Name	Bill Haley
Background	solo_singer
Birth name	William John Clifton Haley
Alias	Jack Haley, Johnny Clifton
Birth date	July 06, 1925
Died	February 09, 1981Harlingen Texas
Origin	Highland Park, Michigan, United States
Genre	Rock and roll, country, rockabilly
Occupation	Singer-songwriter, musician, bandleader
Instrument	Vocals, guitar, slap bass
Years active	1946–1980
Label	Cowboy, Atlantic, Keystone, Center, Holiday, Essex, Decca, Warner Bros. Records, Orfeón, Dimsa, Newtown, Guest Star, Logo, APT, Gone, United Artists, Roulette, Sonet, Buddah, Antic, Arzee
Associated acts	Bill Haley & His Comets, The Down Homers }}

William John Clifton "Bill" Haley (; July 6, 1925 – February 9, 1981) was one of the first American rock and roll musicians. He is credited by many with first popularizing this form of music in the early 1950s with his group Bill Haley & His Comets (inspired by Halley's Comet) and their hit song "Rock Around the Clock".

Biography[link]

Early life and career[link]

Bill Haley was born in Highland Park, Michigan as William John Clifton Haley. Because of the effects of the Great Depression on the Detroit area, his father moved the family to Boothwyn, Pennsylvania, near the town of Chester, when Bill was seven years old. Haley's father William Albert Haley was from Kentucky and played the banjo and mandolin, his mother Maude Green originally from Ulverston in England was a technically accomplished keyboardist with classical training. Haley told the story that when he made a simulated guitar out of cardboard, his parents bought him a real one.

The anonymous sleeve notes accompanying the 1956 Decca album "Rock Around The Clock" describe Haley's early life and career thus: "Bill got his first professional job at the age of 13, playing and entertaining at an auction for the fee of $1 a night. Very soon after this he formed a group of equally enthusiastic youngsters and managed to get quite a few local bookings for his band."

The sleeve notes continue: "When Bill Haley was fifteen [c.1940] he left home with his guitar and very little else and set out on the hard road to fame and fortune. The next few years, continuing this story in a fairy-tale manner, were hard and poverty stricken, but cramful of useful experience. Apart from learning how to exist on one meal a day and other artistic exercises, he worked at an open-air park show, sang and yodelled with any band that would have him and worked with a traveling medicine show. Eventually he got a job with a popular group known as the "Down Homers" while they were in Hartford, Connecticut. Soon after this he decided, as all successful people must decide at some time or another, to be his own boss again - and he has been that ever since.’ [Note: these notes fail to account for his early band, known as the Four Aces of Western Swing. They later changed their name to avoid confusion with the pop vocal group the Four Aces. During the 1940s Haley was considered one of the top cowboy yodelers in America as "Silver Yodeling Bill Haley".]

The sleeve notes conclude: "For six years Bill Haley was a musical director of Radio Station WPWA in Chester, Pennsylvania, and led his own band all through this period. It was then known as Bill Haley's Saddlemen, indicating their definite leaning toward the tough Western style. They continued playing in clubs as well as over the radio around Philadelphia, and in 1951 made their first recordings."

Bill Haley & His Comets[link]

During the Labor Day weekend in 1952, The Saddlemen were renamed Bill Haley with Haley's Comets (inspired by a popular mispronunciation of Halley's Comet), and in 1953, Haley's recording of "Crazy Man, Crazy" (co-written by Haley and his bass player, Marshall Lytle although Lytle would not receive credit until 2001) became the first rock and roll song to hit the American charts, peaking at no.15 on Billboard and no.11 on Cash Box. Soon after, the band's name was revised to Bill Haley & His Comets.

In 1953, a song called "Rock Around the Clock" was written for Haley. He was unable to record it until April 12, 1954. Initially, it was relatively unsuccessful, staying at the charts for only one week, but Haley soon scored a major worldwide hit with a cover version of Big Joe Turner's "Shake, Rattle and Roll", which went on to sell a million copies and became the first ever rock 'n' roll song to enter British singles charts in December 1954 and became a Gold Record. He retained elements of the original, but threw some country music aspects in to the song (specifically, Western Swing) and cleaned up the lyrics. Haley and his band were important in launching the music known as "Rock and Roll" to a wider, mostly white audience after a period of it being considered an underground genre. When "Rock Around the Clock" appeared behind the opening credits of the 1955 film ''Blackboard Jungle'' starring Glenn Ford, it soared to the top of the American ''Billboard'' chart for eight weeks. The single is commonly used as a convenient line of demarcation between the "rock era" and the music industry that preceded it; ''Billboard'' separated its statistical tabulations into 1890-1954 and 1955–present. After the record rose to number one, Haley was quickly given the title "Father of Rock and Roll," by the media, and by teenagers that had come to embrace the new style of music.

"Rock Around the Clock" was the first record ever to sell over one million copies in both Britain and Germany and, in 1957, Haley became the first major American rock singer to tour Europe. Haley continued to score hits throughout the 1950s such as "See You Later, Alligator" and he starred in the first rock and roll musical movies ''Rock Around the Clock'' and ''Don't Knock the Rock'', both in 1956. Haley was soon eclipsed in the United States by the younger, sexier Elvis, but continued to enjoy great popularity in Latin America, Europe, and Australia through the 1960s.

Death and legacy[link]

A self-admitted alcoholic (as indicated in a 1974 radio interview for the BBC), Haley fought a battle with alcohol into the 1970s. Nonetheless, he and his band continued to be a popular touring act, enjoying a career resurgence in the late 1960s with the Rock and roll revival movement and the signing of a lucrative record deal with the European Sonet Records label. After performing for Queen Elizabeth II at a command performance in 1979, Haley made his final performances in South Africa in May and June 1980. Prior to the South African tour, he was diagnosed with a brain tumor, and a planned tour of Germany in the fall of 1980 was canceled.

The October 25, 1980 edition of the German paper ''Bild'' reported that Haley had a brain tumor. It quoted British manager Patrick Maylan as saying that Haley "had taken a fit and went over the seat. He didn't recognize anyone anymore" after being taken to his home in Beverly Hills. It also reported that a doctor at the clinic where Haley had been taken said, "The tumor can't be operated on anymore."

"The Berliner Zeitung" reported a few days later that Haley had collapsed after a performance in Texas and been taken to the hospital in his home town of Harlingen, Texas. However this account is questionable as Bill Haley never performed in the United States in 1980.

Despite his ill health, Haley began compiling notes for possible use as a basis for either a biographical film based on his life, or a published autobiography (accounts differ), and there were plans for him to record an album in Memphis, Tennessee, when the brain tumor began affecting his behavior and he went back to his home in Harlingen, Texas, where he died early in the morning of February 9, 1981.

Martha, Bill's widow, who was with him in these troubling times, denies he had a brain tumor as does his old, very close friend, Hugh McCallum. Martha and friends related that Bill did not want to go on the road any more and that ticket sales for that planned tour of Germany in the fall of 1980 were slow. According to McCallum, "It's my unproven gut feeling that that [the brain tumor] was said to curtail talks about the tour and play the sympathy card."

It was obvious that his drinking problem was getting worse. According to Martha, by this time she and Bill fought all the time and she told him to stop drinking or move out so he moved out into a room in their pool house. Martha still took care of him and sometimes he would come in the house to eat, but he ate very little. "There were days we never saw him," said his daughter Martha Maria.

