 1950s, Rainer Koschorz (the first actor to portray Buddy Holly in the german version of the succesful West End musical Buddy), Chuck Herrmann (Munich rock & roll dj legend), Pete Anderson and others.

Coinciding with the opening of the Bill Haley museum was the 30 year anniversary of one of the oldest rock & roll music magazines - The Rock & Roll Musik Magazin. The publishers of the magdecided to use the occasion, and celebrated the very same day with a huge concert in Munich.

Klaus Kettner sees the mission statement of his museum to honour the life & work of Bill Haley "The Father Of Rock & Roll". He sheds light on one of the few figures in rock & roll history, of which not much is known - this thanks to Haley's own wish to keep most things private and not widely published.

What is widely known is that Bill Haley & His Comets changed the landscape of music with their multi-million selling "Rock Around The Clock" in 1955 when the song was chosen as theme song to the youth drama "The Blackboard Jungle" starring Glenn Ford and a young Sidney Poitier.

This historic recording is now the best selling rock & roll single of all times. Haley changed the lfiestyle of the post war youth internationally and opened a new musical age. Still actual and valid to this very day.

In Britain and Germany Haley was the first artist to sell a million records, up until now Haley sold 150 Million copies of his recordings worldwide.

Klaus Kettner & Hydra Records opened a site with a never before seen richness in recordings, original documents, music instruments (for instance the legendary steel guitar of Comet Billy Williamson), Gold records, awards, film posters, press clippings and many more which can bee seen in a permanent exhibition.

The Bill Haley msueum of Hydra Records wishes to inform the public in an entertaining way about the probably most important figure in rock & roll music - Bill Haley & His Comets may never be forgotten.

BILL HALEY MUSEUM, Schleissheimerstraà¸e 321 / Corner Frankfurter Ring, Munich Opening Times: Tuesday - Friday 12.00 - 18.00h, Saturday 10.00 - 15.00h Infos: rockithydra@t-online.de / Tel. 0049 - 89-3113918



The Bill Haley Night

For the evening of a historic day of rock & roll in Germany Klaus Kettner and HG Hartig (Publisher of the longest running german r&r muisc magazine - simply called Rock & Roll) put together an outstanding night, celebrating the opening of the museum and the 30th year anniversary of the R&R Magazine.

At 8.30 pm Chuck Herrmann, the dj in charge, asked Rainer Koschorz to enter the stage. Koschorz was honoured to be the MC of the evening and presented us with a hot new rockabilly outfit from Germany - 45rpm. A four piece band, with the charming and sexy Sandra on vocals 45rpm put back the feeling of nights when rockabilly gals such as Janis Martin and Wanda Jackson rocked the joints. "Stop Look & Listen", "My Boy Elvis", "Ich will keine Schokolade" (the german take on "Percolator"), "Eeny Meeny Miney Moe" ... are in the reportory. Sandra's stage presence is sympathic, sexy, teasing and the same time innocent. Look out for 45rpm, if you have the chance to see them, don't miss out!

After their encore, Chuck Hermann spins some raw & early Elvis Presley records. Shortly afterwars Marty & His Rockin Comets, an instrumentally fine band from Germany - dedicated to the Northern Sound of Rock & Roll are onstage.

Then one of the stars of the evening hits the stage - MIKE BERRY. Very youthful, considering he's sixty-five by now and with great charisma (as I'm assured by the young Rock-A-Bella's in the audience) he fills the Max Emanuel Brewery, where the event is held, with his great presence.

His material consists mostly of Buddy Holly tunes, but also Elvis' "All Shook Up", Eddie Cochran's "Summertime Blues" or one of the classic rock & roll ballads cut both by Presley & Haley "A Fool Such As I". Then in the middle of his set he sets the reverb high on the PA - he explains that this was typical for his producer Joe Meek - to hide bad musicianship ... "Tribute To Buddy Holly" brings his show to a climax! And Buddy is always present - "Maybe Baby", "Tell Me How", "Heartbeat", "That' ll Be The Day". He gives his encore with "Sweet Little Sixteen".

Then Marty & His Rockin Comets continue with a tribute show to Bill Haley, almost all of his landmark recordings can be heard, then suddenly Bill Turner runs on stage, just as The Comets have done when Bill Haley was still with us - he plugs his Gibson in - and gives a note for note Danny Cedrone solo on "Rock Around The Clock".

Turners star shines bright outstanding solos, and a great voice - "Skinny Minnie", "No Particular Place To Go", "Maybelline", "I Walk The Line" ... are some of the songs he chose for the night. After 25 minutes he has to close his set - the venue is not to have live music any longer than midnight.

After the show, I visit Bill Turner & Mike Berry in their hotel. We chat away for about an hour, then Berry calls it a night and returns to his suite. Me & Bill decide to go to a sports bar in Munich. As we enter, country & western recordings of the 1950s and 1960s ring in our ear. So after another two or three hours we bid farewell to each other.

Let's close this article with some thoughts of Bill Turner: "The last time I was in Munich was in December 1976 with Bill Haley, and the venue he appeared in that night was the Kongress.Saal at the Deutsches Museum. Naturally I was very pleased about returning to Germany, as I knew there were many fans of the traditional Rockabilly; Rock & Roll; Jump Blues and Swing; and that the Original Comets were still being very well received there.

In 1976 I felt that Bill Haley's most loyal fans were in the German-speaking countries, because on that tour the audiences at many of the concerts actually sang along with him on the whole concert ... it was like listening to one huge choir singing (in unison, of course!) all the songs of Bill Haley - particularly on "See Ya Later, Alligator" ... so much so, that Bill could've stepped away from the microphone and the audience would've still carried the song right to the end! I thought this was astonishing, especially for a country where not everyone was English-speaking! The fans were excited to see him everywhere, but it was in the German and Austrian venues where the audiences sang along with every word. This, in addition to the fact that after I was no longer on the band after 1976, I continued to receive fan mail from quite a few people from Germany and Austria, and even had those fans come over to New York to visit me, for many years thereafter."

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Interview with

Roc LaRue

Recently Thommy Burns supported Roc LaRue in the recording studio. During a break between songs, Thommy participated in a "dream come true". Here is what happened:
           "As soon as we met Roc in Indy and realized he was the guy who did "Baby Take Me Back" it hit me that Nancy and I had danced to that song many times at Rockabilly weekends and at clubs in London years ago when Nancy went to school there. In fact as we were walking away from meeting Roc, Nancy said to me "He did that song? I know that one - EVERYBODY knows that song!"
           When you (Dave Moore) lined up the recording session I thought I'll have to let Roc know how important that song was. But even more I wanted to hear him sing it. All through the session I hinted at this and when he showed me a picture of him and Nancy from Indy and told me how authenctically 50's he thought she looked, I said "You know, she loves Baby Take Me Back".
           During a break in the recording Roc was still holding his guitar and I had my bass. You and Lance had gone behind the board to listen to something with Maynard. Roc said to me "OK Thommy - here we go" and he started to play "Baby Take Me Back". I immediately began to play along on the bass and sing with him ... every line. I could just see a light in his eyes, we were rockin' as if the years had never gone by. Then he said "I haven't sung that song for so many years - now you can tell Nancy that you played that "Baby Take Me Back" with me.
           I can't tell you how cool it was for me to do this song with him - especailly when I stop to think that he hadn't done it in such a long time. I'll tell you something else- Roc was so happy to have guys like you, Lance and myself working with him. Age doesn't matter, or the passing of time - for Roc it was a trip back to the 50's, not in a nostalgic way, but LIVING it, making music. Thanks for including me and giving me the opportunity.
           WOW!!!! I was there watching this episode and it put a chill up my back. You know, Roc recorded some really great Authentic Rockabilly at that session and the 45EP is due to be released around October 20th. (For more information on the 45 please contact Dave at Wild Hare Records 304-258-0014 or DaveHillbillyM@aol.com.)

Otto Fuchs: "Roc - where & when were you born, and who were your early musical influences?"

Roc LaRue:  "I was born in Fall River, Massachusetts on May 20, 1939.  My earliest influences were Hank Williams, Hank Thompson, Hank Snow (lots of Hanks here), and most of the original hillbilly artists of the 40's and 50's.  And of course Elvis in the mid 50's.  But it was Bill Haley that really got me excited about the new music sounds.." 

Otto Fuchs:  "When did you become involved in music - when did you have your first public appearances?"

Roc LaRue:  "Probably around 1954 - I was about 15.  I did some local contests.  Got hooked up with a local hillbilly band and ended up on radio 2 nights a week and TV in Providence, Rhode Island 6 nights a week.  Quite a job juggling my school books and playing, but it was fun." 

Otto Fuchs: "Your first recording contract was with RAMA a subsidary of Roulette Records. Did you enjoy the sessions? And do you think that RAMA did a good job promoting your records?"

