Haley, Bill

orig. William John Clifton

born July 6, 1925, Highland Park, Mich., U.S.

died Feb. 9, 1981, Harlingen, Texas

U.S. singer and guitarist, one of the pioneers of rock and roll (see rock music).

Haley worked as a disc jockey and sang and played guitar for several country music bands in the late 1940s, later forming his own band, the Saddlemen. Marrying elements of country to rhythm and blues, he renamed his band Bill Haley and His Comets and recorded some of rock's earliest hits, including "Shake Rattle and Roll" (1954) and "Rock Around the Clock" (1955). He continued to tour as a nostalgia act into the 1970s.

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▪ American musician

Introduction

in full  William John Clifton Haley, Jr. 

born July 6, 1925, Highland Park, Mich., U.S.

died Feb. 9, 1981, Harlingen, Texas

      American singer and songwriter considered by many to be the father of rock and roll thanks to his 1955 hit “Rock Around the Clock.”

      If not the father of rock and roll, Haley is certainly one of its fathers. He cut his first record in 1948 and the next year settled into a job as a disc jockey in Chester, Pennsylvania. At the time his groups played a small-band version of western swing, and Haley continued recording country (country music) songs until 1951, when he covered (rerecorded) Jackie Brenston's stomping rhythm-and-blues (rhythm and blues) hit “Rocket 88.” Although his version sold poorly, Haley was intrigued with the possibility of selling big-beat music to teenagers, so he dropped his cowboy image and changed the band's name to Bill Haley and His Comets. In a conscious effort to capture the growing teen audience, he also incorporated the music of jump-blues stars into his sound (and later speculated that through them he was probably influenced by Louis Jordan (Jordan, Louis)). It worked, and Haley's self-written “Crazy Man Crazy” (1953) is often considered the first rock-and-roll record to hit the Billboard pop charts. Haley's original Comets were arguably the first self-contained rock-and-roll band and featured Al Rex's booming slapped bass, John Grande's boogie piano, Rudy Pompilli's screaming saxophone, and the guitar interplay between Danny Cedrone and Bill Williamson.

      In 1954 Haley signed with his first major label, Decca. “Rock Around the Clock” sold disappointingly that year, but in 1955 it was reissued as part of the soundtrack to Blackboard Jungle, one of the most popular juvenile-delinquent movies of the 1950s, which was accompanied by teen rioting in many theatres. Haley rode the controversy to number one on the charts. Through the end of 1956 he tallied eight more Top 40 hits. His tour of Britain in 1957 caused pandemonium.

      By the end of 1958 (the year of his last significant hit), however, Haley was sinking. A balding, overweight, middle-aged man in a plaid suit and ludicrous spit curl, he did not serve teen rebellion nearly as well as Elvis Presley (Presley, Elvis), Little Richard, and many others did. Haley was on the nostalgia circuit just five years after his first hit, and while it served him well—especially in Britain—he started growing bitter and unpredictable. He spent much of the 1960s in Mexico City. In the weeks before his death, he was seen wandering around the South Texas brush country, mumbling to himself, a tragic and lonely end for a once-articulate singer who had sold some 60 million records. Haley was inducted into the Rock and Roll Hall of Fame in 1987.

John Morthland

Representative Works

● “Rock Around the Clock” (1954)

● “Burn That Candle” (1955)

● Rock Around the Clock (1955)

● “See You Later Alligator” (1956)

Additional Reading

Haley's life and career are traced in John Swenson, Bill Haley: The Daddy of Rock and Roll (1983). John W. Haley and John Von Hoelle, Sound and Glory: The Incredible Story of Bill Haley, the Father of Rock 'n' Roll and the Music That Shook the World (1990), is a poignant cheerleading insider's look; and Nick Tosches, “Young Bill Haley: The Lounge Act That Transcendeth All Knowing,” in his Unsung Heroes of Rock 'n' Roll, rev. ed. (1991), pp. 103–108, presents a jaundiced but nonetheless credible view.

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