In addition to the drinking problems, it had become obvious that he also was having serious mental problems; Martha Maria said that, "It was like sometimes he was drunk even when he wasn't drinking." After he'd been jailed by the Harlingen Police, Martha had the judge put Haley in the hospital where he was seen by a psychiatrist who said Bill's brain was overproducing a chemical, like adrenaline. The doctor prescribed a medication to stop the overproduction but said Bill would have to stop drinking. Martha said, "This is pointless." She took him home, however, fed him and gave him his first dose. As soon as he felt better, he went back out to his room in the pool house and the downward spiral continued until his death.

Haley's death certificate listed "Natural causes: Most likely heart attack" as the 'Immediate Cause' of death. The next lines, 'Due to, or as a consequence Of" were blank.

Haley made a succession of bizarre, mostly monologue late-night phone calls to friends and relatives in which he seemed incoherently drunk or ill. Haley's first wife has been quoted as saying, "He would call and ramble and dwell on the past, his mind was really warped." A belligerent phone call to a business associate was taped and gives evidence of Haley's troubled state of mind.

Media reports immediately following his death indicated Haley displayed deranged and erratic behavior in his final weeks, although beyond a biography of Haley by John Swenson, released a year later, which described Haley painting the windows of his home black, there is little information extant about Haley's final days.

Haley was posthumously inducted into the Rock and Roll Hall of Fame in 1987. He has a star on the Hollywood Walk of Fame.

Songwriters Tom Russell and Dave Alvin addressed Haley's demise in musical terms with "Haley's Comet" on Alvin's 1991 album ''Blue Blvd.'' Dwight Yoakam sang backup on the tribute.

Haley's original Comets still tour the world. They released a concert DVD in 2004 on Hydra Records, played the Viper Room in West Hollywood in 2005, and performed at Dick Clark's American Bandstand Theater in Branson, Missouri in 2006-07.

In March 2007, the Original Comets pre-opened the Bill Haley Museum in Munich, Germany. On October 27, 2007, ex-Comets guitar player Bill Turner opened the Bill Haley Museum for the public.

Asteroid[link]

:''Main article - 79896 Billhaley''

In February 2006, the International Astronomical Union announced the naming of asteroid 79896 Billhaley to mark the 25th anniversary of Bill Haley's death.

Children[link]

Married three times, Bill Haley had at least four children. John W. Haley, his eldest son, wrote ''Sound and Glory'', a biography of Haley, while his youngest daughter, Gina Haley, is a professional musician based in Texas. Scott Haley is an athlete, while Haley's youngest son, Pedro Haley, is also a musician.

He also had a daughter, Martha Maria, from his last marriage with Martha Velasco.

Bill Haley Jr. (Haley's second son and first with Joan Barbara "Cuppy" Haley-Hahn) publishes a regional business magazine in Southeastern Pennsylvania (''Route 422 Business Advisor''). He sings and plays guitar with a band called "Lager Rhythms," and appeared with the "Original Comets" at the Bubba Mac Shack in Somers Point, New Jersey, in 2004 and 2005, and at the Twin Bar re-dedication ceremony in Gloucester City, New Jersey, in 2007. He is currently writing a biography about his father, concentrating on the years 1949-61.

He also appeared live before a sellout crowd with the Comets as recently as March 19, 2011 when he was invited onstage for the grand finale at the Pioneers of Rock & Roll Show at Cannstatter's Ballroom on Academy Rd. in N.E. Philadelphia. The show featured the Original Comets and Philadelphia's first original rock artist, Charlie Gracie. Also appearing was one of the favorite local Doo Wop groups - The Emeralds. Highlights of the show can be seen on YouTube.

Biographies[link]

In 1980, Haley began working on an autobiography entitled ''The Life and Times of Bill Haley'' but died after completing only 100 pages. The work is registered with the U.S. Copyright Office but has yet to be released to the public.

In 1982, John Swenson wrote ''Bill Haley: The Daddy of Rock and Roll'' (published in the UK under the title, ''Bill Haley'').

In 1990, Haley's eldest son, John W. Haley, along with John von Hoëlle wrote ''Sound and Glory'', a biography focusing mostly on Haley's early life and peak career years. This book is out of print.

A German-language biography was published soon after Haley's death, written by Peter Cornelsen and Harald D. Kain.

A book on the history of Haley's most famous recording, ''Rock Around the Clock: The Record That Started the Rock Revolution'' by Jim Dawson was published in June 2005.

Film portrayals[link]

Unlike his contemporaries, Bill Haley has rarely been portrayed on screen. Following the success of ''The Buddy Holly Story'' in 1978, Haley expressed interest in having his life story committed to film, but this never came to fruition. In the 1980s and early 1990s, numerous media reports emerged that plans were underway to do a biopic based upon Haley's life, with Beau Bridges, Jeff Bridges and John Ritter all at one point being mentioned as actors in line to play Haley (according to ''Goldmine Magazine'', Ritter attempted to buy the film rights to ''Sound and Glory'').

Bill Haley has also been portrayed - not always in a positive light - in several "period" films:

John Paramor in ''Shout! The Story of Johnny O'Keefe'' (1985)

Michael Daingerfield in ''Mr. Rock 'n' Roll: The Alan Freed Story'' (1999)

Dicky Barrett (of The Mighty Mighty Bosstones) in ''Shake, Rattle and Roll: An American Love Story'' (also 1999)

In March 2005, the British network Sky TV reported that Tom Hanks was planning to produce a biopic on the life of Bill Haley, with production tentatively scheduled to begin in 2006. However this rumor was quickly debunked by Hanks.

Discography[link]

Prior to the formation of Bill Haley and the Saddlemen, which later became The Comets, Haley released several singles with other groups. Dates are approximate due to lack of documentation.

As Bill Haley and the Four Aces of Western Swing

1948

Too Many Parties and Too Many Pals (vocal by Tex King)/Four Leaf Clover Blues (Cowboy CR1201)

1949

Tennessee Border/Candy Kisses (Cowboy CR1202)

As Johnny Clifton and His String Band

1950

Stand Up and Be Counted/Loveless Blues (Center C102)

Many Haley discographies list two 1946 recordings by the Down Homers released on the Vogue Records label as featuring Haley. Haley historian Chris Gardner, as well as surviving members of the group, have confirmed that the two singles: "Out Where the West Winds Blow"/"Who's Gonna Kiss You When I'm Gone" (Vogue R736) and "Boogie Woogie Yodel"/"Baby I Found Out All About You" (Vogue R786) do not feature Haley. However, the tracks were nonetheless included in the compilation box set ''Rock 'n' Roll Arrives'' released by Bear Family Records in 2006.

:''See the discography section of Bill Haley & His Comets for a list of the singles and album releases made by Haley with the Saddlemen and the Comets from 1950 onwards.''

Unreleased recordings[link]

Bill Haley recorded prolifically during the 1940s, often at the radio stations where he worked, or in formal studio settings. Virtually none of these recordings were ever released. Liner notes for a 2003 CD release by Hydra Records entitled ''Bill Haley and Friends Vol. 2: The Legendary Cowboy Recordings'' reveal that several additional Cowboy label single releases were planned for the Four Aces, but this never occurred.

A number of previously unreleased Haley country-western recordings from the 1946-1950 period began to emerge near the end of Haley's life, some of which were released by the Arzee label, with titles such as "Yodel Your Blues Away" and "Rose of My Heart." Still more demos, alternate takes, and wholly unheard-before recordings have been released since Haley's death. Notable examples of such releases include the albums ''Golden Country Origins'' by Grassroots Records of Australia and ''Hillbilly Haley'' by the British label, Rollercoaster, as well as the aforementioned German release by Hydra Records. In 2006, Bear Family Records of Germany released what is considered to be the most comprehensive (yet still incomplete) collection of Haley's 1946-1950 recordings as part of its Haley box set ''Rock n' Roll Arrives''.

