Jack O' The Clock - How Are We Doing... And Who Will Tell Us

 #Jack O' The Clock #progressive rock #art rock #progressive folk #avant-garde #chamber folk #avant-prog #Americana #prog folk rock

Jack O' The Clock is fronted by Damon Waitkus who has been a progressive rock fan since the first wave, but also a fan of more melodic and poetic music of that time. Their sound is not your typical folk music, or typical music at all for that manner, being a surprisingly accessible blend of avant garde and Americana, and has been compared to Henry Cow, Gentle Giant, Sufjan Stevens, Frank Zappa and others. They have released 3 critically acclaimed albums as of 2013, with more in the works. A band that is hard to characterize, they have found a home in prog folk because of their inherently folk instrumentation and timbre, their profound take on storytelling, and, well, the tendency for folkies to be an inclusive lot anyway.  From: https://www.progarchives.com/artist.asp?id=8552

Jack O’ The Clock continues its exploration of the dark underside of the American psyche on The Warm, Dark Circus. Released 10 years after All My Friends solidified the group’s unique position as a twisted mirror to recent history as well as current events, this new effort is another immersive experience – like a fiction anthology that picks at reality with poignancy and disturbing insight.
Now a virtual band split between the East and West coasts, the lineup features familiar names and a number of new performers. Multi-instrumentalist Damon Waitkus is the ostensible leader and contributes vocals, guitars, hammer dulcimers, piano, and flutes. Emily Packard is on violin and viola, while Kate McLoughlin is on bassoon. The rhythm section is Jason Hoopes on bass and Jordan Glenn on drums (both from the Fred Frith Trio). A number of guests contribute vocals, guitars, sax, clarinets, piano, and cello.
Waitkus’ lyrics do not hold back. The subject of The Ladder Slipped is considering suicide to escape pain and medical debt… or is he actually considering murder? And then there is Dürer’s Rhinoceros – a haunting 13-minute semi-autobiographical slice of life about a human feeding data to computers. It is named after a famous woodcut of a rhinoceros made 500 years ago by Albrecht Dürer, who never saw the subject of his artwork. This is perhaps a fitting analog to how the models of our current AI revolution are able to generate mimicked images and text without truly understanding the content of what they create. Waitkus approaches these topics with empathy rather than judgment – a refreshing approach in our hyper-opinionated socio-political landscape.
Musically, Jack O’ The Clock has always been a treat, and The Warm, Dark Circus stands out as one of their best. An amalgam of folk, rock, experimental, and classical, their being lumped into “progressive rock” is a disservice. There is no other set of musicians with quite the same sound. It is as if they have captured the characteristics of the last 75 years of Western music and reprocessed them into a new genre.
Case in point, Dürer’s Rhinoceros has passages that combine unconventional percussion with a prominent bassoon line and pseudo-chanted vocals, gentle flute melodies, and sophisticated art rock. The piece is heavily composed and yet has a loose and very human feel. There are moments of finger-picked beauty tempered with storm clouds on the horizon.
How We Are Doing… includes aggressive – almost mechanical – drumming overlaid with an angular sax solo. The assertive rhythmic structure continues through a flute interlude, then violin and guitar solos. A short polyphonic excursion leads to the main melodic structure underlying singing. Waitkus’s voice seems to talk to us from a distance as a variety of instruments busily come together and move apart in accordance with unusual timing. Indeed, this is the track that most clearly evokes historical avant-rock, such as Henry Cow, in its complexity and mashup of styles. The lyrical content is obscure but rich in imagery. It seems to be building on a number of themes, including those of humanity’s coexistence with nature and the passage of time, while touching on notions of technology and spirituality.
The music of Jack O’ the Clock is like the weather in Chicago – if you don’t like it now, wait a couple of minutes and it will be very different. But all attempts at humor aside, The Warm, Dark Circus is a stellar release with abundant eclecticism that can be enjoyed on multiple levels. This is a group that explores the human condition through their sounds and words. While melancholic, their approach is also evocative in its honesty, illuminating our shadows with a nod toward what we project on the surface.  From: https://avantmusicnews.com/2023/10/17/amn-reviews-jack-o-the-clock-the-warm-dark-circus-2023-bandcamp/

Buddy Miles - Them Changes

 #Buddy Miles #soul #R&B #funk #classic rock #funk rock #psychedelic soul #1960s #1970s #ex-Electric Flag

