Bill Haley: Rock Around the Clock – the world's first rock anthem | Music | The Guardian

About the Song

In the realm of music, there are songs that entertain, songs that inspire, and then there are songs that shatter barriers and redefine genres. Bill Haley & His Comets’ 1954 rendition of “Rock Around the Clock” falls squarely into the latter category. This electrifying single not only became an instantaneous hit, but it also served as the impetus for the rock and roll revolution, forever altering the landscape of popular music.

Prior to “Rock Around the Clock”, the music scene was dominated by genres like big band and pop. While these styles were certainly popular, they catered to a more established audience. Rock and roll, on the other hand, was raw, energetic, and rebellious. It spoke to a younger generation eager to break free from the constraints of the past.

Bill Haley & His Comets were the perfect vessel to deliver this new sound to the masses. With their driving guitar riffs, pounding drums, and Haley’s charismatic vocals, they injected a shot of adrenaline into the music world. “Rock Around the Clock” was the epitome of this energy, capturing the excitement, rebellion, and unbridled joy of rock and roll.

The song’s impact was immediate and undeniable. It topped the charts in both the United States and the United Kingdom, selling millions of copies and becoming an anthem for a generation. “Rock Around the Clock” also broke down racial barriers, as it was one of the first rock and roll songs to receive widespread airplay on pop radio stations.

More than just a hit song, “Rock Around the Clock” was a cultural phenomenon. It was featured in the 1955 film “Blackboard Jungle”, which helped to further popularize rock and roll among teenagers. The song has also been covered by countless artists over the years, each adding their own unique interpretation to the classic track.

“Rock Around the Clock”‘s legacy is undeniable. It is considered one of the most important songs of all time, and it has had a profound impact on the development of popular music. The song’s energy, excitement, and rebellious spirit continue to inspire generations of musicians and music lovers alike. Bill Haley & His Comets may have been the ones to rock around the clock back in 1954, but their impact continues to reverberate today, ensuring that this iconic song will forever be etched in the annals of music history.

On this day in history, April 12, 1954, Bill Haley records 'Rock Around the Clock,' rock's first No. 1 hit | Fox News

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Lyrics: Rock Around The Clock

One, two, tree o’clock, four o’clock rock
Five, six, seven o’clock, eight o’clock rock
Nine, ten, eleven o’clock, twelve o’clock rock
We’re gonna rock around the clock tonightPut your glad rags on, join me, hon
We’ll have some fun while the clock strikes one
We’re gonna rock around the clock tonight
We’re gonna rock, rock, rock ’till broad daylight
We’re gonna rock, gonna rock around the clock tonightWhen the clock strikes two or tree and four
If the band slows down we’ll yell for more
We’re gonna rock around the clock tonight
We’re gonna rock, rock, rock ’till broad daylight
We’re gonna rock gonna rock around the clock tonightWhen the chimes ring five, six and seven
We’ll be right in seventh heaven
We’re gonna rock around the clock tonight
We’re gonna rock, rock, rock, ’till broad daylight
We’re gonna rock, gonna rock, around the clock tonightWhen it’s eight, nine, ten, eleven too
I’ll be goin’ strong and so will you
We’re gonna rock around the clock tonight
We’re gonna rock, rock, rock, ’till broad daylight
We’re gonna rock, gonna rock, around the clock tonightWhen the clock strikes twelve, we’ll cool off then
Start a rockin’ round the clock again
We’re gonna rock around the clock tonight
We’re gonna rock, rock, rock, ’till broad daylight
We’re gonna rock, gonna rock, around the clock tonight

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SHE HAD BEEN SINGING MOUNTAIN MUSIC SINCE BEFORE BLUEGRASS EVEN HAD A NAME. THEN, AT 80, WILMA LEE COOPER COLLAPSED ON THE OPRY STAGE WITH THE SONG STILL IN HER THROAT. Wilma Lee Cooper came out of Valley Head, West Virginia, where music was not something you studied in a conservatory. It was family. Church. Radio. Coal-country evenings. Her father worked in the mines. Her mother played pump organ. Wilma started singing when she was five, then sang with her family gospel group before she ever became part of country music history. She met Stoney Cooper in the early 1940s. He played fiddle. She sang and played guitar. Together they built a sound that sat between mountain gospel, old-time string band music, and the country music that had not yet decided how polished it wanted to become. They did not wait for genre labels. They drove. They broadcast. They played wherever people would listen. The roads were part of the act. Their daughter Carol Lee sometimes slept in the car under the upright bass while Wilma and Stoney went from show to show. They raised a family while keeping a band alive. They recorded songs like “Big Midnight Special,” “There’s a Big Wheel,” and “Wreck on the Highway.” By 1957, they had joined the Grand Ole Opry. The Smithsonian later called Wilma Lee the “First Lady of Bluegrass.” But that title came after decades of work. It came after she and Stoney had already spent years carrying the mountain sound through a country business that was moving toward smoother voices and cleaner suits. Then Stoney died in 1977. Wilma Lee did not leave with him. She stayed with the Opry. She kept leading the Clinch Mountain Clan. The old mountain voice remained onstage, older now but still carrying the same hard edge. She had already sung for more than sixty years by the time she walked onto the Ryman Auditorium stage on February 24, 2001. She was eighty. During that performance, Wilma Lee suffered a stroke. The career ended there. Not in a retirement announcement. Not in a farewell special. Onstage, in the place where she had kept the old sound alive for generations. The illness affected her speech and voice, and doctors doubted she would walk again. But Wilma Lee did return once more. In 2010, at the reopening of the Opry House after the Nashville flood, she came back for a group sing-along. Not to reclaim the old career. Not to prove anything. Just to stand in the room one more time and thank the people who had carried her. For most of her life, Wilma Lee Cooper sang as if the mountain had come down from West Virginia and entered the microphone. Her last great silence came on the same stage where she had spent decades refusing to let that mountain disappear.