Roc LaRue:  "I enjoyed every minute of it.  This was a new experience for this young 18 year old in the heart of Times Square, New York.  Hugo and Luigi were my A&R men and they were great.  Aaron Schroeder was there (he was writing for Elvis at the time also) as was Skitch Henderson. 
     Looking back on it, no, they did not promote the record as they should have.  They brought me back to record "Teenage Blues" and reissued it and plugged that song instead of "Baby Take Me Back".  But Baby Take Me Back took off on its own which ended up with promo tours with Carl Perkins, Eddie Cochran and Johnny Burnette.  I feel they dropped the ball - that song could have been a national hit.  I had a West Coast promo tour scheduled and a screen test at Universal International - which the cancelled.  Needless to say I was one broken-hearted teenager."

Otto Fuchs: "How did you experience "The Golden Age Of Rock & Roll" - what happened for you careerwise in the 1950s?"

Roc LaRue:   "We all look back on it now in retrospect and call it "The Golden Age of Rock n Roll".  We didn't know it then.  All we knew is that we were playing music that we liked and had no idea we were making history." 

Otto Fuchs:  "In the early 60s you enlisted in the US Army - and landed like Elvis in Germany. How did you enjoy it there? Did you also perform while in the service?"

Roc LaRue:  "Yes I performed in Germany.  Couldn't resist getting up on stage and swiveling my hips to those cute little German girls." 

Otto Fuchs: "You just recorded a brand new studio album - could you tell us where it was recorded and who participated in it?"

Roc LaRue:  "I do all my own recording at my home.  I have a digital studio recorder.  My sons Roger (drums) and Chris (keyboard) are included on the CD."

Otto Fuchs: "Can we speak of a first and a second career? Did you ever stop playing music - or did it go all through?"

Roc LaRue:  "After the Army I went back into country music.  That's when I met and did shows with Johnny Dollar, Elton Britt, George Morgan and others.  We missed opening for Hank Williams, Jr. by about a week.  That was when he was doing his Dad's songs.  My favorite country artists during the 60's and 70's were Buck Owens, Johnny Cash, Merle Haggard and  Waylon Jennings.   I hung up my guitar around 1974 to raise a family and moved from Connecticut to Florida in 1978." 

Otto Fuchs: "How did the music business change since the 1950s - and do you find it as thrilling being out on stage - as you did back then?"

Roc LaRue:  "I believe the music business, recordings, radio promo's, etc., turned for the worse.  It is very hard now for a musician to make his mark these days.  I don't like the radio programs as they all play the same song lists.  Country music today is not country.  All the male singers sound the same as do the female singers.  There will never be another time in history as the 40's and 50's when there were so many unique individual entertainers and personalities.  So many great artists and song writers came out of that era.  It will never happen again.............   

I find it very exciting to be on stage these days - even though I don't move around the stage like I used to.  Yes, I did Presleyesque type steps - but I think we all did.  But you know - for me it came natural."

Otto Fuchs: "What are your goals for the future - what is left for Roc LaRue to achieve?"

Roc LaRue:  "What is left?  That's a loaded question.  I am enjoying my semi-retirement years which have been made a little more interesting by going back on stage and performing here in America and overseas.  As long as my fans want to hear me - I will continue to perform."

Otto Fuchs: "Well, thanks for the interview - and will we see you perform in Europe in the near future?"

Roc LaRue: "Thanks Otto - and remember my next appearance will be this October 27th in Concarneau, France with Glen Glenn.  Then it is off to Paris for a week of relaxation and enjoy the sights and sounds of Paris.  Take care and "Keep on Roc'n".................."

Content is the property and opinion of the writer, not necessarily that of the RHOF

E-mail: Otto           Updated, January, 2007

Ronny Weiser Interview
Otto Fuchs: "Ronny, could you tell us when and how your interest in rockabilly music started?"
            Actually back then we called it "Rock 'n' Roll Music".
            My mother had old 78's of Louis Armstrong, Dixieland Jazz, the Platters, Cowboy songs, etc. I was ten years old and loved all that stuff, but I had not heard the words "Rock 'n 'Roll" yet.
            Yet I was already well predisposed towards America after listening to the above mentioned music, and having seen Western movies and Tex Avery / Tom & Jerry cartoons.
            Also we were living in Vienna at the time and the Hungarians had just revolted against Soviet domination. My father drove to the border to pick up the refugees who all hated Soviet Communism and loved America.
            It was in the summer of 1957 ('58?) in the resort sea village of Focette (near Viareggio) that, as my birthday present, my mother gave me my first Rock'n'Roll records: two 78's of Bill Haley & His Comets with "Rock Around The Clock", "See You Later Alligator", "Mambo Rock" and "Thirteen Women". Fantastic stuff!
            She also gave me my first pair of bluejeans and she told me to roll up the cuffs like the teenagers and the cowboys in America do! I was becoming more American by the minute!
            But what really made me flip for Rock'n'Roll was seeing the movie "Loving You" where Elvis, with his long sideburns, was driving in a red & white convertible wearing a red and white satin Western shirt, surrounded by hundreds of screaming teenage girls!
            The next summer (again in Focette),  while walking towards the beach, I heard the most amazing sounds a human could ever hear! The juke box at the American Bar is blasting out Little Richard's "Long Tall Sally"!  Next is "Lucille", "Ready Teddy", "Tutti Frutti", etc. I am stunned, simply stunned.
            That was it!!
            Rock'n'Roll was now my greatest passion,  and I had to move to America to visit Memphis and New Orleans and Texas and Tennessee and Hollywood and Denver and Las Vegas, all those magic places where Rock'n'Roll music and Tex Avery cartoons and Blue Jeans were being created!!



Otto Fuchs: "Despite for your label Rollin' Rock you are also known for having cut the last recordings of Gene Vincent. How was Gene as a person? And what memories do you have of The Black Leather Rebel?"
            Gene Vincent is one of my great idols.
            In the late 1960's in Los Angeles it was practically impossible to find any of Gene's records in record shops, except when I went to Aaron's Record Shop on Melrose where I found two UK imports of Gene Vincent's Greatest Hits. The owner told me that Gene lived in Hollywood. Telephone info had a listing for Eugene Craddock...
            What impressed me the most about Gene was his kind and friendly attitude towards his fans. As soon as I met him, Gene Vincent invited me over to his apartment, and prepared me some sandwiches and soda pop. A real Southern Gentleman indeed!
            He loved to talk about Rock'n'Roll, and all the artists he admired, and who were his friends, such as Little Richard, Sam Cooke, Carl Perkins, Brook Benton, Elvis, Fats Domino, Jerry Lee, etc., etc.
            He was upset that he could not find in Hollywood a backup band who had the Real Rock'n'Roll "feeling", instead of the "hippie" sound which was drowning him.



Otto Fuchs: "Please tell us when you founded Rollin' Rock and which rockabilly heroes you newly discovered for the label?"
            Rollin' Rock started off as a magazine circa 1970 to promote Real Rock'n'Roll and American Culture and Values. Soon thereafter I designed a Rollin' Rock logo and had 500 Jimmy Patton records pressed after signing a licensing agreement with Sage Records. Mr. Mooney at Sage was surprised that anybody would be interested in this stuff!!
            I found out about Ray Campi in 1972 when I was visiting some Rock'n'Roll fans in Berlin. They told me Ray Campi was living in Hollywood. So I decide to interview Ray. He goes on for hours and hours. Around 6:30 am he pulls up his tie and tells me he has to get ready for school! "Are you a student, Ray?" "No I'm a teacher." Wow!
            So I return home and try to get some sleep. It seems as if I was in bed only five minutes when somebody's banging at the door. My head feels like a train ran over it!
            I open the door and  I see the wind blowing photos of Hillbilly stars onto the Hollywood Freeway!  78's are falling on the floor and cracking into multiple pieces! My dog is chewing on some rare demo tape of some Hillbilly legend, whose tape is unraveling! 
            It was Ray Campi!!! He says: "By the way, Ron, I forgot to mention ...... " Six more hours pass by!! Or was it eight???
            A few days later he moves into my house and rents a room! That cat is DEDICATED!!!!
            Mac Curtis was a DJ on Country sation KLAC in Los Angeles.
            Jackie Lee Cochran was playing in a club on Santa Monica Blvd, billed as "Waukeen Cochran". When I saw the name "Cochran" I knew it had to be somebody rockin'!!



Otto Fuchs: "How did the revival of rockabilly music in the 80s affect your work? What were the bestselling artists of that time?"
            Not much really in America, but tremendously in Finland.
            Ray Campi, Mac Curtis, Johnny Legend and Jimmie Lee Maslon were best selling, because Rollin' Rock Records was very popular in Finland, outselling John Travolta, Donna Summers and John Lennon!! The average age of the Finnish fans was 12 years old!!!

Otto Fuchs: "For awhile Rollin' Rock ceased, why & how did you come out of "semi-retirement"?
            Because of financial problems, I suspended recording new material, but during the period when American and European fans thought I "ceased", or that I was "in retirement",  I was selling tens of thousands of LPS especially manufactured for export to Japan!
            The lack of financial means to support a family of five people (with Rollin' Rock's earnings) forced me to make adjustments, and to find additional sources of income.

Otto Fuchs: "You also worked with Bill Haley's Comets, and released two great CDs on your label. Can we expect a third?"
            Hopefully yes, although now I'm back into a situation of financial difficulties once more!

