Rock Around the Clock (20 Hits)

June 10, 2007 | Format: MP3

$5.49
Song Title
Time
Popularity  
30
1
2:13
30
2
2:31
30
3
2:52
30
4
2:14
30
5
2:51
30
6
2:40
30
7
2:46
30
8
2:32
30
9
2:44
30
10
2:33
30
11
2:20
30
12
2:30
30
13
2:54
30
14
2:46
30
15
2:40
30
16
2:09
30
17
2:15
30
18
2:35
30
19
2:18
30
20
2:56
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Product Details

  • Release Date: June 10, 2007
  • Label: Wnts
  • Copyright: (p) Wnts
  • Total Length: 51:19
  • Genres:
  • ASIN: B007UK93YM
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (24 customer reviews)
  • Amazon Best Sellers Rank: #108,093 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

I was blown away by this album.
anonymous
This 2004 Universal CD reissue gives us all 12-tracks of the original US Mono album on Decca BL 8225 released just a week before the Christmas festivities of 1955.
Mark Barry
Rock Around the Clock was the first rock and roll album or LP to make the charts.
Carl Savich

Most Helpful Customer Reviews

26 of 27 people found the following review helpful By Edward Dixson on January 18, 2006
Format: Audio CD
Rock Around The Clock - the album, should be just as significant in music history as James Brown's Please Please Please album, a not only great sounding album but an album demonstrating the roots of Brown.

I do however have a special interest in both albums. My father co-wrote Dim Dim The Lights featured on the Rock Around The Clock album. My father knew Haley and Alan Freed so what I am about to say not only gives this album its deserved kudos, it also sets the record straight via primary source information about the history of some of the songs on the album.

Haley first recorded Rock Around The Clock in April of 1954. It didn't do that great, coming in at #33 and only staying on Billboard's Popular chart for one week.

Freed had met Haley in 1953. He showed great interest in Haley, even having him on his radio show out in Cleveland Ohio. What interested Freed about Haley, like Elvis interested Sam Phillips, was that he was looking for a white artist to take R&B to the mainstream and thought Haley could be that vehicle. Freed wasn't naive. He knew he had to do it in this racist world using a white music act. However, he was not willing to do it at the expense of legitimacy. Haley would first have to get the stamp of approval not by white music critics or a white music audience. Haley would have to get his stamp of approval by the Black music audience. This is why, other than a featured guest spot,you don't hear Haley songs until Dim Dim The Lights on Freed's radio shows.

Haley than scored a #7 pop hit doing a cover of Joe Turner's "Shake Rattle and Roll." He recorded his version somewhere in July of 54. Even that song was not played on a Freed show, although maybe Freed wanted to play it.
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Format: Audio CD
This 2004 Universal CD reissue gives us all 12-tracks of the original US Mono album on Decca BL 8225 released just a week before the Christmas festivities of 1955. It's remastered to gorgeous sound quality from the 1st generation master tapes by Erick Labson of Universal and its bonus tracks are 3-sides of two singles in and around the release of the LP. It's a bit of an omission leaving out "The Mail Boy (On Main Street, USA)", the B-side to "See You Later, Alligator", which would have given us 16 tracks instead of 15 thereby allowing the listener to sequence no less than 8 of his Decca singles (A&B) as follows:

1. (We're Gonna) Rock Around The Clock/Thirteen Women (And Only One Man In Town) (1954, Decca 29124)
2. Shake, Rattle & Roll/ABC Boogie (1954, Decca 29204)
3. Dim, Dim The Lights (I Want Some Atmosphere)/Happy Baby (1954, Decca 29317)
4. Mambo Rock/Birth Of The Boogie (1955, Decca 29418)
5. Razzle Dazzle/Two Hound Dogs (1955, Decca 29552)
6. Rock-A-Beatin' Boogie/Burn That Candle (1955, Decca 29713)
7. See You Later, Alligator/The Paper Boy (on Main Street, USA) (1956, Decca 29791)
8. R-O-C-K/The Saints Rock 'N' Roll (1956, Decca 29870)

But as you can see, the fifteen songs that are provided are that rarity - all killer and no filler - every last one of them released on 45 because they were ace.

Back to the album. Right from the off, the joy of the band is audible in every song and you can 'feel' why people went nuts for "rock 'n' roll".
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17 of 23 people found the following review helpful By Drogil on June 28, 2005
Format: Audio CD Verified Purchase
1. Rock Around the Clock

2. Shake, Rattle & Roll

3. A.B.C. Boogie

4. Thirteen Women

5. Razzle Dazzle

6. Two Hound Dogs

7. Dim, Dim the Lights

8. Happy Baby

9. Birth of the Boogie

10. Mambo Rock

11. Burn that Candle

12. Rock-A-Beatin' Boogie

Bonus Tracks:

13. R-O-C-K

14. The Saints Rock'n'Roll

15. See You Later, Alligator
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1 of 1 people found the following review helpful By jude pepper on April 5, 2015
Format: Audio CD Verified Purchase
it's been said that he was the trailblazer, the one who more than anyone else got the rock & roll ball rolling. i'm not sure that's quite true - in my experience these movements tend to be cases of great minds thinking alike - but certainly Bill Haley made one of the very first lasting impressions.
Rock Around The Clock has been called the first official rock & roll album, although technically it's more what we could today call a "greatest hits." (it came along a good decade or so before the album - as opposed to random collection of tracks - came to be regarded as an art form in it's own right.) what was being compiled was a handful of single releases from the last few years.
what you hear from Haley is basically the birthing pangs of rock & roll. the likes of Chuck Berry and Buddy Holly would come to be regarded as having fine-tuned the formula that became rock, and they certainly made significant contributions, but it was Haley who planted the first seed, at least commercially speaking.
he gave us three cuts that would end up as anthems in the rollicking title track, the whimsical "See You Later Alligator," and the solid blues boogie "Shake Rattle & Roll." although to be honest, the latter may have a bit of a sinister history. the '50s was an age of rabid racism, and the most notorious example in music has it that white artists would liberally appropriate the works of black artists. it's been argued that Haley did so in this case, and it's true enough that "Shake," as first performed by one Big Joe Turner, was only a marginal hit compared to the nationwide smash it became in Haley's hands. maybe all we can do is prefer to think that Haley didn't consciously set out to screw Turner over.
but i digress.
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