Compositions[link]

Bill Haley's compositions included "Four Leaf Clover Blues", "Crazy Man, Crazy", "What'Cha Gonna Do", "Fractured", "Live It Up", "Farewell, So Long, Goodbye", "Real Rock Drive", "Rocking Chair on the Moon", "Sundown Boogie", "Birth Of The Boogie", "Two Hound Dogs", "Rock-A-Beatin' Boogie", "Hot Dog Buddy Buddy", "R-O-C-K", "Rudy's Rock", "Calling All Comets", "Tonight's the Night", "Hook, Line and Sinker", "Sway with Me", "Paper Boy (On Main Street U.S.A.)", "Skinny Minnie", "B.B. Betty", "Eloise", "Whoa Mabel!", "Vive la Rock and Roll", "So Right Toight", "Football Rock and Roll", and "Chick Safari". He also wrote or co-wrote songs for other artists such as "Calypso Rock" for Dave Day and The Red Coats on Kapp in 1956, "A.B.C. Rock" and "Rocky the Rockin' Rabbit" for Sally Starr on Arcade, and "(Ya Gotta) Sing For The Ladies" and "Butterfly Love" for Ginger Shannon and Johnny Montana in 1960 on Arcade as well as the unissued "I'm Shook" in 1958.

Quotations[link]

''NME'' - October 1955

''NME'' - January 1957

References[link]

Other sources[link]

Jim Dawson, ''Rock Around the Clock: The Record That Started the Rock Revolution!'' (San Francisco: Backbeat Books, 2005)

John W. Haley and John von Hoëlle, ''Sound and Glory'' (Wilmington, DE: Dyne-American, 1990)

John Swenson, ''Bill Haley'' (London: W.H. Allen, 1982)

External links[link]

Bill Haley's new Comets web site

Melody Manor (Bill Haley's house) Google Map

Answers

The Bill Haley & His Comets Story (German)

Category:1925 births Category:1981 deaths Category:People from Highland Park, Michigan Category:Bill Haley Category:Bill Haley & His Comets members Category:American radio personalities Category:American rock singers Category:Bandleaders Category:Musicians from Philadelphia, Pennsylvania Category:People from Delaware County, Pennsylvania Category:People from Harlingen, Texas Category:Rock and Roll Hall of Fame inductees‎ Category:Rockabilly Hall of Fame inductees Category:American bandleaders Category:Decca Records artists Category:People self-identifying as alcoholics Category:Songwriters from Michigan

be:Біл Хейлі bg:Бил Хейли cs:Bill Haley cy:Bill Haley da:Bill Haley de:Bill Haley et:Bill Haley el:Μπιλ Χάλεϊ es:Bill Haley eo:Bill Haley fr:Bill Haley ga:Bill Haley gl:Bill Haley hr:Bill Haley io:Bill Haley id:Bill Haley it:Bill Haley he:ביל היילי hu:Bill Haley nl:Bill Haley ja:ビル・ヘイリー no:Bill Haley nn:Bill Haley oc:Bill Haley pl:Bill Haley pt:Bill Haley ro:Bill Haley ru:Хейли, Билл sh:Bill Haley fi:Bill Haley sv:Bill Haley th:บิล เฮลีย์ tr:Bill Haley

Name	Bill Haley & His Comets
Background	group_or_band
Alias	Bill Haley and the Saddlemen, The Kingsmen, The Lifeguards, B.H. Sees Combo
Origin	Chester, Pennsylvania
Genre	Rock and roll, country, rockabilly
Years active	1949–1952 as Saddlemen; 1952–1981 as Bill Haley & His Comets; 1981–present as The Comets, Bill Haley's Comets
Label	Atlantic, Keystone, Cowboy, Holiday, Essex, Decca, Warner Bros. Records, Orfeón, Dimsa, Newtown, Guest Star, Logo, APT, Gone, United Artists, Roulette, Sonet, Buddah, Antic
Associated acts	The Jodimars
Current members	Marshall LytleJoey AmbroseDick RichardsDavid ByrdJackson HaneyAl RappaLenny Longo (separate groups called Bill Haley's Comets)
Past members	Bill HaleyJohnny GrandeBilly WilliamsonRudy PompilliAl RexFranny BeecherRalph JonesNick NastosJohn "Bam-Bam" Lane and more than 100 others }}

Bill Haley & His Comets was an American rock and roll band that was founded in 1952 and continued until Haley's death in 1981. The band, also known by the names Bill Haley and The Comets and Bill Haley's Comets (and variations thereof), was the earliest group of white musicians to bring rock and roll to the attention of white America and the rest of the world. During the period late 1954-late 1956, the group placed nine singles into the Top 20, one of those a number one and three more in the Top Ten.

Bandleader Bill Haley had previously been a country music performer; after recording a country and western-styled version of "Rocket 88", a rhythm and blues song, he changed musical direction to a new sound which came to be called rock and roll.

Although several members of the Comets became famous, Bill Haley remained the star. With his spit curl and the band's matching plaid dinner jackets and energetic stage behaviour, many fans consider them to be as revolutionary in their time as The Beatles or the Rolling Stones were a decade or two later.

Following Haley's death, no fewer than six different groups have existed under the Comets name, all claiming (with varying degrees of authority) to be the official continuation of Haley's group. As of early 2008, three such groups were still performing in the United States and internationally.

Early history and Rocket 88[link]

The band initially formed as Bill Haley and the Saddlemen c. 1949–1952, and performed mostly country and western songs, though occasionally with a bluesy feel. During those years Haley was considered one of the top cowboy yodelers in America. Many Saddlemen recordings would not be released until the 1970s and 1980s, and highlights included romantic ballads such as "Rose of My Heart" and western swing tunes such as "Yodel Your Blues Away". The original members of this group were Haley, pianist and accordion player Johnny Grande and steel guitarist Billy Williamson. Al Thompson was the group's first bass player, followed by Al Rex and Marshall Lytle. During the group's early years, it recorded under several other names, including Johnny Clifton and His String Band, The Four Aces of Western Swing, and Reno Browne and Her Buckaroos (although Browne, a female matinee idol of the time, did not actually appear on the record).

Haley began his rock and roll career with what is now recognized as a rockabilly style in a cover of "Rocket 88" recorded for the Philadelphia-based Holiday Records label in 1951. It sold well and was followed in 1952 by a cover of a 1940s rhythm and blues song called "Rock the Joint" (this time for Holiday's sister company, Essex Records). Slap-back bass, one identifying characteristic of rockabilly, was used on the Comets' recordings of "Rocket 88", "Rock the Joint", "Rock Around the Clock", and "Shake, Rattle, and Roll". Prior to becoming the Comets, slapback was also used by bassist Al Rex, although to a lesser extent, on "Yodel Your Blues Away".".

These songs were released under the increasingly incongruous Saddlemen name. It soon became apparent that a new name was needed to fit the new musical style. A friend of Haley's, making note of the common alternative pronunciation of the name Halley's Comet to rhyme with ''Bailey'', suggested that Haley call his band The Comets. (This event is cited in the Haley biographies ''Sound and Glory'' by John Haley and John von Hoelle, and ''Bill Haley'' by John Swenson and in ''Still Rockin' Around The Clock'', a memoir by Comets bass player, Marshall Lytle.)