Otto Fuchs: "If you were to define rockabilly music, what would your definition be?"
            Originally Rockabilly Music was part of a sub-genre of Rock'n'Roll with an emphasis on guitars, Southern vocal, and standup slappin' bass.
            The word was rarely used in the 1950's by the general public, but was used mostly in the trade magazines such as "Cashbox" and "Billboard".
            Most Rockabilly singers considered themselves to be Rock'n'Roll singers. This is what I called it when I was a kid, Rock'n'Roll,  whether it was Doo Wop, New Orleans R'n'R, Hillbilly Boogie, or guitar Rock'n'Roll.
            But today we often use the word as a straight replacement for Rock'n'Roll, which word has been desecrated by the 1960's Hippie Rolling Stone culture. We can see this at "Viva Las Vegas", which, while it's called a "Rockabilly Weekender", it also features Doo Wop, Rhythm & Blues and Western Swing artists.



Otto Fuchs: "What are your goals for the future?"
            My goals are the same as they have always been: to try to make more money, so that I can record more Rock'n'Roll Legends and new hot bands, and so that I can spend more money to promote Rock'n'Roll and Rockabilly,  hopefully till one day Rockabilly will be on top of the Hit Parade charts across the world!!!

Otto Fuchs: "Thanks for the interview."

Thank you very much, Otto!
Always Rollin' The Rollin' Rock,
Rockin' Ronny Weiser,
The Rockabilly Rebel Westerner From Las Vegas,
The Wild Wild West

An Interview
Marvin Rainwater
The following interview I led with Marvin Rainwater several months ago for my Rocket 88 Show on KRKT 99.1 FM Ventura/California.
             Marvin was the first guest artist on my radio programme - Jimmy Harrell (Alton & Jimmy), Dickie "Be Bop" Harrell Gene Vincent's orignal drummer, Marshall Lytle the bassplayer of Bill Haley & The Comets on the original recording of "Rock Around The Clock" and several other Haley classics, The Comets' 60s pianist Joey Welz and one time Comet lead guitarist Bill Turner were to follow, as well as Billy Lee Riley, Roman Self and Charlie Gracie.
             Some of this interviews have already been transcribed for the Rockabilly Hall Of Fame, the others will follow - beginning with Marvin Rainwater:

             Most people who would listen to Marvin Rainwater recordings in the 1950s found themselves asking "How does this man look like?".
             The answer is: He looked like someone who stepped out of one of Jack London's adventure stories - a big man with greggy looks from his Cherokee ancestors. The songs he sang throughout his career range from lusty to plain touching. Marvin spent four decades in the entertainment field, his career took him out of the rough honky tonks of the south to the sophisticated London Palladium near Oxford Street. This has given Marvin a backlog of stores - funny and entertaining.
             He shared those with me for my Rocket 88 Radio Show and the Rockabilly Hall Of Fame. Here some briefs - beside his own hits "Whole Lotta Woman", "Gonna Find Me A Bluebird", "Running Bear", "Half Breed", "Moanin' The Blues", "The Albino Pink Eyed Stallion", "Henrietta", "My Brand Of Blues" and "City Of Angels" Marvin has written also hit material for other artists such as:
             "Be Good To Her" for Carl Smith, "I Gotta Go And Get My Baby" for Teresa Brewer, plus over one hundred performers covered his composition "Gonna Find Me A Bluebird"!
             "Whole Lotta Woman" a big seller in the US, altough not making it to the number one spot like it did in England, where it knocked Elvis Presley from the Nr.1 Spot of the New Musical Express Charts, was also recorded by Vanessa Redgrave for the Oscar winning movie "Georgie Girl".
             Marvin Rainwater also penned "I Miss You Already" for Faron Young and Billy Joe Royal took the song not too long ago to the Billboard Charts.

And now Marvin Rainwater's side of the story:

Otto Fuchs: "Marvin Rainwater is about to release a new CD - what is your favourite music Marvin and is this to be found on your new album?"
Marvin Rainwater: "Well, you know Otto - I loved all kinds of music ever since I was a little boy, which was a long time ago, but I believe my favourite kind of music is rockabilly - because it is so exciting. And the people get into it so deeply - that gets me so excited when I am doing a show - I'm going into a trance. It doesn't happen with other kind of music - so taken from them I'm trying to take this excitement and put it into this new CD with new songs and new ideas and this kind of excitement we have."

Otto Fuchs: "That sounds great - I will do my best to promote that album. Marvin, you played both the London Palladium and the Hemsby Rock & Roll Weekender - two very different experiences as I could make out when I witnessed rock & roll performers in both venues."
Marvin Rainwater: "Well Otto, it was a great difference. Back when I did the London Palladium I did country music - and people were not into country music that much. It was a wonderful experience but the Hembsby thing - that was so exciting and I was so into it, that I just felt like a king when I was onstage. I just felt wonderful and excited!"

Otto Fuchs: "Marvin your talents were spotted at the famous Arthur Godfrey's Talents Scout - where Patsy Cline was noticed the first time by a wider audience as well - could you tell us about your first experience of being in the public eye?"
Marvin Rainwater: "The Arthur Godfrey Show was brought up by my brother Ray who was my talent scout - he was very calm and collected - but I was scared to death. I've never been on a big show before, and I was really shaken. But I had no idea what was gonna happen - except that I was just gonna give it every thing I had - and I did. (Laughs) And when it was over with I was so scared I ran back down the street, out of the backdoor back to our car - and got into that car. And when I found out I won because they were hollering, yelling and raising. And Arthur Godfey said "But, where is he?" And Ray sent someone to get me and he said "What are you doing out here?" And I said "I'm scared!" (Laughs) I went back in and we had a wonderful time - and I was on his show for about a year. He was a very wonderful warm man and he took care of us scared people and made us feel relaxed and comfortable."

Otto Fuchs: "You also recorded "The Majesty Of Love" in a duet with Connie Francis - could you tell us about her?"
Marvin Rainwater: "Well Connie Francis was a beautiful little 18 year old little girl, when I first met her and I done pretty good on MGM. And MGM came and asked me if I was going to record a song with this new girl. And I asked how she sounded, they played me a record of her and I said "That's beautiful". And the strangest thing is that when we cut this record I was so impressed by her beautiful voice, and she was impressed by my country statures you know, and so she kinda switched over and tried to sing my style of music and I was so impressed with her. And I switched over and tried to do her type of music. And this "Majesty Of Love" - if you isten to that you will see how this turned out. She was acting country, and I was acting big shot pop, but it was a great song. And I'm very proud of this record, I always think it is wonderful."

Otto Fuchs: "In 1957 "Gonna Find Me A Bluebird" made the Top 40 of the Billboard Charts, and in 1958 "Whole Lotta Woman" by the way one of my favourite records of you made "only" the Top 60 in the US, but all the way up to Nr. 1 in the United Kingdom. Do you think that in the US you didn't gain the chart success you did deserve because you performed in native american coustumes in public, we'd like to also threw in that our sister station First Nations Broadcasting in Alaska and North Canada is a native station - so I think this would be interesting for our listeners over there and also her on Rock It Radio Calfornia - maybe you could also tell us how you see the Natives in todays America?"
Marvin Rainwater: "Well "Gonna Find Me A Bluebird" did quite well for me, and on the success of that I needed another big record, so I worked very hard and wrote this song "Whole Lotta Woman". And everybody thought it wouldn't work you know they thought it was a strange song. I really belived in it - and I knew it was gonna go. Then it took off, and all of a sudden all the stations banned it cause they said it was dirty. Can you imagine "Whole Lotta Woman" the lyric dirty?
             Anyhow they wouldn't let it let play in this country, over in England it made it to Number One and when I heard it trippling back over I was very happy - because the song justified my faith in it.
             You were talking about the Native Americans Otto - Indians used to throw beer bottles over me, and now with all the big casinos they have all over the country they are throwing one hundred dollar bills. I love em - and I'm glad that it turned around for them. I'm writing a song for them "The Indians Are Smiling Again" and I'm very happy for them - and they treat me awfully well when I work the casinos - they give us good rooms, a good place to work, and treat us like gentleman!"

Otto Fuchs: "Marvin could you tell us a little bit about your musical beginnings and who your influences were?"
Marvin Rainwater: "When I was little boy - about six years old - my mother got me a piano. Because I loved music and she wanted that to develop in me if she could, we were real poor folks - and she had to take in washings to buy me a piano and give me lessons - bless her heart.

             I went on to be a concert pianist I was going to really go into the world as a concert pianist. But when I was about 15 I got a tip of my thumb cut off with a machine which wrecked my piano playing. I can play now, but my thumb had swollen up so bad that I could hit less than three notes, and so it ruined my ambitioun in becoming a concert pianist. I went into the Navy and heard ole Roy singing "Way Back In The Hills" and all of a sudden my heart fell in love with a different kind of music. I started loving that, and writing it and then I put it own to the rockabilly brand in the 58 - the "Whole Lotta Woman" the 58 music really turned me on. I been around the world many times with rockabilly music and I never love anyhing like I do that."

