Tracks: 1) Crazy Times; 2) She She Little Sheila; 3) Darlene; 4) Everybody’s Got A Date But Me; 5) Why Don’t You People Learn How To Drive; 6) Green Back Dollar; 7) Big Fat Saturday Night; 8) Mitchiko From Tokyo; 9) Hot Dollar; 10) Accentuate The Positive; 11) Blue Eyes Crying In The Rain; 12) Pretty Pearly.
Without knowing that much about him, to tell the truth, Gene Vincent always seemed to me like a "spare" rocker, one who was (deservedly) always somewhat in the background and ready to replace any of the more talented stars of the period if & when they suddenly disappeared. As some famously did, but it never did much for his career. But I don't have your in-depth knowledge of these early rock artists, George, just speaking off the top of my head. Far too many others paved the way in the late 50's and early 60's to feel one had to follow the wayward path of Gene Vincent. You don't appear to violently disagree.
Well, Gene's early years with Cliff Gallup are always listed among the top marvels of the classic rockabilly era - and my own impression is that Vincent in the 'Be-Bop-A-Lula' era had his unique niche well carved out, with a sound and a wildness that none of the other white boys had, not even Elvis. The best I can say - and say it repeatedly - about his post-Gallup career is that he never tried to morph into a "pop star" like, say, Johnny Burnette.
The "spare" tag would better work on people like the Hawkinses (Dale and/or Ronnie), or maybe Eddie Cochran (had he stayed alive past 1960) - those were much less distinct.
Hmmm...Eddie. I’m with you if you’re referring to his style. But in terms of the songs (conceding that he wasn’t the sole writer on the hits), and his performance of them, I’m not so sure. That the Who were so fixated on him says a lot to me.
Without knowing that much about him, to tell the truth, Gene Vincent always seemed to me like a "spare" rocker, one who was (deservedly) always somewhat in the background and ready to replace any of the more talented stars of the period if & when they suddenly disappeared. As some famously did, but it never did much for his career. But I don't have your in-depth knowledge of these early rock artists, George, just speaking off the top of my head. Far too many others paved the way in the late 50's and early 60's to feel one had to follow the wayward path of Gene Vincent. You don't appear to violently disagree.
Well, Gene's early years with Cliff Gallup are always listed among the top marvels of the classic rockabilly era - and my own impression is that Vincent in the 'Be-Bop-A-Lula' era had his unique niche well carved out, with a sound and a wildness that none of the other white boys had, not even Elvis. The best I can say - and say it repeatedly - about his post-Gallup career is that he never tried to morph into a "pop star" like, say, Johnny Burnette.
The "spare" tag would better work on people like the Hawkinses (Dale and/or Ronnie), or maybe Eddie Cochran (had he stayed alive past 1960) - those were much less distinct.
Hmmm...Eddie. I’m with you if you’re referring to his style. But in terms of the songs (conceding that he wasn’t the sole writer on the hits), and his performance of them, I’m not so sure. That the Who were so fixated on him says a lot to me.
I stand corrected! Spaciba.
Bring on the 2023 Disco Rumours tribute . . . You Make Loving Fun is already at least halfway there.