The new name was adopted in the fall of 1952. Members of the group at that time were Haley, Grande, Williamson and Lytle. Grande usually played piano on record, but switched to accordion for live shows as it was more portable than a piano and easier to deal with during musical numbers that involved a lot of dancing around. Soon after renaming the band, Haley hired his first drummer, Charlie Higler, though Higler was soon replaced by Dick Boccelli (a.k.a. Dick Richards). During this time (and indeed, as late as the fall of 1955), Haley did not have a permanent lead guitar player, choosing to use session musicians on record and either playing lead guitar himself or having Williamson play steel solos.

National success and Rock Around the Clock[link]

In 1953 Haley scored his first national success with an original song called "Crazy Man, Crazy", a phrase Haley said he heard from his teenage audience. Haley later claimed the recording sold a million copies, but this is considered an exaggeration. "Crazy Man, Crazy" was the first rock and roll song to be televised nationally when it was used on the soundtrack for a 1953 television play starring James Dean. Haley and His Comets then recorded "Rock Around the Clock", Haley's biggest hit, and one of the most important records in rock and roll history. Sales of "Rock Around the Clock" started slow but eventually sold an estimated 25 million copies (per the Guinness Book of World Records) and marked the arrival of a cultural shift.

Much more impressive was "Shake, Rattle and Roll", a somewhat bowdlerized cover version of the Big Joe Turner recording of earlier in 1954. The record was one of Decca's best-selling records in 1954. The song was the seventh best selling record in November 1954.

In March 1955, the group had four songs in Cash Box magazines top 50 songs: "Dim, Dim the Lights, (I Want Some Atmosphere)", "Birth of the Boogie", "Mambo Rock", and "Shake, Rattle and Roll".

Although Haley's "Shake, Rattle and Roll" never achieved the same level of historical importance as "Rock Around the Clock", it actually predated it as the first major international rock and roll hit, although it did not attain the Number 1 position in the American charts, but became his first Gold Record. When Elvis Presley recorded the song in 1956, he combined Haley's arrangement with Turner's original lyrics but failed to score a substantial hit. Late in 1954, Haley also recorded another hit, "Dim, Dim The Lights", which was one of the first R&B; songs recorded by a white group to cross over to the R&B; charts. Johnnie Ray had reached #1 with "Cry" in 1952.

The (belated) success of "Rock Around the Clock" is attributed to its use in the soundtrack of the film ''Blackboard Jungle'', which was released in March 1955. The song, which was re-released to coincide with the film, rose to the top of the American musical charts that summer and stayed there for eight weeks, the first rock and roll record to do so.

Ambrose's acrobatic saxophone playing, along with Lytle on the double bass -literally on it, riding it like a pony, and holding it over his head- were highlights of the band's live performances during this time. Their music and their act were part of a tradition in jazz and rhythm and blues, but it all came like a thunderclap to most of their audience. In late 1954, Haley and His Comets appeared in a short subject entitled ''Round Up of Rhythm'', performing three songs. This was the earliest known theatrical rock and roll film release.

In 1955, Lytle, Richards and Ambrose quit the Comets in a salary dispute and formed their own group, The Jodimars. Haley hired several new musicians to take their place: Rudy Pompilli on sax, Al Rex (a former member of the Saddlemen) on double bass, and Ralph Jones on drums; in addition, lead guitarist Franny Beecher, who had been a session musician for Haley since Cedrone's death in the fall of 1954, became a full-time Comet and Haley's first performing lead guitarist. This version of the band became more popular than the earlier manifestation, and appeared in several motion pictures over the next few years.

Other hits recorded by the band included "See You Later, Alligator" in which Haley's frantic delivery contrasted with the Louisiana languor of the original by Bobby Charles, "Don't Knock the Rock", "Rock-a-Beatin' Boogie", "Rudy's Rock" (the first instrumental hit of the rock and roll era) and "Skinny Minnie".

In 1956 the group appeared in two of the earliest full-length rock and roll movies: ''Rock Around the Clock'', and ''Don't Knock the Rock''.

Decline in popularity[link]

The band's popularity in the United States began to wane in 1956–57 as sexier, wilder acts such as Elvis Presley, Jerry Lee Lewis and Little Richard began to dominate the record charts (although Haley's cover version of Little Richard's "Rip It Up" - which ''was'' released in direct competition - actually outsold the original). After "Skinny Minnie" hit the charts in 1958, Haley found it difficult to score further successes Stateside, although a spin-off group made up of Comets musicians dubbed The Kingsmen (no relation to the later group of "Louie, Louie" fame) did score a hit with the instrumental, "Weekend" that same year.

Overseas, however, Haley and his band continued to be popular, touring the United Kingdom in February 1957, during which Haley and his crew were mobbed by thousands of fans at Waterloo Station in London at an incident which the media dubbed the ''Second Battle of Waterloo''. The group also toured Australia in 1957, and in 1958 enjoyed a successful (if riot-dominated) tour of the European mainland. Bill Haley & His Comets were the first major American rock and roll act to tour the world in this way. Elvis who was on duty in Germany visited them backstage at some shows. During an off day in Berlin they performed two songs in the Caterina Valente movie "Hier Bin ich Hier Bleib Ich" (Here I Am Here I Stay).

Back in the U.S., Haley attempted to start his own record label, Clymax, and establish his own stable of performers, most notably Philadelphia children's show hostess Sally Starr and the Matys Brothers. Members of The Comets were commissioned to work as session musicians on many of these recordings, many of which were written or co-written by Haley and/or members of The Comets. The Clymax experiment only lasted about a year. In 1959, Haley's relationship with Decca collapsed and after a final set of instrumental-only recordings in the fall, Haley announced he was leaving Decca for the new Warner Bros. Records label.

Mexico and the late 1960s[link]

In 1961–1962, Bill Haley y sus Cometas (as the band was known in Latin America) signed with the Orfeón label of Mexico and scored an unexpected hit with "Twist Español", a Spanish language recording based on the Twist dance craze that was sweeping America at the time. Haley followed up with what was, for a time, the biggest selling single in Mexican history with "Florida Twist". Although Chubby Checker and Hank Ballard were credited with starting the Twist craze in America, in Mexico and Latin America, Bill Haley and His Comets were proclaimed the Kings of the Twist. Thanks to the success to "Twist Español" and "Florida Twist", among others, the band had continued success in Mexico and Latin America over the next few years, selling many recordings of Spanish and Spanish flavored material and simulated live performances (overdubbed audience over studio recordings) on the Orfeon label and its subsidiary, Dimsa. They hosted a television series entitled ''Orfeon a Go-Go'' and made cameo appearances in several movies, lipsynching to some of their old hits. Haley, who was fluent in Spanish, recorded a number of songs in the language, but the vast majority of the band's output during these years were instrumental recordings, many utilizing local session musicians playing trumpet. There was also some experimentation with Haley's style during this time; one single for Orfeon was a folk ballad, "Jimmy Martinez", which Haley recorded without the Comets.

In 1966, the Comets (without Bill Haley) cut an album for Orfeon as session musicians for Big Joe Turner, who had always been an idol to Haley; no joint performance of "Shake, Rattle and Roll" was recorded, however. In a 1974 interview with BBC Radio, Haley said Turner's career was in a slump at this time, so he used his then-considerable influence with Orfeon to get Turner a recording session. The Comets' association with Orfeon/Dimsa ended later that year.

By 1967, as related by Haley in an interview with radio host Red Robinson that same year, the group was "a free agent" without any recording contracts at all, although the band continued to perform regularly in North America and Europe. During this year, Haley—without the Comets—recorded a pair of demos in Phoenix, Arizona: a country-western song called "Jealous Heart" for which he was backed by a local mariachi band (and similar in style to the earlier "Jimmy Martinez", and late-60s-style rocker called "Rock on Baby" backed by a group called Superfine Dandelion. Neither recording would be released for 30 years. In 1968, Haley and the Comets recorded a single for the United Artists label, a version of Tom T. Hall's "That's How I Got to Memphis" but no long-term association with the label resulted. In order to revive his recording career, Haley turned to Europe.