Otto Fuchs: "How was it for you to be with all the 1950s rockabilly frenzy with screaming girls and sold out tours - was there ever a time when you said "Now, it's enough - I rather write songs then go out and perform?" or did you always take it as given of how it is to be in the public eye - well your thoughts on this please Marvin."
Marvin Rainwater: "When I had this success with "Whole Lotta Woman" at the time when it was Number One, we were absolutely mobbed everywhere we went. But I was thrilled to death by that I was a thirty four year old young man. But one time we went to a record autograph session in a record store and the big plate glass windows were holding out the people on the outside and the inside was so full of people - which kept the windows from crashing in on us - and then big desk we were standing at - this whole mob, they didn't do that by purpose they were pushed by others, the whole group of people started inching their way in to this - and we were mobbed at this big desk, this and a wall between us - and my security got me out there right now and got us in a limousine and took us away. And I thought - "Oh Mercy - if this is what poor Presley has to go through I wonder if I want to go through it or not." Cause I love my privacy, but I also love meeting people, perform and shake their hands."

Otto Fuchs: "Marvin Rainwater celebrated his 75th birthday on the 2nd July of last year, Bill Haley would have celebrated his 75th birthday four days later on the 6th of July - and I guess many will still recall what Bill Haley used to say - "When I'm seventy five and if you still can clap your hands, and I still can hold a guitar we'll still have rock & roll - I still be playing!"
Marvin Rainwater: "God bless Bill Haley's heart - he wanted to do it until he was 75 and I am doing it. I'm just getting started - and I think rockabilly music keeps you young, that's what I think and I'm gonna keep it doing it as long as I can. And I feel like a young man right now, we tour through the world my little wife Sheree and I, the rockabilly just makes people really happy who go to this festivals!"

Otto Fuchs: "That was it already with the first ever interview guest here on the Rocket 88 Show, and I'm thankful that the pioneer was Marvin Rainwater - who will always remain one of my idols - thank you Mr. Rainwater!"
Marvin Rainwater: "Thank you Otto for such a wonderful interview and I hope all your listeners have enjoyed this little chat we had - and I want you to thank them for listening up to our wonderful music and once in awhile to one of my rockabilly records - so take care Otto we love you - by bye! By the way - come and visit us in Northern Minnesota - it's always 20 below!"

So a big thank you to all those who tuned in when this interview was first broadcast on Rock It Radio, and a very special thank you to all of the rockabilly enthusiasts who read my column on the Rockabilly Hall Of Fame - like Marvin Rainwater said "We love ya ... "

An Interview
Roman Self
Here an interview printed exclusively for the Rockabilly Hall Of Fame. It was led by me with Roman Self - son of the rockabilly legend Ronnie Self - for a tribute to Ronnie Self show of my Rocket 88 programme on KRKT 99.1 FM Ventura/CA (www.rockitradio.net) - coinciding with the release of Roman Self's first solo CD by the same title, released on the Rockabilly Hall Of Fame Label.

Otto Fuchs: "First of all thanks for agreeing to do the interview."
Roman Self: "Thanks Otto."

Otto Fuchs: " Ok - let's kick it off with the questions: Roman could you tell us where you were born and raised and who your early (musical) influences were?"
Roman Self: "Sure, I was born and raised in Springfield/Missouri. My early influences besides my father Ronnie Self were Roger Miller, Jerry Lee Lewis, Carl Perkins, Buddy Holly and I can't forget the late great Elvis Presley!"

Otto Fuchs: "How was it 'to grow up' with a father who was a rock & roll star?"
Roman Self: "Well at the time I was pretty young and for me it was a normal life. We always had a few famous people coming in and out the house and you know that was normal for me. Now, that I look back on it it was pretty amazing."

Otto Fuchs: "What was the reaction when your parents divorced?"
Roman Self: "Well Otto, my mom and dad were married and divorced three times and not to mention that they always were in and out on the road tours and recording sessions and all that stuff. Life wasn't that much different for me, so it didn't affect me in a negative way. I still saw him about the same as when they were married and he and mom were very close until the day he died!"

Otto Fuchs: "You also performed with your dad - could you tell us about it?"
Roman Self: "Yeah, when I was 14 I moved to Nashville/Tennessee with dad and we'd gone down to hang out at the famous Tutti Lounge, of course a lot of people recognized him and insisted that he'd get up and do some songs on stage. So he brought me up and me and him sang a few songs together and had a really good time and it really gave me some awesome memories - his picture is still on the wall down there somewhere."

Otto Fuchs: "Were any recordings made by your father featuring you?"
Roman Self: "Well, there are no actual released recordings featuring me. There were however a few demos made, where dad had taken all of us kids, all my brothers and sisters into the studio and put down some songs he had written. And it was a lotta fun - I doubt anybody will find a copy of those."

Otto Fuchs: "What happened to your career after your time with your father?"
Roman Self: "Well, I continued writing my own songs and singing and playing guitar - mainly for friends and family. Right after that I'd go in to the US Air Force and was stationed at California. I just played and sang there in my free time while I was in the service."

Otto Fuchs: "You also performed with your brother Ronnie with the band Rock & Roll Express - how far did the career of this group go?"
Roman Self: "Well that was after my military days and I hooked up with my brother Ronnie we moved down to the Florida Keys, where we formed R&R Express. By the way the R&R stood for Ronnie & Roman. We were pretty much an instant success you know, we pretty much packed the house everywhere we went. It didn't take us long to create a pretty good following. Our sets consisted basicially of a mixture of old time rock & roll, rockabilly, 50s doo-wop, southern rock and the people loved it - cause there seemed to be something there for everybody. And over those years performing in Florida, me and my brother were invited to play a fundraiser for kids - it was a pretty extensive crowd - about 50 000 people and it was an incredible experience. We later moved up the coast to Virginia, continuted to play throughout Virginia Beach, Norfolk, Hampton places like that. I eventually settled down, took a job as electrician, got married and concentrated on my writing again."

Otto Fuchs: "Roman you recorded for many different labels - could you let us in on your discography?"
Roman Self: "Oh yeah, back in the early nineties I decided to take some of my material into the studio and do some demos. The producer at the time requested to release two songs on his own independent label along with several other artists. It was just a mixture of people on an album to include Fats Domino, Hank Williams Jr., Doug Kershaw - people like that. I also made a trip to Nashville during that time and demoed five more of my songs with a single released on vinyl called "In My Sides". I was also invited to play at the Hampton Coliseum and places like that for fundraisers. I'm really big on fundraisers - I really like to help people out. And that at the Coliseum was for the American Cancer Foundation."

Otto Fuchs: "You just released a brand new album on the Rockabilly Hall Of Fame Label - would you tell us about it?"
Roman Self: "Well Otto, I decided to move to Nashville just a couple of years ago and started to get serious with my music. I met Bob Timmers who created the Rockabilly Hall Of Fame website - he asked me if I'd be interested in recording a CD as a tribute to my dad. After I thought about it for a little while - I decided that it might help to keep my dad's music alive. We did have a hard time picking out which songs we were gonna do on CD. There were just so many to pick from, we had four weeks to recreate, practise and get the songs down before entering the studio - so that wasn't a lotta time. The CD "A Tribute To Ronnie Self" turned out really good - as I sat back and listened to the finished product I said it was pretty awesome. All I could really think was - I hope dad would like this. This was the first full CD I'd ever done - it was really a big honour to do it - some of my dad's music, so I'm kinda proud of it."
Otto Fuchs: "Roman, you also performed in Vegas this year - what was this like?"
Roman Self: "Oh man, that was a big honour to perform at one of the biggest rockabilly festivals in the US. I attended Rockin' Ronny Weiser's Pre-Vegas Meet & Greet. He invited me up to do some songs there, so I in return of course - returned a favour and got him up onstage during my set in Vegas to get help me out with the song "Ain't I'm A Dog". And the crowd seemed to like that a little bit, and they were all awesome and wonderful welcoming me into the world. I had the privilege of meeting other artists oh many artists - such as Glen Glenn, Barbara Pittman, Art Adams, Commander Cody - just a whole bunch of people out there. I really had a great time - and look out for the next one."

Otto Fuchs: "I know this is a very personal question - and I understand if you do not want to answer to this - how did you react to your father's death?"
Roman Self: "Well, I was still in the airforce at that time out in California. That was a really tough time for me, it really hit me hard. I feel that no one gets over a family members death - I'm still not over it, but it's something you learn to live with. And I can still see him in my mind, playing guitar and singing and everything, so the memories are really great and I always smile when I think of the time I spent with him."

Otto Fuchs: "What are your favourite songs by your late dad?"
Roman Self: "Oh, my most favourite songs dad wrote have never been released to the public, you know I consider bringing some of those out in the near future, because a lot of people asked me to do a second tribute album to him and he had quite a catalogue - that consisted of I guess you know well over 500 songs. So between my music and his I have a lot of work to do."

Otto Fuchs: "Have you any requests - we'd love to give them some airplay."
Roman Self: "Well, yeah if you don't mind I'd like to hear "Bop-A-Lena", "Ain't I'm Dandy", probably whatever you got there. I really enjoyed doing "You Are The Mama Of My Song" and it's wide open, I really had a ball doing that one - whatever you can come up with - I'll enjoy."

