Roots, Radicals and Rockers by Billy Bragg

This book is everything I hoped it would be and so much more. For someone who played and played an uncle’s 78 record of Lonnie’s Rock Island Line whilst at my grandmothers on holiday in 1956/7 (I was only eleven or twelve at the time) and was completely entranced, this brilliant volume fills in so many gaps of what I thought was a good grasp I had of the events of the time.

So, let’s start at the end. The author picks on a great story about a 1960 documentary describing youth culture of the day. Made by Daniel Farson, he finds a young poet called Royston Ellis. It was Ellis who later finds a flat where, amongst others, there are four young musicians who play at the Jacaranda night club. He becomes friends with them and introduces them to a Vick nasal inhaler. And claims he was the one who suggested they change the “e” to an “a” to become The Beatles. There was a nice reminder of how The Quarrymen Skiffle Group in 1957 transformed into the biggest band in the world. But that comes later.

Skiffle was a solely British phenomenon. Staggeringly demonstrated by the fact the Microsoft Word does not recognise the word. (Skiffle, not phenomenon). The book has a marvellous opening in describing its origins and particularly what influenced jazz musician Ken Colyer from his trips to America.

There is a detailed account of the early history of traditional jazz in the UK and how it spawned the breakdown session. It was Bill Colyer who suggested to brother Ken that in the break that the band (The Crane River Jazz Band) took in the middle of their performance, they could play some old American roots music (Lead Belly songs particularly) with a guitar, washboard and bass.

When Ken returned from his trip to the USA (there is a fabulous account of his time there) in 1953, some familiar names (to me) were waiting to form a new jazz band, amongst them Chris Barber, Monty Sunshine and a banjo player called Lonnie (was Tony) Donegan. Their own back stories are a revelation, especially to someone who owns their recordings on vinyl. The band toured Denmark of all places and it was Lonnie who would sing some songs in the gap in the performance (that breakdown session again). He had already started that tradition while with the Chris Barber band.

Then comes one of those many gems that knocked me out. Armed with a domestic Grundig tale recorder, Karl Emil Knudsen organises a recording session at the Gentofte Hotel in Copenhagen. He records not only the whole jazz band’s set (which he later releases commercially) but also some of breakdown session numbers. These would only come to light years later, but four open the Acrobat Music anthology of Lonnie’s work Midnight Special: The Skiffle Years 1953 – 1957. As a huge fan of Lonnie, it was a privilege to find them on Spotify. With Lonnie on banjo and vocals except for the last of the four when Ken sings a turgid Midnight Special.

Bragg goes on to describe how the word “skiffle” came into being. That same year, it was appropriated by Bill Colyer during an interview with the BBC when asked what sort of music the breakdown group was playing. He could have answered folk, country, blues, gospel, but instead picked on a word that would dominate the British music scene in the mid fifties.

1954 was a big year. The dawn of skiffle saw Ken Colyer’s new jazz band recording Back to the Delta in June which included three songs by Ken Colyer’s Skiffle Group (the author explains why). These were the first skiffle recordings to be released. Then the following month the Chris Barber jazz band recorded New Orleans Joys. This iconic moment is thrilling described as a final session found Lonnie (guitar), Chris (bass) and latecomer Beryl Bryden (washboard) recording four skiffle numbers. Amongst these songs was Rock Island Line and the rest is history.

Listening to these recordings on Spotify (again, Midnight Special: The Skiffle Years 1953-1957), I was amazed to find, that after all these years, what a superb performance Lonnie brings to these single takes. His voice has been honed to a sweet yet powerful delivery and the energy of the group is staggering. Although this recording of Rock Island Line (that was released as a single the following year and made the top ten in both the UK and USA) is what launched the skiffle craze, I actually prefer Wabash Cannonball and John Henry. Even the other track, Nobody’s Child, is a glimpse into future rock ballads.

There are occasions in musical history where everything clicks, and this was one of them. If you listen to Ken Colyer’s skiffle songs from Back to the Delta, (Midnight Special, Casey Jones and K C Moan, and compare them to Lonnie’s, you will see how the latter is on another planet. Rock Island Line was released on 11^th November 1955 as a single with John Henry on the B side. The first record chart of 1956 saw the single enter the charts at No 17. The author notes “The first British artist to get into the charts singing and playing a guitar” and “Folk at a rock n roll tempo from an ex jazz musician by a composer of blues, Lead Belly”. Denis Preston has a big part to play.