Best known as the drummer in Jimi Hendrix's Band of Gypsys, Buddy Miles also had a lengthy solo career that drew from rock, blues, soul, and funk in varying combinations. Born George Miles in Omaha, Nebraska, on September 5, 1947, he started playing the drums at age nine, and joined his father's jazz band the Bebops at a mere 12 years old. As a teenager, he went on to play with several jazz and R&B outfits, most prominently backing vocal groups like Ruby & the Romantics, the Ink Spots, and the Delfonics. In 1966, he joined Wilson Pickett's touring revue, where he was spotted by blues-rock guitarist Mike Bloomfield. Bloomfield had left the Paul Butterfield Blues Band earlier in 1967 and was putting together a new group, the Electric Flag, which was slated to be an ambitious fusion of rock, soul, blues, psychedelia, and jazz. Bloomfield invited Miles to join, and the band made its debut at the Monterey Pop Festival; unfortunately, the original lineup splintered in 1968. With founder Bloomfield gone, Miles briefly took over leadership of the band on its second studio album, which failed to reignite the public's interest.
With the Electric Flag's horn section in tow, Miles split to form his own group, the similarly eclectic Buddy Miles Express. Signed to Mercury, the group issued its debut album, Expressway to Your Skull, in 1968, with Miles' fellow Monterey Pop alum Jimi Hendrix in the producer's chair. In turn, Miles played on Hendrix's Electric Ladyland album, and later took part in an all-star jam session that resulted in Muddy Waters' Fathers and Sons album. Hendrix also produced the Miles Express' follow-up, 1969's Electric Church, and disbanded his backing band the Experience later that year; shortly afterward, Hendrix, Miles, and bassist Billy Cox formed Band of Gypsys, one of the first all-Black rock bands. Bluesier and funkier than Hendrix's previous work, Band of Gypsys didn't last long in its original incarnation; Miles departed in 1970, replaced by Experience drummer Mitch Mitchell, but not before his powerhouse work was showcased on the group's lone album, the live Band of Gypsys.
After backing John McLaughlin on 1970's Devotion, Miles returned to the role of bandleader and recorded his most popular album, Them Changes, in 1971; it stayed on the charts for more than a year, and the title cut became Miles' signature song. From December 1971 to April 1972, Miles toured with Carlos Santana, which produced the CBS-released concert document Carlos Santana & Buddy Miles! Live!; recorded inside an inactive volcano in Hawaii, the album sold very well. Miles cut a few more albums for CBS, participated in a short-lived Electric Flag reunion in 1974, then moved to Casablanca in 1975 for a pair of LPs.  From: https://www.allmusic.com/artist/buddy-miles-mn0000943936#biography

The Rolling Stones - Child of the Moon

 #The Rolling Stones #blues rock #hard rock #classic rock #British blues rock #rock & roll #folk blues #garage rock #R&B #1968 music video

The promotional film for the Rolling Stones’ 1968 track “Child Of The Moon” has been newly restored in 4K resolution. The clip, again directed by the group’s frequent collaborator of the time, Michael Lindsay-Hogg, is the latest in ABKCO’s series of restored clips from the band’s 1960s era. “Child Of The Moon” is perhaps one of the lesser-known songs in the Stones’ canon, largely since it was the non-album B-side of their May 1968 smash “Jumpin’ Jack Flash.” It was recorded at Olympic Studios with producer Jimmy Miller that March, as sessions began for what became the classic Beggars Banquet LP. Miller’s voice is heard at the beginning of the track, which was sufficiently rated by the band to earn its own promotional video, recently described by Mojo as “an early semi-narrative work” by British director Lindsay-Hogg. The visually striking clip was filmed, in monochrome, in the Surrey countryside. “‘Child Of The Moon’ plays like a British sci-fi/horror short,” wrote the magazine, “seemingly referencing Italian giallo, Village Of The Damned and J. Lee Thompson’s 1966 pagan horror (and Wicker Man forerunner) Eye Of The Devil. The film possesses the dusk-light glow of a peaking acid trip, magic-hour euphoria tinged with a chilly unease, yet also tunes into the darker subtext of the Stones’ occult dalliances.” The song featured keyboards by Stones alumnus Nicky Hopkins, with the saxophone played by Brian Jones. It went on to be included in the More Hot Rocks (Big Hits & Fazed Cookies) compilation in 1972. Allmusic’s review notes that it “was indicative of their slide toward a slightly more laid-back, funkier rock sound than they’d pursued on their more pop- and psychedelic-influenced 1966-1967 releases.” The Elsewhere website describes the song as a “droning little gem” and “certainly the last gasp of the Stones in psychedelic mode.”  From: https://www.udiscovermusic.com/news/watch-restored-promo-film-rolling-stones-child-of-the-moon/