Otto Fuchs: "What do you think of some of the newer rockabilly acts?"
Roman Self: "I'm very impressed - it just blows me away to see and hear them recreate history, the clothes, the sound, the style - man to hear them do dad's stuff it just makes me grin from ear to ear. They are doing a great job in keeping the music alive - I'm telling you that."
Otto Fuchs: "Rockabilly will celebrate it's 50th birthday soon - why do you think are there still so many young people out there who appreciate the music, and in a way also adopt the 1950s lifestyle."
Roman Self: "Well to me I think it's the simplicity and the excitement and the creativness and the freedom of expressing how you feel in the music and in the life. A lot of the music today has become so artificial in my opinion, this is a good way to go, get the grain and be a rebel, and feel the music again."

Otto Fuchs: "What is going on for you currently?"
Roman Self: "Well since the release of my CD "A Tribute To Ronnie Self" and my performance in Vegas and endless help by Bob Timmers at the Rockabilly Hall Of Fame I'm staying pretty busy. I was invited to perform for the city of Burns here in Tennessee, for the Rockabilly Hall Of Fame - it was there 50th anniversary, Eddie Bond had called and asked me to perform with him at one of his shows. Glen Glenn has invited me out on the road with him for a little while. And there are several big shows being worked out right now, and many requests coming in for me to do a follow up CD - like I said earlier. I've also had the pleasure with meetings with all kinds of people - DJ Fontana, Scotty Moore, James Burton, Narvel Felts, just a whole ray of people - it's a real rare treat and a good opportunity meeting this people. It's really fun."

Otto Fuchs: "Are there any plans for Roman Self to go to Europe?"
Roman Self: "Oh sure, it's been suggested by a few people. I've talked with Tony Wilkinson, Stuart Coleman, John Manners - Glen Glenn even mentioned it that I should head into that direction. I'm looking forward in working hard on getting that way soon. It would be an honour to get over there soon and meet all of the fans that loved dad's music so much."

Otto Fuchs: "What are your goals in life and music?"
Roman Self: "I would just like to live live to the fullest and give people a chance to laugh, kick their heels off, and have some fun, as long as they keep listening I'm gonna keep on playing it. Anyone who'd like to get a copy of "A Tribute To Roman Self" can go to to www.rockabillyhall.com/RomanSelf.html or you can go to www.amazon.com - we see you all there."

Otto Fuchs: "Ok, Roman that was it already I'm really happy that you agreed to do the interview - thank you very much indeed - all the best from Vienna/Austria."
Roman Self: "Thank you Otto."

Vienna On The Rocks!
Bill Haley's Original Comets
At the Metropol
It was June the 24th 2003 when the original members of the first rock & roll band ever: The Comets consisting of Marshall Lytle (bass), Dick Richards (drums), Franny Beecher (lead guitar), Joey D'Ambrosia (saxophone) and Johnny Grande (piano) with the Londoner Jacko Buddin standing in for the late great Bill Haley played the Metropol Theatre in Vienna/Austria.
            I was early on location, and was waiting among other fans for the doors of the Metropol to open. It was a hot, sunny tuesday in June, an excited viennese audience gathering outside of the house that would be rockin' - when Ty Tender (an austrian Elvis soundalike), Klaus Kettner (the head of Hydra Records and Rock It Concerts - companyies responsible for recordings and concerts by Bill Haley's Comets on the Continent) with all members of The Comets paved their way through the crowd.
            Making their way from the Metropol to a restaurant to taste the traditional viennese cusine, and about to expierience the "Gemt¸tlichkeit" (cosiness) Austria is so famous for
           . After the Comets had disappeared, the doors opened - and you could already purchase tour posters and CDs plus all the other typical souvenirs such as T-Shirts, Postcards etc. ... At the end of the show The Comets would patiently sign all of those items.
            In the back garden of the theatre you could refresh and feed yourself with viennese wines and austrian beer specialites, of course also non-alcoholic beverages and Gulasch, Bratw¸rstel, Wiener Schnitzel etc. ...
            At 8:00pm Michael Pewny went on stage to welcome the audience with Boogie Woogie of the 1930s and 1940s with accompanient by his piano only.
            After that it was time for one of the most popular austrian rockabilly bands - The Legendary Daltons. Dressed in edwardian drapes and making all honour to the title of their album "Teddyboy" (Indian Dreams ID 29.06.00) available over their website www.legendarydaltons.com JC "Bad Boy" Dalton on lead guitar (aka Christian Haas who ran for many years the rockabilly club Mans Ruin in Vienna), Tommy Lee Dalton leadsinger, CC Dalton (slap bass), Michael "half-pint" Dalton (rhythm guitar) and Genereal FD Dalton (drums) bursted into their hard edged rockabilly with Carl Perkins" "Blue Suede Shoes" for opener.
            Many of the attending audience never had heard rockabilly like that before, but truly were blown away by the bands mastering of their instruments, and the great singing abilites of Tommy Lee. His voice is unique, but if I would have to compare it with someones then I would describe it as an amlagam of Warren Smith and Elvis Presley.
            "Summertime Blues", the immortal Ronnie Self hoiler "Bop-A-Lena", "Washmachine Boogie" among other well loved rockers like "Be Bop A Lula" to mention one more, really brought the house down. Of course the Legendary Daltons could not leave without an encore - they brought Michael Pewny back onstage who could show some great rock & roll piano on the Jerry Lee Lewis classics "Whole Lotta Shakin' Goin' On" and "Great Balls Of Fire" - if there would haven"t been an intermission and The Original Bill Haley"s Comets after, this band would have stopped the evening cold.
            After a 30 minute intermezzo - it was time to rock around the clock, dressed as in 1955 the Comets plus Jacko Buddin entered the stage, big applause followed their appearing. Some people standing close to me altough decided to laugh, they probably did because despite being the greatest rock & roll band on the planet, these american senior citizens looked very much like they had spent the time before the gig in an oap-home.
            But after The Comets had launched into "Shake, Rattle & Roll" the great 1954 rock & roll adaption of the Joe Turner rhythm & blues hit, their anticipation manifested itself now different - in clapping their hands as hard as they could. The sound was there - not different to the original Decca version but clearly played with more fun and enthusiasm. This gentlemen don"t play their hearts out solely for money - they love what they do and this connects them in a very special way with their audience!
            Also in their reportory was the 1956 Bill Haley & The Comets hit "Birth Of The Boogie". Then Joey D'Ambrosia suppyling hot black sounding saxophone and singing on "I Wan't You To Be My Baby" a song from the Comets most recent album "Aged To Perfecion" relaesed on Ronny Weiser's "Rollin Rock Records".
            Franny Beecher introduced us "See You Later Alligator" in his high-pitched voice as he already had done on the million sellers orginal recording. After that the Comets went into the first rock & roll song that entered the Pop-Charts of Billboard and Cashbox in 1953 - "Crazy Man Crazy".
            It was in 1955 when Joey, DIck and MARShall quit the Comets to from the JODIMARS - one of this bands songs - "Now Dig This" gave name to the best british rock & roll magazine. Dick Richards set his foot to center stage, handing over his drum sticks to Jacko Buddin - and sang us this rock & roll classic. By the way Jacko is a good drummer, but of course his abilities on the instrument, but of course are not to compare with his talent in sounding just like the great Bill Haley! "Dim Dim The Lights" another gold record for Bill Haley & The Comets (which also made it into the high regions of the rhythm & blues charts) was next - it wasn"t sung by Jacko Buddin but by Marshall Lytle who approached this song in his own unique way doing the song just. . Then "Mambo Rock" with Jacko Buddin on vocals, great sax and lead guitar work by Joey D'Ambrosia and Franny Beecher in the tunes middle.
            The show continued with Louis Prima"s "Bouna Sera" sung by Joey D"Ambrosia before he started the song with Prima-like vocals, he told us that the band is playing nowadays the Hard Rock Casino quite often - a rock & roll casino "cause there they trash the rooms before you check in" ...
            "Bouna Sera" had the audience clapping right through til it ended! Then "R-O-C-K" from the film "Rock Around The Clock" and also title track of Bill Haley & The Comets" 1976 Muscle Shoals recorded Sonet album of the same name. Good handling of this classic, altough I was disappointed that Jacko Buddin didn't stick to the very cool original lyrics ...
            Very nice to hear Marshall Lytle back on vocals with the wonderful ballad "You "re The Greatest" another title from the bands newest outing "Aged To Perfection" and Joey D"Ambrosia supplied a very emotinal saxophone solo to it! As Marshall pointed out to the audience "You're (Joey) The Greatest" - Vienna agreed with loud applause. So Joey had to give them more reasons to think that he was the greatest - with a cover of the Stevie Ray Vaughan hit "The House Is Rockin"" after which the Comets 1998 Rockstar album was titled - a showcase for Joey's singing qualities and finally bringing Johnny Grande with a hot rockin" piano into the spotlight. No wonder that he was employed by Bill Haley from 1949 until 1962 - ending at his request an equal partnership with Bill Haley, the late steel-guitarist Billy Williamson and the bands mangager Lord Jim Ferguson.
            Franny Becher showed us why he is anticipated by many rock journalists as one of the greatest lead guitarists of 1950s rock & roll with "Steel Guitar Rag" - all of the band could also be heard with a solo in "The Saints Rock & Roll" in which Dick Richard showcased his abilities with a 5 minute long drum-solo, Marshall Lytle riding his bass, lifting it to the air, laying on his back, still playing it - and the others D'Ambrosia and Grande giving demonstration of their proffessional musicianship.
            With the best selling rock-single of all times, "The National Anthem Of Rock & Roll" (Dick Clark) "Rock Around The Clock" The Comets closed their set. For the first encore they decided to bring us "Rock The Joint" the bands first hit from 1952, and probably the first rockabilly-single of all times. They were joined by austrian Elvis-soundalike Ty Tender on "Rip It Up" also a Top 25 hit for the band in 1956, and brought a medley of "Rock Around The Clock" and "Rock The Joint" - the shows finally with all performers of the evening - The Legendary Daltons, Michael Pewny and Ty Tender joining in!
            A marvellous and moving rock & roll experience - Elvis may haven taken over the throne of Bill Haley as The King Of Rock & Roll - but never employed such innovators of music like Bill Haley - The Original 1955 Comets!

