Ray Stanley, "I Can't Wait" c/w "Over A Coke," Argo 5280 (rel. 10/1957)
The rockabilly sound peaked in 1957 and had nowhere to go. Like Dixieland jazz, it's bound to a set of stylistic concepts and flourished within those boundaries. Inventive songwriters might introduce unusual chord progressions or amp up the emotional heat, but it was blues-based music with a country flavor and you can't mess with that formula.
That's just what record producers and arrangers did, at the behest of label execs who sought to contain this beast, tame it, and fob off the castrato as the real deal to gullible teenagers. By the start of 1958, the rough edges of rockabilly were consumed by vocal choruses (a virus begun by Elvis Presley's RCA-Victor recordings), big-band instruments and session musicians who played by the hour rather than from feeling. This suited the record business; they could market this watered-down material and not incur the wrath of blue-noses. Those people caused a wave of vicious censorship in popular culture in the 1950s. This served to make the unadulterated stuff precious to young folk, and caused a rebellious attitude to form which remains in our society.
1957 was the last year that rock 'n' roll could just be itself (until 1964). It did not die out in those in-between years; it went into hiding. It surfaces on regional labels and companies like Chess Records, whose forte was roots music. An eccentric performer like Ray Stanley, who was accompanied by young guitarist Eddie Cochran on his four singles, was still on the radar as Halloween '57 greeted this obscure release. Chess subsidiary Argo, with its badly-printed silver and black labels, holds a host of obscure rockabillies in the year's releases.
Ray Stanley (née Stanley Nussbaum) was born in 1924 and a bit older than the average first-generation rockabilly. He played piano, wrote songs and sang. He helped form the Crest Records label and teamed up with Eddie Cochran and penned a Top 10 hit for pre-rock crooner Perry Como in "Glendora." He formed a music publishing company and set to writing rock 'n' roll material. Cochran became Stanley's wing man on guitar and adds some solid licks to the singer-cleffer's unusual material.
After a rabid debut single for Capitol Records in 1956, Stanley made two 45s for Zephyr Records, including the minor-key bopper "Love Charms," a much in-demand single by collectors. In-between his two Zephyr releases he made today's platter for Argo. Cochran and stand-up bassist Connie "Guybo" Smith; someone else simulates the tick-tock of a clock and there's a drummer as well.
"I Can't Wait" is the humorous rockin' account of a guy who's sitting on his hands in anticipation of a hot date. His hormones are in overdrive; he fights an urge to stalk his sweetheart. As song ends, he walks towards that destination; we don't learn what happens next. Stanley's conversational voice, with its Arkansas drawl, is ideal for this sinister first-person account of young lust.
That's just what record producers and arrangers did, at the behest of label execs who sought to contain this beast, tame it, and fob off the castrato as the real deal to gullible teenagers. By the start of 1958, the rough edges of rockabilly were consumed by vocal choruses (a virus begun by Elvis Presley's RCA-Victor recordings), big-band instruments and session musicians who played by the hour rather than from feeling. This suited the record business; they could market this watered-down material and not incur the wrath of blue-noses. Those people caused a wave of vicious censorship in popular culture in the 1950s. This served to make the unadulterated stuff precious to young folk, and caused a rebellious attitude to form which remains in our society.
1957 was the last year that rock 'n' roll could just be itself (until 1964). It did not die out in those in-between years; it went into hiding. It surfaces on regional labels and companies like Chess Records, whose forte was roots music. An eccentric performer like Ray Stanley, who was accompanied by young guitarist Eddie Cochran on his four singles, was still on the radar as Halloween '57 greeted this obscure release. Chess subsidiary Argo, with its badly-printed silver and black labels, holds a host of obscure rockabillies in the year's releases.
Ray Stanley (née Stanley Nussbaum) was born in 1924 and a bit older than the average first-generation rockabilly. He played piano, wrote songs and sang. He helped form the Crest Records label and teamed up with Eddie Cochran and penned a Top 10 hit for pre-rock crooner Perry Como in "Glendora." He formed a music publishing company and set to writing rock 'n' roll material. Cochran became Stanley's wing man on guitar and adds some solid licks to the singer-cleffer's unusual material.
After a rabid debut single for Capitol Records in 1956, Stanley made two 45s for Zephyr Records, including the minor-key bopper "Love Charms," a much in-demand single by collectors. In-between his two Zephyr releases he made today's platter for Argo. Cochran and stand-up bassist Connie "Guybo" Smith; someone else simulates the tick-tock of a clock and there's a drummer as well.
"I Can't Wait" is the humorous rockin' account of a guy who's sitting on his hands in anticipation of a hot date. His hormones are in overdrive; he fights an urge to stalk his sweetheart. As song ends, he walks towards that destination; we don't learn what happens next. Stanley's conversational voice, with its Arkansas drawl, is ideal for this sinister first-person account of young lust.
Cash Box found hit potential in the "contagious teenage bouncer" that features Eddie Cochran on hot lead guitar and a potential stalker scenario. That's rock 'n' roll!
"Over A Coke" uses a copyrighted product name that had become all-encompassing for carbonated non-alcoholic beverages. It's a jaunty mid-tempo item about a young couple who use the burp-inducing drink to celebrate their romantic union. Stanley's nervous persona works well on this calmer side, which Eddie Cochran's guitar decorates with echo effects and meaty pickin'.
Were a 2026 musician to evoke the word Coke (which Stanley rhymes in clever ways throughout), lawyers would come calling and legal-ish actions would result. In 1957, it slipped past corporate radar; it was just a dumb record for kids. Who'd ever hear it? They might've deemed it free advertising. I doubt the title "Over A Pepsi" would have resulted in any clever couplets. Any rhymes would be forced at best. No one noticed; no one cared.
Were a 2026 musician to evoke the word Coke (which Stanley rhymes in clever ways throughout), lawyers would come calling and legal-ish actions would result. In 1957, it slipped past corporate radar; it was just a dumb record for kids. Who'd ever hear it? They might've deemed it free advertising. I doubt the title "Over A Pepsi" would have resulted in any clever couplets. Any rhymes would be forced at best. No one noticed; no one cared.
After his fourth single, the infamous "Love Charms," Ray Stanley ended his rockabilly experiment. He is listed in error as the Ray Stanley who was part of uneasy-listening combo The Johnson-Stanley Orchestra, whose Have Harp--Can't Travel LP for Liberty Records does have an unforgettable cover, seen here:
Stanley returned in the late 1960s with a series of country singles on podunk regional labels. He passed on in 1992, beloved by rockabilly fans for his zany songs and his association with Eddie Cochran, whose 1960 passing was a major loss to the world of rock 'n' roll.
Tomorrow: regional teen rockabilly with Jimmy Reagan & The Rhythm Rockers, via a rare 1959 platter for G & G Records out of Gardena, California.
These are great and simple songs. No flash here and both feel fresh for 1957. Heartfelt emotions and, thank goodness, no Elvis impressions. That cool stand-up base playing grounds these two songs. Looks like that's everyone's favorite little person Billy Barty putting on the ritz on that Stanley Johnson Liberty LP cover.
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