Revival[link]

By the late 1960s, Haley and the Comets were considered an oldies act. The band's popularity never waned in Europe, and the group signed a lucrative deal with Sonet Records of Sweden in 1968 that resulted in a new version of "Rock Around the Clock" hitting the European charts that year. The band would record a mixture of live and studio albums for the label over the next decade.

In the United States in 1969, promoter Richard Nader launched a series of rock and roll revival concert tours featuring "oldies" acts of the 50s and 60s. One of the first of these shows, held at the Felt Forum at Madison Square Garden in New York City, resulted in Haley receiving an eight-and-a-half minute standing ovation following his performance, as Nader related in his recorded introduction to Haley's live album ''Bill Haley's Scrapbook'', which was recorded a few weeks later at New York's Bitter End club.

The band appeared in several concert films in the early 1970s, including ''The London Rock and Roll Show'' and ''Let the Good Times Roll''. After 1974, tax and management problems prevented Haley from performing in the United States, so he performed in Europe almost exclusively, though he also toured South America in 1975. The band was also kept busy in the studio, recording numerous albums for Sonet and other labels in the 1970s, several with a country music flavor. In 1974, Haley's original Decca recording of "Rock Around the Clock" hit the American sales charts once again thanks to its use in ''American Graffiti'' and ''Happy Days''.

Late career[link]

In February 1976, Haley's saxophone player and best friend, Rudy Pompilli, died of cancer after a nearly 20-year career with the Comets. Haley continued to tour for the next year with a succession of new sax players, but his popularity was waning again and his 1976 performance in London was critically lambasted by music media such as ''Melody Maker''. That year, the group also recorded an album, ''R-O-C-K'' at Muscle Shoals Sound Studio for Sonet Records. In early 1977, Haley announced his retirement from performing and settled down at his home in Mexico. According to the John Swenson biography of Haley, the musician was quoted as saying that he and Pompilli had an agreement that if one died, the other would retire.

The Comets continued to tour on their own during this period.

In 1979, Haley was persuaded to return to performing with the offer of a lucrative contract to tour Europe. An almost completely new group of musicians, mostly British - including Pete Thomas (saxophonist) - were assembled to perform as The Comets, and Haley appeared on many television shows as well as in the movie ''Blue Suede Shoes'', filmed at one of his London concerts in March 1979. A few days later, a performance in Birmingham was videotaped and aired on UK television; it was released on DVD in 2005. During the March tour, Haley recorded several tracks in London for his next album with Sonet, completing the work that summer at Muscle Shoals in Alabama; released later in the year, the resulting album ''Everyone Can Rock & Roll'' was the last release of new recordings by Bill Haley before his death.

In November 1979, Haley and the Comets performed for Queen Elizabeth II, a moment Haley considered the proudest of his career. It was also the last time he performed in Europe and the last time most fans saw him perform "Rock Around the Clock".

In 1980, Bill Haley and His Comets toured South Africa but Haley's health was failing and it was reported that he had a brain tumor. The tour was critically lambasted, but surviving recordings of a performance in Johannesburg show Haley in good spirits and good voice. Nonetheless, according to the Haley News fan club newsletter and the Haley biography ''Sound and Glory'', planned concerts such as a fall 1980 tour of Germany, and proposed recording sessions in New York and Memphis were cancelled—including a potential reunion with past members of the Comets—and Haley returned to his home in Harlingen, Texas where he died in his sleep of an apparent heart attack on February 9, 1981.

In April 1981, Bill Haley & His Comets returned to the British musical charts once again when MCA Records (inheritors of the Decca catalog) released "Haley's Golden Medley", a hastily compiled edit of the band's best known hits in the style of the then-popular "Stars on 45" format. The single reached No. 50 in the UK but was not released in the United States.

In 1987, Bill Haley was inducted into the Rock and Roll Hall of Fame. At that time, supporting bands were not also named to the hall. This policy has since changed and efforts have been under way for several years to have The Comets also named to the Hall. In 2012, a special committee finally inducted the Comets into the hall. Bill Haley and His Comets have also been inducted into the Rockabilly Hall of Fame and, in July 2005, the surviving members of the 1954–55 Comets (see below) represented Haley when Bill Haley and His Comets were inducted into Hollywood's Rockwalk, a ceremony also attended by Haley's second wife and youngest daughter. The Comets placed their handprints in cement; a space was left blank for Haley.

In 2005, Bill Haley And His Comets were inducted into the Michigan Rock and Roll Legends Hall of Fame. Two of the band's recordings have been voted Legendary Michigan Songs: "Rock Around The Clock" in 2007, and "Shake, Rattle And Roll" in 2009.

The Comets[link]

More than 100 musicians performed with Bill Haley & His Comets between 1952 and Haley's death in 1981, many becoming fan favorites along the way. Several short-lived Comets reunions were attempted in the 1970s and 1980s, including one contingent (organized by Baltimore-based piano player Joey Welz who played piano for the Comets during the summer of 1965) that appeared on ''The Tomorrow Show'', and another run by an Elvis Presley impersonator named Joey Rand (this group later lost a legal action over the right to use the Comets name), but only one group was officially sent out to perform by Haley himself, and his management/production company, which were the official Comets who played with Haley throughout the 1960s and 1970s and continued to perform as the Comets between gigs and during Haley's retirement. This group consisted of Comets lead guitarist "Nick Masters" (Mathias Nicholas Nastos), bassist Ray Cawley, singer "Pudge" Parsons (Ray Parsons), and drummer Buddy Dee. This was the same group who rerecorded "Rock Around the Clock" for the "Happy Days" television series theme music. During a July 6, 2005 concert at the Viper Room in West Hollywood, The Comets were joined on stage for one song by Gina Haley, the youngest daughter of Bill Haley; at a similar appearance in March they were joined by Haley's eldest son, John W. Haley.

In 2006, The 1954–55 Comets spent much of the year in residence at Dick Clark's American Bandstand Theater in Branson, Missouri. Meanwhile, the John Lane edition of Bill Haley's Comets recorded a new album in Tennessee in early 2006 which has yet to be released.

On June 2, 2006, Johnny Grande, keyboardist with the 1954–55 Comets and an original founding member of the band, died after a short illness. The following month, 85-year-old guitarist Franny Beecher announced his retirement, though he was at one point announced as participating in an early 2007 tour of Germany. The three remaining original Comets (Lytle, Richards, and Ambrose) continue to perform in Branson with new musicians taking over the keyboard and lead guitar positions. During September 2006, PBS in the United States aired a series of programs videotaped in Branson during the spring of 2006; these shows include the last recorded performances of the complete Original Comets line-up including Grande.

John "Bam-Bam" Lane died on February 18, 2007 but his edition of Bill Haley's Comets is expected to continue touring, with the 2006 recordings to be released in Lane's memory.

On October 27, 2007 ex Comets guitar player Bill Turner opened the afore mentioned Bill-Haley-Museum in Munich, Germany. He will also join the New Comets during their 'Remember Bill Haley Tour 2011' with Bill Haley's daughter Gina Haley.

Several bands patterning themselves after The Comets are also active in Europe, including Bill Haley's New Comets in Germany.

Discography[link]

Bill Haley & His Comets recorded many singles and albums. The following list references only their original release and does not include compilation albums or single reissues. This list does not include releases on which the Comets worked as session musicians and only includes releases during Haley's lifetime.