Bill Turner Interview

Commemorating the 50th Anniversary of the first ever rock & roll recording to enter both the Billboard & Cashbox Pop-Charts in 1953 - Bill Haley & His Comets' "Crazy Man Crazy" I interviewed Bill Turner one-time lead guitarist of Bill Haley's Comets for KRKT 99.1 FM Ventura/California.
            Read now about the early days of rockabilly, the career of Bill Haley & The Comets, and the dark sides of showbusiness, an acknowledging of Bill Haley's importance in the development of rock & roll by Sam Phillips, when he met the youngest son of The Father Of Rock & Roll at the induction of Bill into the Rock & Roll Hall Of Fame. This is an in-depth and accurate account by one of the music biz's most talented performers shedding light on Bill Haley's career in his final years; something completely overlooked by the Haley biographers - Bill Turner:

Otto Fuchs: "Bill - can you tell us when you heard first of Bill Haley & His Comets - and did you ever imagine yourself onetime being a full-fledged member of the band?"
            Bill Turner: "To tell you the truth Otto, the first time I ever heard of Bill Haley & The Comets...I had to be about 7 years old! The first time I heard of them, it was on a newsreel on the night time news. I remember my father was watching the television and there was some news report about a big riot going on. I remember standing there watching the film of it, and it was that 'grainy- grey' type of film...and they were tearing apart a theatre and I distinctly remember a guy playing the upright bass laying on his back lifting up the bass on his feet and still playing it!...and I remember distinctly the cameras zeroing in on a fellow playing a black guitar with a 'curl' on his forehead. The record of "Rock Around The Clock" was playing in the background--of course I didn't know it at that time...I thought it was a live concert. I never knew what that was...until many years later when I'd first saw the newsreel-footage of the Berlin riot and I began to realize that was 1958 and I would have been 7 years old at that time! I rembember that...I never quite forgot that!
            My first time that I had the record of "Rock Around The Clock" was on a 78...one of my cousins gave me a group of 78 records. I remember some of the records she gave me along with "Rock Around The Clock" was "Tonight You Belong To Me" by Patience & Prudence, and it was "Hey Babe" by The Rays, and "Daddy Cool" by another group, that I don't remember their name. It was on the orange Cameo label, so that would kind of date it around that time. That's about the first time that I'd ever heard of Bill Haley & The Comets. I didn't quite know who they were by name, but of course everyone in the world knew the record "Rock Around The Clock"! There was no way in the world that I would have possibly known that I would be playing with that band at any time - back when I was 7 years old!...I don't think that I was even playing...I started playing guitar when I was around 8 years old and I used to lay it flat on my lap like a Dobro because I was so small and the instrument was so big! Ironicially, years later I would become proficient on playing the Dobro, and the six string electric steel...but I had no way of knowing back then---it wasn't even on my mind! Interestingly enough, the first music I was really interested in was country, not rock & roll!...and more specificially so, it was bluegrass--the most traditional form of country music, which is played on the banjo, the mandolin, fiddle, acoustic guitar, upright bass and the Dobro. I always been a bluegrass man, since the very beginning - the rockabilly and rock & roll came a little bit later, I guess!"