Another comparison, this time one of mine, is to listen to other recordings of Rock Island Line as even American artists tried to cash in on it’s success. They all miss the raw energy of Lonnie. Even Bobby Darin (his first single release) and Johnny Cash are no match.

There are many fascinating anecdotes from the period. The Backstairs Session EP recording by the Lonnie Donegan Skiffle Group (the first stand-alone skiffle release), Lonnie meeting Bert Weedon, (me remembering meeting Bert at a dinner and him signing my programme), Lonnie’s visit to the USA where he appeared on TV, toured and was backed by an American rock and roll trio. His influence on this side of the Atlantic was unprecedented. Art Garfunkel’s first recording was Rock Island Line, it was the first song Phil Spector learnt to play on guitar and Buddy Holly sang it live.

Interwoven with historical detail of the music, Bragg gives us a wonderful portrait of 1950’s culture. The blandness of the BBC and the innovation of commercial television. Films from the time including Blackboard Jungle and Rock around the Clock. I thought the author was going to gloss over all the riots the latter movie spawned, but no. He goes into superb detail over seven pages of research. There is also a piece about Radio Luxembourg that had particular relevance for me, having listened to the only modern music station of the time. (Yes, I was an Ovaltiney.) And how this station played Bill Hayley’s controversial Shake, Rattle and Roll that the BBC refused to play despite it reaching No 4 in the UK charts.

There is a good section on American artists. Bill Hayley “having lit the fuse for rock and roll, his next record was a mambo”. The rise of Elvis is documented. Bragg felt the same as me: “Negotiations under way to bring Elvis to the UK. Good luck with that!” British labels were plying the public with home grown versions of American hits, not always successfully.

I would recommend the hardback copy of this book for the photographs and posters alone. From the three musicians who played on Rock Island Line to The Quarrymen in 1957.

Back to the music. There are extensive sections on the growth of skiffle in the UK. Many of the groups are mentioned including The City Ramblers who I cannot remember at all. The 1950’s folk scene emerges and seems to dovetail with skiffle. I well remember the songs Freight Train by Nancy Whisky and Chas McDevitt and Last Train to San Fernando by Johnny Duncan. The book relates the rise of these bands and others.

Lonnie was back from the USA in July 1956, put a band together and recorded new material. Lost John made No 2 in the charts, but Bring a little Water, Sylvie was less successful. However, it was this recording that, for me, marked the end of skiffle for Lonnie. Long before Chewing Gum and Dustman, producer Denis Preston brought in guitarist Denny Wright “who brought new energy to the group”.

Not only energy but to my mind ELECTRIFICATION! Bragg does not really spell this out, but to me these recordings mark a sea change. Hardly noticeable on Sylvie even with a short solo, the next single (again from 1957) Don’t You Rock Me, Daddy-O presented Wright’s electric guitar up front. The solo is pure early rock and roll. This charted at No 4 and the follow up Cumberland Gap (1957) was Lonnie’s first No 1, with Denny Wright’s electric guitar solo again. So, the acoustic line up from Lonnie’s early work was gone forever.

Listening now, I find these recordings are up-tempo versions of folk songs, although some of the words also give hints of novelty numbers to follow. This, to me, is demonstrated by the next single that also became a No 1 hit. Still in 1957, Gamblin’ Man was coupled with the more comedic Puttin’ on the Style.

It certainly didn’t occur to me at the time, but I can’t help thinking that it was the electric guitar of Denny Wright, and those who followed him in Lonnie’s band (Jimmy Currie on Jack O’Diamonds, Bill Bramwell and Les Bennetts) who inspired many of the rock musicians who followed. Paul McCartney credits Wright on Wikipedia.  On YouTube, there is a live recording of Cumberland Gap at Conway Hall in 1957 with an amazing solo from Denny Wright himself.

