Janis Martin, "My Boy Elvis" c/w "Little Bit," RCA-Victor 47-6652 (rel. 6/1956)
1956 was a banner year for rock 'n' roll. Still seen as a fad, like the hula hoop, mambo or calypso, this new youth music had a longer shelf life than the folks in charge would care to admit. In '56, rock 'n' roll was a moneymaker, and that meant every mother and his brother recruited new talent for their record labels.
Janis Martin was the strongest female force in what was dubbed rockabilly--music that, like bluegrass, was an offshoot of traditional country music, with a beat inspired by rhythm and blues and a tendency to go way over the speed limit. Every label, large or small, searched for their own Elvis, as if Presley was a product that could be replicated with ease. The idea that these young performers might have a distinctive sound--or, heavens forbid, a style--wasn't in the equation. New signees were encouraged to emulate Elvis' mannerisms. In concert with insipid pop arrangements, in many cases, these wanna-bes never stood a chance.
It was best when producers and arrangers understood the less-in-more aesthetic. All you needed was a vocalist who could play rhythm guitar, a hot lead guitarist, a bassist and a percussionist. Throw in a piano if needed. Otherwise, nothing else was required.
When RCA-Victor signed Janis Martin, they seemed to get it. She was a stylist who could mold anything she sung into "her" property. When they let her do her thing, perfect rockers like "Drugstore Rock 'n' Roll" and "Let's Elope, Baby" (both played on the Jukebox years ago) resulted. For one of her best singles, Martin paid tribute to label-mate Presley in a song penned by Aaron Schroeder and Claude DeMetrius, two cleffers who penned material for Elvis under their own names. Why they chose 'Virginia Fitting' and 'Doc Rockingham' is lost to time, but was a possible hedge against a contract violation; they might have be committed to give Presley first right of refusal on any new material. Why he'd want to sing about himself, from a teenage girl's point of view, seems dubious, but these two composers didn't want to irk their cash-cow.
Best of all, this single was recorded in New York with our buddy George Barnes, a middle-aged music veteran who understood this new youth music and embraced it, on blazing lead guitar. On May 11, 1956, four songs were recorded, these two included.
You can read a capsule biography of Ms. Martin here:
Let's get with it! "My Boy Elvis" is a rockabilly anthem and by far the best song ever written about Presley. The bluesy melody accompanies a clever lyric that drops the names of several Elvis hits, including the epochal "Mystery Train." A stop-start arrangement adds excitement to Janis' bright, intense vocal.
George Barnes doesn't break into a solo, but his twang decorates this fast-moving side. The male chorus who bellow "jump, wiggle and shake" at record's end are a welcome surprise. I would imagine Elvis was honored by this hi-octane tribute; the record might have done a spell on his jukebox back home at Graceland!
Janis Martin was the strongest female force in what was dubbed rockabilly--music that, like bluegrass, was an offshoot of traditional country music, with a beat inspired by rhythm and blues and a tendency to go way over the speed limit. Every label, large or small, searched for their own Elvis, as if Presley was a product that could be replicated with ease. The idea that these young performers might have a distinctive sound--or, heavens forbid, a style--wasn't in the equation. New signees were encouraged to emulate Elvis' mannerisms. In concert with insipid pop arrangements, in many cases, these wanna-bes never stood a chance.
It was best when producers and arrangers understood the less-in-more aesthetic. All you needed was a vocalist who could play rhythm guitar, a hot lead guitarist, a bassist and a percussionist. Throw in a piano if needed. Otherwise, nothing else was required.
When RCA-Victor signed Janis Martin, they seemed to get it. She was a stylist who could mold anything she sung into "her" property. When they let her do her thing, perfect rockers like "Drugstore Rock 'n' Roll" and "Let's Elope, Baby" (both played on the Jukebox years ago) resulted. For one of her best singles, Martin paid tribute to label-mate Presley in a song penned by Aaron Schroeder and Claude DeMetrius, two cleffers who penned material for Elvis under their own names. Why they chose 'Virginia Fitting' and 'Doc Rockingham' is lost to time, but was a possible hedge against a contract violation; they might have be committed to give Presley first right of refusal on any new material. Why he'd want to sing about himself, from a teenage girl's point of view, seems dubious, but these two composers didn't want to irk their cash-cow.
Best of all, this single was recorded in New York with our buddy George Barnes, a middle-aged music veteran who understood this new youth music and embraced it, on blazing lead guitar. On May 11, 1956, four songs were recorded, these two included.
You can read a capsule biography of Ms. Martin here:
Let's get with it! "My Boy Elvis" is a rockabilly anthem and by far the best song ever written about Presley. The bluesy melody accompanies a clever lyric that drops the names of several Elvis hits, including the epochal "Mystery Train." A stop-start arrangement adds excitement to Janis' bright, intense vocal.
George Barnes doesn't break into a solo, but his twang decorates this fast-moving side. The male chorus who bellow "jump, wiggle and shake" at record's end are a welcome surprise. I would imagine Elvis was honored by this hi-octane tribute; the record might have done a spell on his jukebox back home at Graceland!
Cash Box was downright affectionate towards rock 'n' roll in 1956. Always from the sales angle, their musing are a good barometer for how the music-biz related to teen rock and pop as it happened.
"Little Bit" came from Carl Stutz and Carl Barefoot, deejays who wrote the pop standard "Little Things Mean a Lot" and who penned a few items just for Janis. This solid rockin' blues is right up Martin's alley. Barnes takes a sweet solo on this stop-start bopper that suits Janis to a T (or J). Value-for-money is any rockabilly 45 with two fast numbers, rather than a sappy ballad on the B.
Quality-wise, this is a peak effort for Ms. Martin and company. I hope the kids did take to both halves. This senior-citizen 'kid' sure does!
Quality-wise, this is a peak effort for Ms. Martin and company. I hope the kids did take to both halves. This senior-citizen 'kid' sure does!
Whenever we acquire more Janis Martin 45s, you'll hear 'em here, or on the bi-weekly podcast. Speaking of which, our annual best-of program debuts tomorrow morn. It's a power-packed parade of great music you don't wanna miss!
Tomorrow, Gene Vincent sees 2025 out with one of his hottest two-siders for Capitol Records. Though I own the American release, I picked up the UK pressing and we'll hear that record, just for the jolly ol' heck of it!
Love these! Ms. Martin really seemed to be having fun and these two fun rock-a-billy songs are a sweet treat.
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