1950's Punk & Rockabilly

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It's easy to look at Rhino's four-disc 2006 box Rockin' Bones: 1950s Punk and Rockabilly and confuse it with the label's 1999 four-disc box Loud, Fast & Out of Control: The Wild Sounds of '50s Rock. It has the same garish neo-pulp artwork, covers the same era, and even has several of the same songs, usually big hits like Eddie Cochran's "Summertime Blues" or Jerry Lee Lewis' "Whole Lotta Shakin' Goin' On," or Ricky Nelson's "Believe What You Say," but it also has cult classics like Joe Clay's "Duck Tail" or the Phantom's "Love Me," or Vince Taylor's "Brand New Cadillac" -- plus, this builds on the speeches and dialogue that were interspersed throughout Loud, Fast & Out of Control by adding the audio from '50s and '60s exploitation movie trailers; a cool idea on mixtapes that is unbearable in the digital age because for some reason, Rhino did not index the trailers as individual tracks, so whenever you try to make your own mix or listen to it on your iPod it's a mess. So, Rockin' Bones is very similar in many respects to Loud, Fast & Out of Control except in one important way: this contains only rockabilly tunes, cutting out any of the R&B, jump blues, and straight-up rock & roll that made the 1999 box an excellent, essential portrait of the rock & roll revolution. In other words, with the exception of Big Al Downing, there are no black artists here -- no Chuck Berry, no Little Richard, no Bo Diddley, three artists who were as crucial to '50s rock & roll (not to mention greasers) as Elvis Presley, Eddie Cochran, Gene Vincent and Buddy Holly. While the argument could be made that Berry, Little Richard and Diddley weren't rockabilly, their absence nevertheless casts a shadow over the set, as if the compilers were trying to rewrite history so they could shoehorn the beginning of rock & roll into the nebulous "1950s Punk" of the set's subtitle, since punk in its 2006 incarnation is pretty much devoid of black musicians (but, let's face it, a generation raised on Hot Topic punk-pop and emo is unlikely to buy 50-year-old recordings no matter if they're labeled punk or not). It's a decision that can be defended, but it still leaves a bad aftertaste

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