Otto Fuchs: "How did it come that you joined The Comets?"
            Bill Turner: "The first time I saw Bill Haley was in September 1971, he was playing a club that was close to where I lived. It was a supper club called the Club 802, that was about 5 blocks from where I lived in Brooklyn. It was a Dinner Theatre, and they used to have a lot of the acts like Jimmy Roselli, Frank Sinatra Jr, the Duprees...if I'm not mistaken maybe even Chuck Berry played there---but they had a lot of acts like that. One time Bill Haley was playing there and I wanted to go and see him...I wanted to drop in and meet him. I didn't have any money back then, being a college student--so I had my Brooklyn College Television Department "Press Pass", so to speak. I flashed that like a reporter's Press Pass, and I managed to go there and make believe that I was getting an interview! That's how I got to meet him...I got to meet Bill Haley and Rudy that night! I don't quite remember who was on the band except for...I believe it was...I think I'm pretty sure it was...Ray Cawley on bass, Ray Parsons was there I think...definitively Bill Haley and Rudy...the lead guitarist at that time was Paul Pruitt. I don't remember who the drums were--I don't remember that at all. They were a very tight band...they had a nice show, and I got to speak to Bill Haley and talk to him a little bit. I would never realize that within a couple of years I'd be playing with him! Then the next time he came back to the New York area was in 1973...May of 1973, and he was at the "Richard Nader's Rock & Roll Revival" that was held at the Nassau Coliseum in Long Island--that was about an hour ride away from me. So we all went there one night and I decided that I'd ask Bill Haley if I could audition as a guitar player, because I noticed every time he came to New York, he had a different guitar player with him; and none of them...none of them played like the original records, and I was beginning to learn that style and getting it down quite closely!
            I was getting ready to graduate College in June, and I figured, why not? I already had turned down a job offer from the New Christy Minstrels, to relocate to Hollywood...but I chose to try to go for the job with Bill Haley instead, because he was a very hot item at that time, due to the movie "American Graffitti" and the TV show "Happy Days" and plus the Rock & Roll Revival Circuit put him back in the public light, quite a lot. So in any event, he came to the Nassau Coliseum, I managed to get backstage; I again dressed up like a reporter and just walked backstage with a camera and a clip board...walked right past the security guards and they let me right in, thinking I was a newspaper reporter! I simply knocked on his dressing room door, and he remembered me from a couple years earlier at the Club 802 and I spoke with him about possibly joining up with him as a guitar player and he told me that Nick Masters had recently come back with the band, but if I had any material to give it to Rudy Pompilli and he would take care of it. So I got to speak to Rudy discreetly that night, and Rudy remembered me from the Club 802 as well - he took my information. About a year later I was reading in the Musicians' Union paper that Bill Haley was on tour again, and it had a whole bunch of different people listed in the magazine article, so I wrote Rudy Pompilli a letter at that time, asking him if there was an opening on the band, I'd like to try out. He was nice enough to write me back - he sent me a postcard from Australia and a couple of other places. He wrote me, that when he comes back there might be a possibility for me auditioning. Sure enough, he gave me his phone number to call him.
            I did call him, we had a very nice discussion on the phone and he invited me to his house in Chester, Pennsylvania at that time. So I took the train...I didn't even drive back then, took the train with my guitar and I met him in Chester, Pennsylvania and we'd got together. I stayed with him the whole weekend, cause he had a weekend job with a pickup band, so he put me on guitar, as a matter of fact he had Bill Haley's Randall amp in his basement, so I used that - we worked together that weekend. He saw that I really knew the material very well. We went down to his basement and we set up the amp and we ran through the whole show and he saw that I knew the whole show every lead, every intro, every ending faultlessly. He was very happy and he was also happy with the fact that I sang also because that was a important thing. The songs I was singing back then was a lot of the popular songs like "Johnny B. Goode", "Whole Lotta Shakin' Goin' On" and "Great Balls Of Fire" - but I also knew the words to all of Bill Haley's material also. Rudy was very happy about that and he was pretty satisfied because I was able to show Rudy Pompilli that I knew songs like "Guitar Boogie Shuffle", or all those other things like "Honky Tonk" and "Rumble" all kinds of guitar instrumentals that I knew. He was very happy about that, because he'd explained to me that there would be a guitar 'solo' spot, but I kinda knew that already because, I'd heard the live tapes and the live albums, so I pretty much went there quite prepared. I was over Rudy's house one morning when Bill Haley called...and I overheard Rudy talking about me. I didn't hear much of the conversation, because I was in the next room really, still laying in bed in the morning, but Rudy was talking to him about me. Ironicially, that whole next day, Rudy didn't say anything...he didn't say anything to me-- so I was really up in the air. I was wondering what the gist of the conversation was. I didn't want him to know that I was 'eavesdropping', although I couldn't help it!
            I had gone home and then about a week later I'd say...he called up--Rudy had called me and told me to pack my bags, we were going on tour...so he gave me the dates and we got together and went on tour with them. The tour was in July, I believe of 1974. We went to Boise, Idaho and we played the State University, we were at Denver, Colorado...no-- Boise University...and let me think here for a second...it was a long time ago!... Seattle International Raceway, which was the biggest crowd that I'd ever seen. Bill Haley played in Seattle for something like 55 000 people, there was a Bill Haley concert plus a drag race, with all this big racing cars. Boy that was loud, but that was the biggest crowd I've ever seen in my life with 55 000 people. and it was very exciting...the third night, I think we were...I don't have my calender in front of me, but I think we might have been in British Columbia or Canada somewhere, but Bill Haley knocked on my door one morning, and asked if I wanted to go to Europe with him in the fall. Of course I said yes, and interstingly enough, he sat down, I was still kinda in my pajamas. Bill Haley asked to see my guitar and we passed the guitar back and forth playing it and I couldn't believe it what a very good guitar player HE was! He was a pretty good lead guitar player--he could play stuff like "Guitar Boogie", and "Twelve Street Rag" and "Fingers On Fire" and stuff like that...so I was quite impressed. Prior to that I really didn't know that he played lead guitar at all, cause most people just think he plays nothing but rhythm, but that's not true! So, he explained to me that he wanted me to go to Europe and he wanted a strong guitar player because Nick Masters had been previously in the spot, and he wanted to make sure that he had somebody who was strong in that spot. He was very happy with my work--as a matter of fact he told me that in his opinion, one of the important things about being a good musician, is that you've got to love your guitar...you got to love your instrument, and he said that he could tell that I loved mine. I still got that same guitar by the way, it's an old Gibson ES-335, and I still use it today - it's my main guitar. But anyhow, I did go to Europe with him on that tour---it was very, very successful!
            Sad to say, on that first tour, Ray Cawley had quit! I never really had the chance to meet Ray Cawley or speak with him. Apparently when Nick Masters left the band, I guess Ray Cawley thought that he was gonna be 'in charge' and Bill Haley chose to not go that way at all...he simply just called Rudy, and worked through Rudy from that point on! From what I'm told, Ray Cawley wasn't happy with that, and he just didn't show up at the airport on the day of that first tour. So I'm sorry to say I never got to meet Ray Cawley, but...Freddie Moore was there...Freddie Moore was on drums of course, there was Rudy, Bill Haley, myself, Ray Parsons--who for the first couple of days covered the bass in a limited way that he could play it, and then Freddie Moore had a friend named Hank Scholz, who played bass for us on the rest of that tour--he was a left handed bass player, and he was really a keyboard player--but the agent at that time, which was Jeff Bieles, and Bill Haley's manager at that time which was Merve Goldstein...Jeff Beales had a Gibson EB-3 bass I think, and they just reversed the strings on it for Hank to play. Hank was left handed - but Hank did the bass for the rest of that tour. And then around the fall I believe, they hired Jim Lebak and he was the bass player from that point on.
            Otto Fuchs: "50 years ago Bill Haley & The Comets "Crazy Man Crazy" was the first rock & roll record to enter the Billboard & Cashbox charts - what's the signigicance of this recording?"
            Bill Turner: "To me the record "Crazy Man Crazy" is probably one of the most important records Bill Haley ever recorded, maybe even MORE so than "Rock Around The Clock", because "Crazy Man, Crazy" had the historical significance of being the first record where it all came together, to turn into rock & roll, you see, because with 'regular' rockabilly...'regular' rockabilly didn't have drums in it...Elvis'early records didn't have drums...Bill Haley's early records didn't even have drums! And it was the first record to where you took that rockabilly with the slap-bass and everything else that was happening with it, and you added the Gene Krupa style of drumming, that's the important thing-- that one element; that 'swing'-style, almost 'Big Band' kind of drumming, because the 'Jump-Blues' bands were really rhythm & blues--it was a whole different type of drumming than rock & roll. From the 'intro' on, as a matter of fact...that intro by Billy Gussack on "Crazy Man,Crazy" is heavily borrowed from Gene Krupa's "Drum Boogie" - so you could see where that Big Band type of heavy back beat kind of drumming went right into rock & roll and worked so well.
            Once "Crazy Man Crazy" got together with all the musical elements, there was just no turning back--I mean you just couldn't play rockabilly again--without drums...Bill Haley changed that. I too, am of the believe that rhythm & blues and rock & roll are two completely different kinds of music--very similarly to the way 'bluegrass' and 'old-time string band' music differ. One's related to to the other, they turn up on each others' concerts and shows, but they are two different kinds of music. If you take a comparison between, let's say...Big Joe Turner's version of "Shake, Rattle & Roll" and Bill Haley's version: Joe Turner's version is down in the key of E flat; it's much slower and it's just played more relaxed, I'd say-- whereas Bill Haley's version so much more 'supercharged'.
            I would say that Bill Haley did a lot for the black musicians cause if it wasn't for Bill Haley they may have NEVER crossed over!...at least for perhaps another ten years. Most people don't think about that. But I feel that "Crazy Man, Crazy" was probably the spark plug that touched off "Rock Around The Clock"...because it just showed everybody how (by) adding that last element of the Big Band 'swing' style of drumming, particular the style of Gene Krupa, loaned itself to complete the composition of what was to become rock & roll.
            I'd also like to add that Bill Haley's brand of rock & roll had so much more 'swing' into it...much more 'swing' than anybody else's rock & roll. You could listen to Chuck Berry, Elvis, all of them guys, Jerry Lee Lewis but none of those guys had the amount of 'swing' that Bill Haley & The Comets did! They were really the archetype of rock & roll combo, and they really did it well. Everything changed from there of course...everybody who came along...but I think Bill Haley's music was so much more 'harder' to play than anybody else's. For one, if you listen to his guitar players they all had to be emersed in jazz, Charlie Christian or Django Reinhardt much more so than blues or even country. I mean there is country elements to it, but if you listen to Franny Beecher's playing, well--Franny Beecher was the guitar player who replaced Charlie Christian on Benny Goodman! There you have it...your average guitar player just couldn't play like that--NONE of them could! As a matter of fact even the other 'big names' who played lead guitar like Carl Perkins, Buddy Holly or Chuck Berry...they couldn't play that style---it was WAY ahead of them! You see how difficult it was to copy Bill Haley's style, so I guess these other guys just developed their own style within their own stylistic gifts or limitations, and that's what began to change rock & roll and make it a little more stylististically orientated to each others' particular sound."
            Otto Fuchs: "Can you tell us about the first concert you did with Bill Haley & The Comets?"
            Bill Turner: "The first show I did with Bill Haley was at Boise State University which was a football stadium in Boise, Idaho...way back in Mormon country. I don't remember if there was an opening act or not, but we had gone on, and Bill Haley had never heard me! I met him earlier in the afternoon, Rudy introduced me to him. Bill was by the pool with his wife, and his two kids Pedro and Martha Marie, who were both young children back then. I met Bill, Martha and everyone. Rudy introduced me, Bill Haley just told me to keep my amp turned up all the way loud, and he never got to hear me play...until we set foot onstage! I guess he was very happy, because he kept me after that--of course when we played "Razzle Dazzle" and I put all those original guitar fills back in, I'm pretty sure he was pretty impressed with them because nobody else had played those original riffs and runs for a long time.
            I pretty much knew the fans wanted that. The guitar players before me, pretty much took a lot of liberties to play their own style--as a matter of fact, even Rudy Pompilli would tell me to try to devise my own style. But I really knew that the fans wanted to hear the old Franny Beecher and Danny Cedrone stuff. That's what I sought to copy, and it turned out to be a good thing, because it won me a lot of fans; some of them who are still writing to me all these years later! It was a capacity crowd and Bill was given a standing ovation again...he went over very, very well. The second day of that tour was I think Seattle International Raceway, like I said earlier...and again he took that crowd by storm! There was no opening act on that--it was just a Drag Race, and then "Bill Haley...In Concert"! I'll tell you, it was just following on the 'mood of the country' at that time--who was very, very excited about the movie "American Graffitti" and of course, "Happy Days" on TV...so Bill Haley was hot in the United States once again."
            Otto Fuchs: "What was the equipment Bill Haley & The Comets used in the 1970s?"
            Bill Turner: "In terms of equipment used by Bill Haley & The Comets...well most of the equipment...as a matter of fact ALL of the times, the amplifiers were supplied by the promoter, or the opening act, probably by the promoter. We really preferred to use the Fender amps, because we just knew them very well, and of course they are the best amp made I think- they are the cleanest. I mean there are other amps that are very good, like Marshall and stuff like that. But the Marshall amps were geared more towards more the 'hard rock' type of players, that played with a lot of distortion. My favourite amp that I would use would either be a Fender Dual Showman with JBL speakers and a second cabinet, and boy, I tell you with one of those you could fill a stadium...or let's say a Fender Twin Reverb with a second cabinet, we'd use those. Even in Europe those kind of amps were pretty easy to find, because they were such big sellers--they were all over the world. We also used 'Acoustic' brand amps; and Traynor, which was another good one, Marshalls would turn up occasionally, but like I said, we just couldn't get the 'right' sound from the Marshall amps, as good as they were. A lot of times I would be playing the solos, it would sound like Jimi Hendrix, because of the overdriven distortion on it, and that kind of sound doesn't really work in Bill Haley's kind of music (laughs). The drums were usually supplied by the promoter--any really good set of drums would do; Slingerlands, Ludwigs, Tamas, Yamahas, Sonor--which is the great German company...and Premier, which I think is made in England. We always used our own guitars, I had my Gibson, Bill Haley always had his Gibson Super 400, Jim Leback had a Fender--I think it was a precision or jazz bass, I'm not sure...of course Rudy always brought his own sax.(NOTE: Ray Parsons' guitar was a thin-line "Moserite") The microphones were always supplied by the club or the sound crew, or whatever. In the United States they were almost always Shure mics, overseas we had those wonderful German mics like Sennheiser, Beyer Dynamic, and in Austria, of course--AKG!...they were fine mics...as a matter of fact, my own personal mic is a Sennheiser, I use it--it's my favourite mic!"