Singles[link]

As Bill Haley & the Saddlemen (and variations of the name)

1950

"Deal Me a Hand" / "Ten Gallon Stetson" (Keystone 5101)

"Susan Van Dusan" / "I'm Not to Blame" (Keystone 5102)

"Why Do I Cry Over You?" / "I'm Gonna Dry Ev'ry Tear With a Kiss" (Atlantic 727)

"My Sweet Little Girl from Nevada" / "My Palomino and I" (Cowboy 1701) - released as Reno Browne and Her Buckaroos

1951

"Rocket 88" / "Tearstains on My Heart" (Holiday 105)

"Green Tree Boogie" / "Down Deep in My Heart" (Holiday 108)

"I'm Crying" / "Pretty Baby" (Holiday 110) - with Loretta Glendenning

"A Year Ago This Christmas" / "I Don't Want to Be Alone for Christmas" (Holiday 111)

1952

"Jukebox Cannonball" / "Sundown Boogie" (Holiday 113)

"Rock the Joint" / "Icy Heart" (Essex 303)

"Dance with a Dolly" (With a Hole in Her Stockin')" / "Rocking Chair on the Moon" (Essex 305)

As Bill Haley & His Comets (and name variations thereof)

1953

"Stop Beatin' round the Mulberry Bush" / "Real Rock Drive" (Essex 310)

"Crazy Man, Crazy" / "Whatcha Gonna Do?" (Essex 321)

"Pat-a-Cake" / "Fractured" (Essex 327)

"Live it Up" / "Farewell-So Long-Goodbye" (Essex 332)

1954

"I'll Be True" / "Ten Little Indians" (Essex 340)

"Chattanooga Choo Choo" / "Straight Jacket" (Essex 348)

"Thirteen Women (And Only One Man in Town)" / "(We're Gonna) Rock Around the Clock" (Decca 29124) - "Rock Around the Clock" was initially released as the B-side

"Shake, Rattle and Roll" / "ABC Boogie" (Decca 29204)

"Dim, Dim the Lights (I Want Some Atmosphere)" / "Happy Baby" (Decca 29317)

"Yes Indeed!" / "Real Rock Drive" (Transworld 718)

1955

"Mambo Rock" / "Birth Of The Boogie" (Decca 29418)

"Razzle-Dazzle" / "Two Hound Dogs" (Decca 29552)

"Burn That Candle" / "Rock-A-Beatin' Boogie" (Decca 29713)

1956

"See You Later Alligator" / "The Paper Boy (On Main Street U.S.A.)" (Decca 29791)

"The Saint's Rock 'n' Roll" / "R-O-C-K" (Decca 29870)

"Hot Dog Buddy Buddy" / "Rockin' Through the Rye" (Decca 29948)

"Rip it Up" / "Teenager's Mother (Are You Right?)" (Decca 30028)

"Rudy's Rock" / "Blue Comet Blues" (Decca 30085)

"Don't Knock the Rock" / "Choo Choo Ch'Boogie" (Decca 30148)

1957

"Forty Cups of Coffee" / "Hook, Line and Sinker" (Decca 30214)

"(You Hit the Wrong Note) Billy Goat" / "Rockin' Rollin' Rover" (Decca 30314)

"The Dipsy Doodle" / "Miss You" (Decca 30394)

"Rock the Joint (a.k.a. New Rock the Joint [stereo])" / "How Many?" (Decca 30461)

"Mary, Mary Lou" / "It's a Sin" (Decca 30530)

1958

"Skinny Minnie" / "Sway with Me" (Decca 30592)

"Lean Jean" / "Don't Nobody Move" (Decca 30681)

"Chiquita Linda (Un Poquito de tu Amor)" / "Whoa Mabel!" (Decca 30741)

"Corrine, Corrina" / "B.B. Betty" (Decca 30781)

1959

"I Got a Woman" / "Charmaine" (Decca 30844)

"(Now and Then There's) A Fool Such as I" / "Where'd You Go Last Night" (Decca 30873)

"Shaky" / "Caldonia" (Decca 30926)

"Joey's Song" / "Ooh! Look-a-There, Ain't She Pretty?" (Decca 30956)

1960

"Skokiaan (South African Song)" / "Puerto Rican Peddler" (Decca 31030)

"Music! Music! Music!" / "Strictly Instrumental" (Decca 31080)

"Candy Kisses" / "Tamiami" (Warner Bros. Records 5145)

"Hawk" / "Chick Safari" (Warner Bros. 5154)

"So Right Tonight" / "Let the Good Times Roll, Creole" (Warner Bros. 5171)

"Rock Around the Clock" / "Shake Rattle and Roll" (new versions) (Warner Bros. no. 7124)(Back to Back Hits)

1961

"Honky Tonk" / "Flip, Flop and Fly" (Warner Bros. 5228)

"Riviera" / "War Paint" (Gone 5116)

"Twist Español" / "My Kind of Woman (Spanish version)" (Orfeon 1010) [May 1961]

"Cerca del Mar" / "Tren Nocturno" (Orfeon 1036)

"Florida Twist" / "Negra Consentida" (Orfeon 1047)

"Spanish Twist (English version)" / "My Kind of Woman" (Gone 5111) [September 1961]

1962

"Caravan Twist" / "Actopan Twist" (Orfeon 1052)

"La Paloma" / "Silbando Y Caminando" (Orfeon 1062)

"Bikini Twist" / "Rudy's" (Orfeon 1067)

"Mas Twist" / "Tampico Twist" (Orfeon 1082)

"Twist Lento" / "Sonora Twist" (Orfeon 1100)

"Martha" / "Tacos de Twist" (Orfeon 1132)

"Jalisco Twist" / "Pueblo del Twist" (Orfeon 1169)

1963

"Tenor Man" / "Up Goes My Love" (Newtown 5013)

"White Parakeet" / "Midnight in Washington" (Newhits 5014)

"Dance Around the Clock" / "What Can I Say" (Newtown 5024)

"Tandy" / "You Call Everybody Darling" (Newtown 5025)

"Yakety Sax" (by Bill Haley & His Comets)" / "Boot's Blues" (by Boots Randolph (Logo 7005)

"ABC Boogie (new version)" (by Haley) / "Rock Around the Clock" (by Phil Flowers (Kasey 7006)

"Pure de Papas" / "Anoche" (Orfeon 1195)

"El Madison de la Estrella" / "Viajando Con el Madison" (Orfeon 1229)

"Avenida Madison" / "Reunion de Etiqueta" (Orfeon 1243)

"Limbo Rock" / "Ana Maria" (Orfeon 1269)

1964

"Green Door" / "Yeah, She's Evil!" (Decca 31650)

"Adios Mariquita Linda" / "El Quelite" (Orfeon 1324)

"Mish Mash" / "Madero y Gante" (Orfeon 1333)

Jimmy Martinez/Al Compás del Reloj (Orfeon 1429)

1965

Burn That Candle (new version) /Stop, Look and Listen (APT 25081)

Tongue-Tied Tony/Haley-a-Go-Go (APT 25087)

A Gusto Contigo/Mish Mash (Orfeon 1570)

1966

Land of a Thousand Dances/Estomago Caliente (Orfeon 1825)

Rock Around the Clock/Rip it Up (new versions) (Orfeon 1894)

1968

That's How I Got to Memphis/Ain't Love Funny, Ha Ha Ha (United Artists 50483)

1970

Rock Around the Clock/Framed (live versions) (Kama Sutra 508)

1971

Travelin' Band/A Little Piece at a Time (Janus J-162)

Me and Bobby McGee/I Wouldn't Have Missed it for the World (Sonet 2016)

