"Eddie Cochran Memorial Album" by Eddie Cochran (September, 1960, UK only)

Dad's Take:

This album was released to memorialize (or capitalize on) Eddie Cochran's death in a car crash in April, 1960, at the age of 21. It's a solid reminder of how good Eddie Cochran was and how much he'd done at such a young age.

Although Elvis's influence is strong, Cochran was much more than an Elvis copycat. He was an amazing talent on his own, and influenced guitar players like George Harrison, who, like Cochran, played a semi-acoustic Gretsch with an unwound third string.

Cochran's songs have been copied by many artists over the years. "Summertime Blues" is his best-remembered and most copied record, but his influence goes beyond that one song. One of the rockabilly greats, Cochran was copied by almost everybody in the sixties--especially the great British rockers like the Beatles, The Who, the Stones, and Led Zeppelin--if not in direct covers, then in style.

This album makes it clear why Cochran is in the Rock & Roll Hall Of Fame. Whether the song is well known, like "Summertime Blues" or "C'mon Everybody," or less known like "Somethin' Else," his performances are strong, energetic, and more original than some might claim. His influence on the second generation rockers is indisputable.

Check him out yourself if you don't believe me.

Brad's Take:

On songs like "Jeanie, Jeanie," you can definitely hear the Elvis influence in Eddie Cochran's music. He even sings "blue suede shoes" in the lyrics to that song which instantly reminds one of Elvis' song. But even if Eddie borrows Elvis' musical style a little bit, he's no Billy Fury. Cochran makes his songs his own, maybe except for the song "Pretty Girl."

"Hallelujah, I Love Her So" is a song I liked instantly. It's upbeat and has a loud strings section accompanying the other typical instruments. The violins really made that song stand out to me.

"Summertime Blues" is a classic that everyone knows, even if they just know the hook. This song shows that Cochran was original and not an Elvis Presley copy cat. This song is a solid golden hit that I don't even think The King could have written.

For me, this collection of songs is hit and miss throughout. I liked just about half of it, and the other half, I could have done without. Even though there are some songs that I didn't love, this is a great collection that shows off all of the sides to Eddie Cochran.

It's hard to believe that he was 21 or younger when he wrote all of these songs. The kid had true talent, and it's a bummer that he died so young. It would have been really interesting to see where he would have gone next.

"The Sound Of Fury" by Billy Fury (May, 1960)

Brad's Take:


I'd never heard of Billy Fury before this so I was curious to hear his debut album, "The Sound Of Fury." As soon as I hit play, I immediately thought, "I didn't know Elvis impersonators actually got record deals..."

After doing a little bit of research, I discovered that he kind of was Elvis, but the UK's version of Elvis. His vocal styling and energy is almost identical, and he even dressed and moved like The King.

On "Turn My Back On You," Billy Fury does his best Buddy Holly impression by doing the stuttering vocal style that Buddy was well known for.

Since our book is from the UK, it makes sense for Billy Fury to be in it. The UK needed an Elvis and a Buddy Holly so this kid probably made lots of people (especially girls) happy until the real came over from the states.

Putting the similarities to other artists aside, Buddy, I mean Billy Fury nailed it on this album. He stuck to the same blues/rock/country formula that was popular in the US and brought it to the UK, and he succeeded. His voice and energy were great, and he was a good looking guy. I'm sure the English girls swooned over him all day and night. It's not a surprise that a life size bronze statue of him (doing an Elvis impression) was eventually built in Liverpool in his honor in 2003.

Dad's Take:

This is one of a few British-only releases on our list. It's a British book, so that's to be expected. It's also interesting, because it ensures that we'll hear some albums that we've never heard, but that influenced the great British bands. Billy Fury, as an early leader in the Liverpool rock and roll scene, undoubtedly played a more important role than we Yanks are likely to recognize. Interestingly, according to one source, one group that auditioned to be Fury's band was a little band called the Silver Beetles. They were turned down when they refused to fire their bass player, Stuart Sutcliffe, thus missing out on a £20 per week job.

If you listen to very much 1950's rockabilly, you'll hear a number of Elvis imitators of varying quality. Billy Fury is actually pretty good. The songs are good, and the performances are strong. As Brad mentioned, you hear the obvious influence of people like Elvis and Buddy Holly, as well as Carl Perkins and other rockabilly greats, especially Eddie Cochran.

Fury had the chops to pull off some really good rockabilly, as well as the voice for ballads. He didn't have quite the same energy level as Elvis or Buddy. His music isn't especially original, but he was one of the early architects of British rock and roll, and as such deserves a spot on our list.

Bottom line, though, is that it's just a fun record. Songs like "Don't Say It's Over," "That's Love," and several others on this record deserve to be better known stateside. I found "Since You've Been Gone" with its bizarre tempo changes and stuttering "baby baby baby" delivery to be especially interesting. It's not the best song on the record, but it's unusual and fun in its weirdness. If you like good old rock and roll, and especially rockabilly, look for this record. It's good stuff if you like this kind of thing. And I do.