            Otto Fuchs: "Could you also tell us about your fellow band members, basically the line-up of The Comets?"
            Bill Turner: "When I first joined The Comets, like I said, the line-up was Rudy Pompilli on saxophone of course, Freddie Moore on the drums, Ray Parsons on rhythm guitar, Hank Scholz was on bass on the first tour, and myself on guitar. The second tour I did, it was...Jim Leback was on bass, and everybody was still the same; Ray Parsons, Rudy Pompilli, Haley of course, and Freddie Moore. The third tour I did with them was in Brazil, that was after Rudy became sick. Rudy became ill at the end of 1974, on that very successful December 1974 tour of Europe, Rudy was complaining about congestion in his lungs..that he felt that he always trying to cough up...and cough up.
            When we got home from that tour, we all kinda caught a flu on the last night, because we were playing in Strasbourg...I believe it was--the name of the place was "Le Chalez", in Strasbourg...and it was so hot...and we were all sweated up, and we had to exit the club through the back, because you couldn't get through the crowd, and we all caught a bad chill in the December winter air. Most of us woke up with a fever the next day, and we flew home like that. Rudy wound up going into the hospital, I later learned...and while he was in the hospital they did tests on him and they found out that he had inoperable cancer! Of course we, on the band weren't told that--they didn't tell us that at all! I found that out later on.
            Sad to say that the months that followed were not good months at all. We lost a lot of tours in 1975...a lot of tours were cancelled--some at the last minute!..and we spent most of the year home. We finally did go on tour again in October 1975. We went to Brazil--that was supposed to be a three or four week tour, but it got cut short after two weeks - because they couldn't get things together for the last two weeks of the tour - the manger or the promoter, or whoever it was. So we came back after two weeks. The personnel on that tour was like I said, Jim Lebak on bass, Ray Parsons on rhythm guitar, Rudy, Bill Haley, myself, and my own drummer from Blue Smoke, Tony Benson. They used him as a last minute replacement because Freddie Moore had gone back to College to finish his schooling, and he couldn't get off to do that tour. So they used my drummer, Tony Benson...on, like a one and a half week notice! He pretty much knew most of the songs because we, on the Blue Smoke Band had already been playing most of Bill Haley's music. It turned out to be a good move, because Tony really knew all of the songs--he knew all of the stops, and everything...so I thought he did a pretty good job, considering he was just pulled in on a short notice like that!"
            Otto Fuchs: "Did you get to know Bill Haley close enough to tell us how different the person was compared to it's image?"
            Bill Turner: " Yes, I did get to know Bill Haley quite closely. He was very friendly towards me...he liked me very much--he told me so. I didn't know it at that time, but he had a son, that was exactly my age. Jack Haley and myself are born three weeks apart, exactly to the day. Bill Haley never spoke about his kids like that. I never knew he had an older son that was my age. One thing we had in common - Bill Haley and I liked the same kind of country music. Like I said, he came into my hotel room one morning and he sat there, played the guitar with me...and showed me things to do on it--which surprised me, because I didn't know that he played lead...but he was very nice to me, and I found him to be very consistent on and off-stage. He didn't have an onstage-personality, and a different one off-stage. He was kind of a funny guy--he'd like to tell jokes backstage, and most of them I can't repeat (laughs). We were swapping jokes backstage - he was a very heavy smoker... for one, I never realized he smoked so heavy...he was a chain smoker, with those unfiltered Camels, which were in my opinion, definitely "coffin nails" (laughs). Interestingly enough, it is the same brand of cigarrettes that Roy Orbison and Lester Flatt all smoked. It's probably the strongest American cigarrette that's out there. I think those things are a slow 'death sentence', if you ask me. I found Bill to be very open, there was a time where he came to my room and spoke to me in 1976, for about three hours and talked about a lot of things. Some of his adventures, and some stories about his close-encounters with the United States 'Mafia', I guess--as it were, I'm not sure how true a lot of that was, or how much was exaggerated, but he told me about that. He never spoke about his first wife...he spoke to me about that in 1976. ...but I found him to be a very regular guy...really easy to talk to, easy to ask things. He was very knowledgeable...he was a very well-spoken man...he was very articulate, he spoke like an educated man, but of course, you know his mother was a school teacher, so that meant that she was educated. I think he had a lot of 'mannerisms' from his mother...his father was from Kentucky, I guess he was a more 'country' type of guy. He never spoke about his father...or his mother...I would later learn about that...but I found that Bill Haley was a very dignified kind of guy; he had a lot of class, I would say."
            Otto Fuchs: "The late Rudy Pompilli, was the longest serving member of The Comets, and their sax man was also the band leader - how was he to work with?"
            Bill Turner: "Rudy Pompilli was the nicest guy anybody could ever worked for. He was fair, he was just, he was just a regular guy. You could talk to him...you could hang out with him...he was a very patient man. If you needed to go over a song or something, he'd show you, he'd teach you - he was just a very gregarious outgoing person - a real gentleman - and the 'ultimate professional'... he was also probably the best sax-player I've ever heard in my life...and I miss him very much...he was the nicest guy. He worked well with Bill Haley, the two of them had personalities that went together very well. Rudy was a very patient man, you know I guess... you'd have to put up with Bill Haley and his faults through the years, but he was that true friend that stuck by you in thick and thin. I have always said, and I believe it to this very day, if Rudy Pompilli had not died, there'd STILL be Bill Haley & The Comets going on today. I feel that...because I feel that the day that Rudy Pompilli died, was the beginning of the day that Bill Haley began to die...and ironically, I think Bill died five years to the day that they buried Rudy...and that was a very sad chapter indeed...That was the beginning of the end of The Comets."
            Otto Fuchs: "Who are your musical influences and which of The Comets' lead guitarists before your time, influenced you the most?"
            Bill Turner: "My influences throughout my musical career...have been very diverse. On guitar I would have to say, my favourite guitar players of all time were Chet Atkins, Merle Travis and Les Paul. I've also liked other guitar players like Scotty Moore and James Burton, LinkWray, Chuck Berry - a lot of the 'first generation' players. I also admire a lot of the jazz artists as well; Tal Farlow, again--Les Paul, Charlie Christian, Django Reinhardt, Wes Montgomery, and most of the older players.
            On the Comets of course, well I would have to say it would be a toss-up between Danny Cedrone and Franny Beecher, maybe more so Franny because he had a lot more recorded stuff with Bill Haley - strangely enough I really didn't copy Johnny Kay or Nick Masters much, except that Bill Haley wanted me to use Nick Masters' endings on songs...for instance, on the endings of "Razzle Dazzle" I would like to have done the original ending. But Bill Haley wanted to have all the endings done the way Nick played it, but Haley wanted it (the ending of "Rock Around The Clock") WITHOUT the 'stop', his reason for that is because he says that when the ending's too elaborate, like on the original DECCA endings, it sounds too much like a 'lead', and the audience might get confused...and not realize that the song was ending. He felt that with the Nick Masters ending, which was the same on all of the songs, that it would automatically 'telegraph' to the audience that they should begin clapping. So I see his logic in it, even though I didn't quite agree with it. (Bill demonstrates all in all note for note renditions of Franny Beecher's licks on "Razzle Dazzle", "Rock A Beating Boogie" and "Rock Around The Clock" and also the way Nick Masters ended those songs - and also shows how Franny played "Joey's Song" and "Blue Comet Blues") Nick Masters had a closer style to Carl Perkins really, you could tell that he was a Carl Perkins fan...and so am I! There is also a lot of other stuff that Nick did, which I really didn't wanna play, like he used to play a lot of glissandos (demonstrates), which I never really use all that much in my playing. I just want to do the regular solos like Beecher and Chuck Hess, and guys like that... Bob Scales I think it is, and some of (what)them early guys used--to me that was the best guitar playing in rock & roll...and it almost wasn't rock & roll, because it has a lot of ties to the Big Band era. I understand all those guys used to use a medium or heavy gauge string on their guitars -so you couldn't do much 'bending' like you can with light gauge strings, see... Chuck Berry will use light gauge strings, that's why you can get stuff like...(demonstrates the 'intro' to "Johnny B. Goode")...you couldn't get any 'bending' with the heavy gauge strings.
            Otto Fuchs: "It was reported in the 1970's that Bill Haley had a drinking problem - can you relate to this? Did you ever see Bill Haley drinking?"
            Bill Turner: "Quite honestly by the time I had joined the band, Bill Haley pretty much had it under control. He was recovering, of course--a