1978

Yodel Your Blues Away/Within This Broken Heart of Mine (previously unissued pre-Comets recordings) (Arzee 4677)

1979

Hail Hail Rock and Roll/Let the Good Times Roll Again (Sonet 2188)

Everyone Can Rock and Roll/I Need the Music (Sonet 2194)

1980

God Bless Rock and Roll/So Right Tonight (Sonet 2202)

Albums[link]

1956 - ''Rock 'n' Roll Stage Show'' (Decca 8345)

1957 - ''Rockin' the Oldies'' (Decca 8569)

1958 - ''Rockin' Around the World'' (Decca 8692)

1959 - ''Bill Haley's Chicks'' (Decca 8821)

1959 - ''Strictly Instrumental'' (Decca 8964)

1960 - ''Bill Haley and His Comets'' (Warner Bros. 1378)

1960 - ''Haley's Juke Box'' (Warner Bros. 1391)

1961 - ''Twist'' (Dimsa 8255)

1961 - ''Bikini Twist'' (Dimsa 8259)

1962 - ''Twistin' Knights at the Roundtable'' (live) (Roulette SR-25174)

1962 - ''Twist Vol. 2'' (Dimsa 8275)

1962 - ''Twist en Mexico'' (Dimsa 8290)

1963 - ''Rock Around the Clock King'' (Guest Star 1454)

1963 - ''Madison'' (Orfeon 12339)

1963 - ''Carnaval de Ritmos Modernos'' (Orfeon 12340)

1964 - ''Surf Surf Surf'' (Orfeon 12354)

1966 - ''Whiskey a Go-Go'' (Orfeon 12478)

1966 - ''Bill Haley a Go-Go'' (Dimsa 8381)

1971 - ''Rock Around the Country'' (Sonet 623); issued in North America by GNP-Crescendo (LP 2097) and as ''Travelin' Band'' on Janus (JLS 3035)

1973 - ''Just Rock 'n' Roll Music'' (Sonet 645); issued in North America by GNP-Crescendo (LP 2077)

1979 - ''Everyone Can Rock and Roll'' (Sonet 808)

Compilations/re-recordings[link]

1954 - ''Rock with Bill Haley and the Comets'' (Essex 102)

1955 - ''Shake, Rattle and Roll'' (Decca DL5560)

1956 - ''Rock Around the Clock'' (Decca DL8225)

1958 - ''Rockin' the Joint'' (Decca DL8775)

1963 - ''Bill Haley & His Comets'' (Vocalion 3696; 1963)

1968 - ''Biggest Hits'' (re-recordings plus new tracks) (Sonet 9945); issued in England as ''Rock Around the Clock'' (Hallmark SHM 668) and in North America as ''Rockin' ''(Pickwick SPC 3256)

1975 - ''Golden Favorites'' (compilation with unreleased tracks) (MCA Coral 7845P)

1976 - ''R-O-C-K'' (re-recordings) (Sonet 710)

1978 - ''Golden Country Origins'' (previously unissued pre-Comets recordings) (Grassroots Records)

Live Albums[link]

1968 - ''On Stage Vol. 1'' (live) (Sonet SLP63)

1968 - ''On Stage Vol. 2'' (live) (Sonet SLP69)

* The above two albums have been reissued in many forms, including by Janus Records as the two-album set, ''Razzle-Dazzle'' (Janus 7003), a numerous releases on the Pickwick and Hallmark labels.

1970 - ''Bill Haley Scrapbook'' (live) (Kama Sutra/Buddah 2014)

1974 - ''Live in London '74'' (live) (Antic 51501)

Other[link]

1976 - ''Rudy's Rock: The Sax That Changed the World'' (billed as Rudy Pompilli and the Comets; recorded without Haley) (Sonet 696)

Unreleased recordings[link]

As with Elvis Presley and other contemporaries of the 1950s, a large stock of previously unreleased recordings by Bill Haley exist and have been released periodically in the years following his death. Many of these are early country and western tracks recorded as demos or, for some reason, unreleased. However, occasionally tracks from the 1950s and 1960s have emerged, as have live recordings. Since the early 1990s several European labels have released a number of previously unreleased recordings, including Hydra Records, Rollercoaster Records, Rockstar Records, Buddah Records, and Bear Family Records.

Notable discoveries that have been commercially released have included:

Several 1946 radio recordings Haley made with the Down Homers (''Rock n' Roll Arrives'' box set, Bear Family Records, 2006);

A large cache of country-western recordings made by Haley in the 1946–51 era, before the formation of the Comets (also released on ''Rock 'n' Roll Arrives'');

An April 1955 concert in Cleveland, Ohio including the earliest known live recordings of "Rock Around the Clock" (''Rock 'n' Roll Show'', Hydra Records, 1995);

A concert recording from the German tour of 1958 (''Vive La Rock 'n' Roll'', Big Beat Records, 2002);

A 1957 radio recording from Haley's tour of Australia;

Soundtrack recordings from the 1958 film ''Here I Am, Here I Stay'' and the 1954 short film ''Round Up of Rhythm'' (''On Screen'', Hydra Records, 1998);

Previously unreleased live recordings from the 1969 ''Bill Haley's Scrapbook'' sessions at the Bitter End (CD release of ''Bill Haley's Scrapbook'' (Kama Sutra/Buddah, 1993) and ''The Warner Brothers Years and More'' box set (Bear Family, 1999);

Two Christmas recordings and a version of "Flip Flop and Fly" from the 1968 United Artists sessions;

In-studio discussion recordings and alternate takes from the 1979 ''Everyone Can Rock and Roll'' sessions (''The Journey to Fame'', Denton Media, 2004);

Assorted demos and alternate takes from the Decca and Warner Bros. era from the period 1958–1961, as well as additional alternate takes and unreleased tracks from the various labels Haley recorded with in the mid-1960s (''The Decca Years and More'' box set (Bear Family, 1991) and ''The Warner Brothers Years and More'' box set (Bear Family, 1999); and

Two 1962 broadcasts for Armed Forces Radio (''On the Air'', Hydra Records, 2001).

A number of recordings exist in the hands of private collectors and remain to be commercially released, including a number of privately made live recordings of several 1960s and 1970s concerts, and a number of rehearsal recordings from 1960. To date, however, no one has discovered any alternative takes of any of Haley's most famous recordings of the 1950s, in particular "Rock Around the Clock" and "Shake, Rattle and Roll".

Later Comets recordings[link]

Several of the post-Haley contingents of Comets had their own single and album releases:

The 1981–82 Comets reunion group recorded on single in 1982, Bring Back the Music/The Hawk Talks (Music City Records). Musicians involved in this recording included former Comets Franny Beecher, Al Rappa and Joey Welz. Welz later released a single overdubbing two Haley demo recordings using a group of session musicians who were dubbed The Comets for the occasion.

The Joey Rand version of Bill Haley's Comets recorded an album in the 1980s.

The John Lane version of Bill Haley's Comets recorded a live album in the early 2000s, along with a Christmas single.

Al Rappa's version of Bill Haley's Comets have recorded tracks with Joey Welz.

The 1954–55 Comets (a.k.a. The Original Comets) have been the most prolific, recording a half-dozen albums since 1993 -

* ''We're Gonna Party!'' (Hydra Records, 1993)

* ''You're Never Too Old to Rock'' (Hydra, 1994)

* ''The House is Rockin'' (Rollercoaster Records, 1998)

* ''Still Rockin' Around the Clock'' (Rollin' Rock Records, 1999)

* ''Aged to Perfection'' (Rollin' Rock, 2001)

* ''Bill Haley's Original Comets'' (CD-DVD hybrid; Bradley House Records, 2003)

The group has also appeared as guest stars on a number of other recordings by Andy Lee Lang, Schurli Weiss and others.