At end of the European tour in 1967, the Rolling Stones found themself in huge troubles. The tension inside the band was really high. The failure of their new psychedelic Lp “Their Satanic Majesties Request” few months later put them into a limbo, that paradoxally spurred the Stones to record one of the best rock’n’roll singles of all the times. “Jumpin’ Jack Flash” was a karma: an anthem never heard before. It came out May 24th, 1968, in England and the 1st of June in Usa, with a strange B side called “Child of the Moon”. As with “Jumpin Jack Flash”, “Child of the Moon” was recorded during the session for the seventh studio album of the band “Beggar’s Banquet”, on March 28, 1968, at the Olympic Studios in London. Unlike the “A side” of the single, “Child” has a gothic sound, introduced by a country blues riff and by a chilling scream sang by the the producer Jimmy Miller just like apocalypse was nearly done. A strange mix for a single that is still recognised as one of their best records ever. “Child of the Moon” was a love letter from Mick Jagger to Marianne Faithfull, fixed with a lot of references to pagan rituals: a gloomy vision in the dark side of love. The band thought enough of the song to accompany it with a promotional video. Directed by Michael Lindsay-Hogg, this video was inspired by “Village of the Damned”. A sort of horror movie to give emphasis to the obscure mood of the Stones, according to their colder and satanic soul, in which a band of five men blocking the path to three figures: a child, an elder and a young woman. Maybe it’s the representation of most rebel side of The Stones or maybe it was the representation of the future in the middle of the Sixties for the youngest generations. A decade in which very soon things would have changed and everything would not have been the same again.  From: https://medium.com/@massimilianoleva/child-of-the-moon-the-psychedelic-vision-of-the-rolling-stones-65d932f61604

Grant Lee Buffalo - Mockingbirds

 #Grant Lee Buffalo #Grant Lee Phillips #alternative rock #folk rock #Americana #psychedelic folk rock #1990s #music video