Lonnie was now a big star, and Bragg relates his appearances on TV and on tour. It was the live performances that had such a big influence on future musicians, some whom would become the biggest names in popular music. Lonnie’s chart success was limited in 1958, however towards the end of the year, Tom Dooley reached No 3. Although the author describes how the end of Lonnie’s dedication to skiffle ended in 1960 with his No 1 hit of My Old Man’s a Dustman, he misses Lonnie’s sell out to comedy songs in early 1959 when he recorded Does Your Chewing Gum Lose Its Favour (On the Bedpost Overnight?) But he had already been in pantomime at the end of 1957 when he played WisheeWashee in Aladdin.

During this period, the American influence of rock and roll was growing. Bragg gives us a wonderful insight into how many British artists imitated their American counterparts. These would include Tommy Steele, Joe Brown, Marty Wilde, Billy Fury, Vince Eager and Georgie Fame. The first of these made it to No 1 in the charts with Singing the Blues, a cover of an Elvis single.

There are also those sections about the politics of the day. Skiffle’s association with the anti-fascist movement and support of pro-immigration is surprising, as is its links to CND.

As a reference to the influence of skiffle on future stars, Bragg gives us a history of Tony Sheridan and his association with The Beatles. He describes Anthony Esmond Sheridan McGinty as “the best rock ‘n roll guitarist of his generation” and refers to Jimmy Page’s comment that he was “the only English guitarist who was any good in the late 50’s”. Sheridan starts off forming a skiffle group called The Saints. His accomplishment on the guitar led him to being in demand as a session and backing musician in London. Just listen to Sheridan’s guitar solo on Vince Taylor and The Playboys Right Behind You Baby.

In June 1960, Sheridan was off to Hamburg with a band The Jets, the first British band to play there. With Sheridan meeting The Beatles, Bragg has some interesting stuff to tell us about the background to this up and coming group. How John Lennon missed National Service by a whisker, unlike his drummer from The Quarrymen Skiffle Group. Otherwise we may never have heard of Ringo, who started playing in the Eddie Clayton Skiffle Group.

Back in Hamburg, “The Beatles backed Sheridan on five or six numbers” when he recorded some tracks for a German record company. These included the iconic My Bonnie from 22^nd June 1961. Just listen to Tony’s guitar, so impressive to Billy Bragg. The single was released in Germany as Tony Sheridan and The Beat Brothers and later in the UK as Tony Sheridan and The Beatles. The first appearance of this band on commercial disc. They also recorded on their own during the same sessions including Ain’t She Sweet, a traditional jazz standard.

There is a marvellous section in the book that describes the influence of Lonnie on The Beatles. According to the author, Paul and George saw him at the Liverpool Empire on 5^th November 1956 and John played out his record of Rock Island Line. The author relates “Lennon began playing his guitar from approximately the last week of 1956” and went on to form The Quarrymen Skiffle Group.

The book closes with a resume of how so many of future British stars started in skiffle groups. Hank Marvin and Bruce Welch played skiffle, Cliff and Tony Meehan also had a skiffle background. The name checks of bands and singers goes on and on. You will have to read the book. Bragg makes this startling discovery: “Of the ten British artists who topped the US charts during that incredible two-year period, only one had no connection with skiffle”. Guess who.

So, the last five pages in the last chapter called “The British are Coming” is a who’s who of the big stars who started in the sixties and even the seventies including, amazingly, the Bee Gees starting life as a skiffle group called The Rattlesnakes. Even Abba?

What I take from this book is that skiffle could have been called anything. It was a mixture of folk, blues, country gospel and bluegrass. But it was a truly British phenomenon, all it needed was three chords, a tea chest bass and a washboard, and that inspired so many youngsters to start a band, a few of the thousands made it big. Very big.

I also found in hindsight, listening Lonnie’s recordings once again (what a treat this has been), how he embraced American rock and roll when his band went electric. The back cover of the book puts you into 1954, when a break in a performance by Ken Colyer’s Jazzmen sees Lonnie swapping his banjo for a guitar and, with a couple of others, sings a Lead Belly song. But for me, it was that week, at the age of eleven or twelve, I spent at my grandmothers when I played and played my uncle’s Rock Island Line. Thank you Lonnie, and thank you Billy.