By Jason Kottke
Women in Rock & Roll’s First Wave is a project by Leah Branstetter that uncovers and highlights the women who pioneered rock & roll in the 50s. For sixty years, conventional wisdom has told us that women generally did not perform rock and roll during the 1950s.
In every decade, you can find someone commenting on the absence of women on the charts during rock and roll’s heyday. Others note that women during that era were typically not so inclined to a wild, raucous style.
The reality is, however, that hundreds — or maybe thousands — of women and girls performed and recorded rock and roll in its early years.
And many more participated in other ways: writing songs, owning or working for record labels, working as session or touring musicians, designing stage wear, dancing, or managing talent — to give just a few examples.
Meet, for instance, Laura Lee Perkins.
Perkins cut several sides there, where she was backed by the same band that accompanied Ricky Nelson (she was thrilled that she also got to meet Nelson).
The label did some publicity for her — though they appeared to have listed her under several different stage names — and apparently tried to bill her as the “female Jerry Lee Lewis” because of her skill at the piano.
Perkins returned to Cleveland, where she had difficulty promoting her recordings. She recalls that being single and working as a waitress, she couldn’t muster the payola required to break through in some markets.
She would play record hops where she would lip sync to her Imperial sides. Some of the other acts at the hops she played included Connie Francis, the Everly Brothers, and Fabian.
And Ruth Brown:
Brown’s success for Atlantic was such that the label has famously been called “the House that Ruth Built.” She would eventually cut more than one hundred sides for the label. Initially,
Brown recorded mainly ballads and jazz standards. Her first #1 R&B hit, “Teardrops from My Eyes,” marked a firm turn in her style toward the “hot” rhythmic style for which she became famous.
Hits including “5-10-15 Hours” (1952) and “Mama, He Treats Your Daughter Mean” (1953) are arguably among the first of the rock and roll era. Her first major crossover success came with “Lucky Lips” (1957), which made it to the Billboard Top 100 list.
She recalls in her autobiography that the success of that song plus her involvement with rock and roll “supershows” such as Alan Freed’s was that “I sang ‘Lucky Lips’ seven times in one day. And nothing else! It was a fiasco, a rock ‘n’ roll circus, but it was a huge business.”
And absolutely do not miss this Spotify playlist compiled by Branstetter: Women in Rock & Roll’s First Wave Sampler.