They were one of the hardest 90s bands to pin down to a specific genre. One reviewer would call them psychedelic and the next would call them rootsy. Perhaps it’s somehow fitting then that “Mockingbirds,” the song that can probably be considered the most memorable of Grant Lee Buffalo’s career, is a sui generis chamber-pop piece.
As Grant Lee Phillips, the band’s lead singer and songwriter, recently told American Songwriter, the song was a last-minute addition to the band’s second album, 1994’s Mighty Joe Moon. “By the time we got to the second album, we had been on the road almost every day the previous year,” Phillips explains. “We sort of looked at each other and said, ‘It feels like it’s time to make a record. What are you doing next week?’ And we dove into it. That being the case, there were songs that were still coming along, songs that I had written, some out on the road, some on the odd day off.”
“But ‘Mockingbirds’ wasn’t one of those songs. I began to introduce all the new material. And we had gotten through most of the recording process when a massive earthquake struck Los Angeles. This was the Northridge earthquake. And it was out of that that I wrote ‘Mockingbirds,’ when the record was almost basically done. I said, ‘Whoops, I got one more here that we might want to consider.’”
Phillips lost his home in the earthquake. “My wife and I lived up in the high desert, maybe a 15-minute drive from the epicenter of Northridge, so we felt it really strong,” he recalls. “We spent the next number of weeks at my parents’ house, then managed to fly back into LA and slept on a friend’s floor for several weeks as Grant Lee Buffalo worked on the final stages of the album. I didn’t have much with me. My wife and I had our cat, and I had my guitar and my banjo. I was sitting on the floor as the aftershocks rolled and I began to write ‘Mockingbirds’ on the banjo.”
If you’re looking for a play-by-play of Richter scale readings and people diving for cover, look elsewhere. Phillips took a metaphorical approach, which made the song feel universal, even as it stayed true to a very personal experience. “The sentiment of the lyrics is that I’ve done everything I can possibly do to stay on the straight and narrow,” Phillips explains. “I tried to toe the line and yet life has caught up to me anyhow. And I suppose that’s a feeling that all of us can relate to regardless. Pick the cataclysm of your choice. That’s where it’s coming from. Although, when you stop and consider lyrics like ‘Devastation, at last, finally we meet,’ that is indeed very much the feeling one had as they walked out into the rubble of what was their home.”
By personifying this disaster, Phillips created a mindful and vindictive force that harries the narrator throughout the song. He rendered the anguish unflinchingly: “Woke from a dream where I was in a terrible realm/All my sails were ablaze, I was chained to the helm/Now I’m overwhelmed.”
The music, which includes an ingenious downward key change into the final verse and somber cello played by Greg Adamson, adds to the mournful feel. So too does Phillips’ falsetto in the chorus, which makes the narrator seem even more vulnerable to terrible fortune. “I’m known to go into the falsetto when it comes naturally,” he says of the technique. “I think it’s a case of growing up in the 60s and 70s when all of the singers would launch into falsetto at some point.”
Phillips initially had to convince his bandmates of the song’s worth. “To tell you the truth, that song very nearly didn’t make the record,” he says. “I brought that song in and I was told, ‘We’ve already got 13 songs and a few of them aren’t going to make the record because it’s going to be too long. Do we really have to bother with recording one more?’ And I said, ‘Yeah, we do. I feel really strongly about this one.’ I had made a 4-track recording of it at that point in time. I pushed for it.”
Once they did lay down “Mockingbirds,” the entirety of the band loved the idea of releasing it as a single, even as it bucked the grungy musical trends of the times. “I think we recognized that it was unique,” Phillips remembers. “Even though this was only two records in, we had encountered so many situations where it seemed as though the most obvious song to us in terms of being artful and interesting would be relegated to the backburner in favor of something that was quote-unquote more up tempo, more catchy, more memorable. All of those hallmarks that robots can achieve at this point in time.”
“We were always up against that wall. How do we fit into this world that demands something instantaneous, a song that achieves its goal within the first minute, that hits the chorus, and all of that stuff that we were less interested in? I was less interested in that stuff as a writer. And we were just trying to make albums that excited us, stuff that was like the weird records that we grew up with.”
In this case, not following the obvious fads paid off in the timelessness of this particular song, even if that tendency kept Grant Lee Buffalo somewhat uncategorizable and may have damaged their commercial prospects in their relatively brief time together. Grant Lee Phillips has continued on from the dissolution of the band to become one of the most intriguing and affecting singer-songwriters on the scene; look for a new album from him later this year. Meanwhile, he continues to be humbled by the demand for “Mockingbirds.”
“It amazes me that I still get so many requests for it,” he says. “I would have thought that even among our fans, who are so loyal and wonderful, that they would have tired of it by now. But there are always a few more that haven’t heard it or long to hear it. And I must say it’s a satisfying song to play.”  From: https://americansongwriter.com/mockingbirds-by-grant-lee-buffalo-behind-the-song/

BraAgas - Live World Music Festival, Bratislava, Slovakia 2019

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Part 3

#BraAgas #Balkan folk #medieval #Scandinavian folk #world music #Sephardic folk #traditional #ethno #Czech Republic #live music video

BraAgas is an all female quartet created in 2007 after the split-up of the band Psalteria. The first two albums were hard to define genre-wise. “The first album called No.1 was a mix of everything – medieval and folk songs as well,” says Katka Göttlich (Katerina Göttlichova). The four members of BraAgas have been playing for a long time. In addition to the previously mentioned Psalteria, the musicians played in other bands. “Our experiences from other bands have merged here – for me and Karla it was the Psalteria band, for Beta it was Gothart. Michaela had been sometimes the guest in different groups (e.g. Krless) before BraAgas originated,” says Göttlich.. The fact that the band was formed by professional musicians helped them record albums immediately and also with touring. Live playing is one of those things BraAgas can do really well. Their third CD, Tapas, is the result of their live concert art. The band won the music competition Česká spořitelna Colours Talents at Indies Scope Festival organized by Indies Scope Records and the Colours of Ostrava Festival supported by Česká spořitelna. The recording of an album was part of the Česká spořitelna Colours Talents prize. “The second one called No.2 – Media Aetas was purely medieval long single and the album Tapas has already nothing to do with ‘medieval times’. It’s an album containing songs which we have discovered and adapted and also those few ‘hits’ which we’ve taken the liberty to modify; those that the listeners of world music will definitely recognize.“ The four musicians play mostly ethnic instruments and historical replicas. Many guests helped them at the studio and there were also some electronic elements. Thanks to the electronics, a new modern sound was developed for Tapas, which was produced by David Göttlich and Petr Koláček. Tapas includes songs from various parts of Europe, including Spanish, Balkan, Nordic and Italian sources, originally dating back to anywhere within a thousand years time span, interpreted in a very modern way. Current members include: Katerina Göttlichova on lead vocal, cittern, guitar, bagpipes, shawms; Alzbeta Josefy on vocal, davul, darbuka, duf, riq; Karla Braunova on vocal, flutes, recorders, clarinet, shawms, chalumeaux, and bagpipes; and Michala Hrbkova on vocal, fiddle, cittern.  From: https://worldmusiccentral.org/2017/01/09/artist-profiles-braagas/

