The Mummies, 1990, Rekkids; Never Been Caught album, Telstar, 2002
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The honking style was fading somewhat by the early 1950s, but the honkers themselves suddenly found themselves providing rousing solos for doo wop groups; an example was Sam "The Man" Taylor's eight-bar romp on The Chords' 1954 "Sh-Boom." Bill Haley also used honking sax men Joey D'Ambrosio and Rudy Pompilli on his rock and roll records, including "Rock Around the Clock."
A year later, in 1954, a Turner song very similar to this one, "Shake, Rattle and Roll," with its boogie-woogie rhythm and squawking saxophone was cleaned up by Bill Haley to become a huge hit as rock and roll changed the face of music.
Much of his songwriting was influenced by a “1950’s Memphis & Rock ‘N’ Roll” phase (Bill Haley, Little Richard, Chuck Berry, Sun Studios-era Elvis Presley, Roy Orbison, Jerry Lee Lewis) combined with a passion for Klaxons, CSS and a love for French House music and early Source Records.
Some of the original 1950s rockabilly stars also appear in the documentary: Wanda Jackson (the first lady of rockabilly); The Comets (Bill Haley's original band) and Joe Clay.
It was distributed by Pickwick Records in North America in the 1960s, where it was involved in releasing some of Bill Haley's latter-day material, among other things.
Additional recordings exist from a demo session in 1955 ("Flip, Flop and Fly", "Rock-A-Beatin' Boogie" (written by Bill Haley) and "The Big Beat").
Some Japanese youths admired American music, and Japanese Bill Haley clones were known as rokabiri zoku (the rockabilly tribe).