The Czech band BraAgas traveled all the way to India to perform at a respected world music show. Honza Hrbek entrusted us with the experiences of this for us exotic country. During the first seven years, a number of top world music bands from many countries performed at the Sur Jahan festival in India, but there was no Czech performer among them. BraAgas and I were lucky enough to be the first.
To play in India at a festival with such a good name as Sur Jahan (formerly Sufi Sutra) is an opportunity that can be refused, but the reason for such a refusal is very hard to find. Especially when in the Czech Republic the thermometer is determined to stay around minus fifteen, while in Goa it is a tropical thirty and small. So we went to the airport on a frosty Prague morning, expecting the perfect care of Qatar Airways for a music festival in a much more favorable climate.
The journey was not as easy as we had planned, but in the end we reached Calcutta in the same six pieces in which we left Prague. And that certainly wasn't the only departure, because if you've never been to India, Calcutta will probably leave you breathless. From the way cars, animals, people, motorbikes and rickshaws move on local roads, ants could learn, the luxury hotels that grow from the tin sheds of local slums, to the hundreds of thousands of Calcutta's special breed dogs, all under the unrelenting haze of smog, Calcutta is not easy to believe.
In Calcutta, the stage was set up in a park in front of the Queen Victoria Memorial. About eight meters next to the stage was the main road, which (thanks to the very specific Indian traffic) somewhat disturbed the listeners, especially in the back rows, which the sound engineer solved by turning up the volume. The equipment on the stage and the general conditions for playing were otherwise exemplary, and the festival itself, with its organization, boldly competes with the most famous European counterparts of a similar rank. Carefully selected bands from Europe and India, excellent transport and facilities at the festival, with the added value of the organizing team, who showed immense willingness and a positive attitude, whether it was a wish to see a temple dedicated to Kali or to visit musicals.
The move from Calcutta to Goa brought another culture shock. From a bustling metropolis that could fit all the inhabitants of the Czech and Slovak Republics, to a former Portuguese colony that resembles a Caribbean paradise and evokes an atmosphere of absolute calm that even the ever-present cockroaches trying to get into your drink cannot disturb. Goa is an oasis of everything you need on vacation, beautiful beaches, nice people who don't hesitate to take you home, and low excise taxes. So we weren't there on vacation, but some details can be appreciated even in a limited period of time.
At Sur Jahan, bands met enthusiastic music fans not only at concerts. Workshops were part of the festival - in Calcutta we performed with an Indian band, then in Goa alone, and we explained to the audience what life is like in our homeland, the history of our instruments and other details about our life in Europe.  Translated from: https://www.ireport.cz/clanky/rock-blog/rockblog-rejzi-nechci-ani-videt-aneb-po-indii-s-kapelou-braagas

Maria McKee & The Jayhawks - Precious Time - Live 1993

 #Maria McKee #The Jayhawks #alternative rock #alt-country #folk rock #roots rock #singer-songwriter #1990s #ex-Lone Justice #music video

Maria McKee – You Gotta Sin To Get Saved Tour 1993
November 21st 1993 – Leicester University
I had no interest in the support band on this day. This gig had been a long time coming. I’m fairly sure I went on my own to this one, as I don’t recall anyone else being interested in the singer of “Show Me Heaven” from the Tom Cruise film “Days of Thunder”. That wasn’t why I was there, good job too, because in the true spirit of rebel rock and roll, she didn’t play it anyway - in fact, she very rarely plays it at live gigs as the audience is not demanding of it’s playing and doesn’t really fit with her music generally. No – we had unfinished business here. I was a big fan of her band, Lone Justice and had been so looking forward to seeing them supporting U2 back in 1987. Things didn’t go to plan that day, due to Wembley’s inability to open gates on time and get us into the stadium in time for the first band, which Lone Justice were. So we only caught a couple of tracks that day. Unfortunately, Lone Justice also split up later in 1987, so this would be a new band, but Maria was the leader, so this was still a very good thing. Much as I love a good male singer in a band, I do have a penchant for a brash, full on female singer, who mixes passion, anger and softness into their music and Maria Mckee is probably the greatest of these (Listen to the albums and live music before you try and debate this with me). Obviously a few years had passed since the brash 18 year gave us the superb country/rock and roll debut album “Lone Justice” and then later the classic album “Shelter”.
I was looking forward to seeing this loud, confident, talented, maybe arrogant LA Girl coming strutting on stage, but she just walked on with her band, waved and spoke really quietly and politely thanking us all for coming and hoped we enjoyed the show. Well, no need to worry, first song was the powerful Lone Justice song “East of Eden” so the quiet Maria immediately turned into the stage persona I’d been expecting - brilliant start! What you get with Maria McKee is a great voice, with a mix of anger, passion, melody and fun behind it. I hate comparing singers, so I will: Maria is a strong Dolly Parton type singer with that strong edge of the anger and passion coming through. A mix of Country, Blues, Rock and Gospel - a great mix! Reckon this could be called Country Punk (my own genre). I love small venue concerts and the Uni is the perfect venue for this sound. We get “Shelter” during the set, but sadly, no “I Found Love”. Things slowed down for “Panic Beach” and the start of cover of Patti Smith’s “Free Money” (I’d never heard this before), but the beat gets strong towards the end and a brilliant MC5 cover of “Sister Anne”
Fact: Maria McKee wrote the hit song “A Good Heart” when she was 18 which, became a hit single for Feargal Sharkey - true! The brilliantly titled “Soap, Soup and Salvation” off the first album is so full of energy you can’t help but dance! You need to hear that too! A mesmerising concert from a band of exceptionally talented musicians. The mix of country, blues, rock and roll was brilliant, maybe even a little bluegrass in there too. The stage energy from the whole band turned it into more of a dancehall than a gig. On my top ten gig list.  From: https://fanclubyears.home.blog/1993/11/21/maria-mckee-you-gotta-sin-to-get-saved-tour-1993/

Gene Vincent & The Blue Caps - Be-Bop-A-Lula

 #Gene Vincent & The Blue Caps #rock & roll #rockabilly #classic rock #1950s #music video

When a music critic wants to indicate that a song lacks lyrical sophistication, he or she will often refer to its lyrics as being of the “moon in June” sort. It’s a label left over from the Tin Pan Alley era, when even great composers like Irving Berlin churned out a hundred uninspired Moon/June tunes for every highly original classic like “Blues Skies” or “Puttin’ On The Ritz.” If rock and roll has an equivalent in the area of clichéd lyrics, it is probably “Baby” and “Maybe”—a rhyming pair made most famous in the smoldering early-rock classic “Be-Bop-A-Lula,” which was recorded in Nashville, Tennessee, by the rockabilly legend Gene Vincent in 1956. The story of how the decidedly un-complex lyrics of “Be-Bop-A-Lula” got written is shrouded in a certain amount of controversy. Officially, Gene Vincent’s business manager credits Bill “Sheriff Tex” Davis, a savvy 40-year-old songwriter from Connecticut, as the songwriter. However, others credit a young man named Donald Graves — a buddy Gene Vincent made in a Portsmouth, Virginia, Veteran’s Hospital. Vincent — born Vincent Eugene Craddock in 1935 — had just reenlisted in the U.S. Navy in the spring of 1955 when he suffered a devastating leg injury in a motorcycle accident. That injury would land him in hospital for more than a year, where a fellow patient remembers Vincent and Graves tooling around the facility working out the song that would eventually become a classic. By the time Gene Vincent’s demo tape reached Capitol Records the following spring, however, Graves had been bought out of his share in “Be-Bop-A-Lula” by Sheriff Tex, reportedly for just $25. It wasn’t the obvious brilliance of “Be-Bop-A-Lula,” but rather the uncanny resemblance between Gene Vincent’s voice and Elvis Presley’s that explains the speed with which Capitol snapped Vincent up and got him into the studio. In fact, when Vincent and his Blue Caps recorded “Be-Bop-A-Lula” on May 4, 1956, it was as a “B” side to a now largely forgotten tune called “Woman Love.” As soon as disk jockeys began “flipping” Vincent’s debut single, however, “Be-Bop-A-Lula” became a smash, selling more than 2 million copies in its first year of release.  From: https://www.history.com/this-day-in-history/gene-vincent-records-be-bop-a-lula