Chart positions (US and UK)[link]

1953

Billboard or Cash Box charts:

"Crazy Man, Crazy" - # 11, Cashbox; # 12, Billboard, June 27, 1953

"Fractured" - #24, Billboard, August 1953

"Live It Up" - #25, Billboard, October 1953

1954

"(We're Gonna) Rock Around the Clock" - US # 23 on May 29, 1954 [for only one week]; UK # 17, in December 1954

"Shake, Rattle and Roll" – # 7 [04/54]; # 4 UK, 12/1954

1955

"Dim, Dim the Lights (I Want Some Atmosphere)" - # 11, Billboard; # 10 R&B; chart 01/1955

"Birth Of The Boogie" – #17, Billboard; # 18, Cashbox, 04/1955

"Mambo Rock" – (flipside of "Birth Of The Boogie") # 17, Billboard, US; # 14, UK, 04/1955

"Two Hound Dogs" – # 9, Billboard; # 31, Cashbox, (09/1955)

"Burn That Candle" - # 22 Cashbox, 11/26/1955 "Rock-A-Beatin' Boogie" – (A-side) of "Burn That Candle") #23, Billboard; #24 Cashbox Week ending NOVEMBER 19, 1955

subsequent

"(We're Gonna) Rock Around the Clock" – US R'n'B #3 then # 1 (8 weeks), Billboard, US; # 1 (7 weeks), Cashbox, 06/1955; # 1, UK, 10/1955; UK recharts # 5 09/1956; # 24, 12/1956; #25 01/1957; #20 04/1968; #34 05/1968; #12 UK then #39 US, 04/1974

"Razzle-Dazzle" - (A-side of "Two Hound Dogs") # 15, 09/1955; # 13 UK, 09/1956

"Rock-A-Beatin' Boogie" – (A-side) of "Burn That Candle") #23, Billboard; # 24, Cashbox; # 4 RU, 01/1956

"The Saints Rock 'n' Roll" - # 18, 04/1956 # 5 UK, 05/56

"R-O-C-K" - (A-side of "The Saints Rock and Roll") # 29, Billboard; # 21, Cashbox, 04/1956

"Hot Dog Buddy Buddy" - # 36, Cashbox; # 60, Billboard, 06/1956

"Rockin' Through the Rye" - (flipside of "Hot Dog Buddy Buddy") #39, Cashbox; #78, Billboard; # 3, UK, 08/1956; # 19 (UK), 01/1957

"See You Later, Alligator" – # 6, 02/1956; # 7 UK, 03/1956; # 12 UK, 09/1956 (new entry)

"Rip It Up" – # 25, 08/1956; # 4 UK, 11/1956

"Teenager's Mother (Are You Right?)" - (flipside of "Rip it Up") - #45, Cashbox; # 68, Billboard, 08/1956

"Rudy's Rock""- # 34, Billboard, US; # 38, Cashbox; # 30 (UK), 11/1956; re-charts # 26 (UK), 12/1956

"Don't Knock the Rock" - # 45, 12/1956; # 5, NME, UK, 02/1957

"Rock the Joint" (1952 recording) - # 20 UK, 02/1957

"Forty Cups of Coffee"/"Hook, Line and Sinker" - # 70, Billboard; "Forty Cups of Coffee", #46, Cashbox, 04/1957

"(You Hit the Wrong Note) Billy Goat" - # 60, Billboard; # 54, Cashbox, 06/1957

"Skinny Minnie" - # 22, Billboard; # 25, Cashbox, 05/1958

"Lean Jean" - # 67, Billboard; # 52 Cashbox, 08/1958

"Week End" - (recorded under the name The Kingsmen) # 35, Billboard Hot 100, November/1958

"Joey's Song" - # 46, Billboard; # 35, Cashbox, US; # 1 (8 weeks), Kent Music Report, Australia; # 26, Canada, 11/1959

"Skokiaan (South African Song)" - # 70, 1960

"Tamiami" - # 79, Cashbox, March 12, 1960

"Rock Around The Clock" - US Pop, # 39, Billboard; # 36, Cashbox; UK, # 12, in April 1974

"Haley's Golden Medley" - (posthumous edit of "Rock Around the Clock", "Rock-a-Beatin' Boogie", "Shake, Rattle and Roll", "Choo Choo Ch' Boogie", and "See You Later Alligator" with "A-B-C Boogie" as the B side) # 50, UK, 04/1981

"Swing the Mood" - (featured samples of the original Decca recordings of "Rock Around the Clock", "Rock-a-Beatin' Boogie", and "Shake, Rattle and Roll" in a mix by Jive Bunny and the Mastermixers) #1, (5 weeks), UK; #11, Billboard Hot 100, #7, Billboard Hot Dance Music/Maxi-Singles Sales, US, July 1989

American Chart Toppers (Top 100)[link]

Launched on January 1, 1955 (coast to coast, under control).

(We're Gonna) Rock Around The Clock: enters the "A.C.T." on 21/05/1955 topping on 9/07/1955 for 8 weeks.

British Chart Toppers (Top 20)[link]

Also launched on January 1, 1955 (round 2 decades later under control of Scotland Yard).

(We're Gonna) Rock Around The Clock: enters the B.C.T. on 7/01/1955 reaching #17 two weeks later, re-enters on 14/10/1955 topping on 25/11/1955 for 11 weeks then re-enters once again on 21/09/1956 peaking at #5 a few weeks later.***Also B.C.T.'s #25 in January 1957 dropping out for a week before making its fifth and final re-entry on Columbia/Brunswick at #22.

Mexico and India[link]

In addition, Bill Haley and the Comets also scored chart hits in Latin America, Mexico, and India during the period 1961–1966 with recordings such as "Twist Español", "Florida Twist", "Spanish Twist", "Caravan Twist", and "Land of a Thousand Dances". Reportedly, "Chick Safari", a 1960 recording, reached the No. 1 position on the Indian musical charts. Both the single "Florida Twist" and the ''Twist'' LP Record went to No. 1 in Mexico.

Based on the ''Billboard'' Hits of the World chart, Bill Haley and the Comets had the following chart hits in Mexico and India in 1962:

"Florida Twist", #3, Mexico, Billboard Hits of the World, April 28, 1962

"Caravan Twist", #5, Mexico, Billboard Hits of the World, April 28, 1962

"Spanish Twist", #3, India, Billboard Hits of the World, June 30, 1962

Sources[link]

Jim Dawson, ''Rock Around the Clock: The Record That Started the Rock Revolution!'' (San Francisco: Backbeat Books, 2005)

John W. Haley and John von Hoelle, ''Sound and Glory'' (Wilmington, DE: Dyne-American, 1990)

John Swenson, ''Bill Haley'' (London: W.H. Allen, 1982)

Discography information from Bill Haley Central and ''Bill Haley & His Comets, etc.: A Discography'', an unpublished reference work by Herbert Kamitz.

What Was The First Rock'N'Roll Record? ISBN 0-571-12939-0 (paper)

Rock File no 4 - Panther Books Ltd., Great Britain, 1st Pub. 1976. (ISBN unavailable). ISBN possibly (0?)-586-04370-5.

Billboard magazine.

Cash Box magazine.

References[link]

External links[link]

The Comets official website

IMDb listing

Rockabilly Hall of Fame - Biography of Bill Haley

Rockabilly Hall of Fame - List of Comets musicians

Bill Haley Central Web Portal

Category:Atlantic Records artists Category:Bill Haley Category:Charly Records artists Category:Decca Records artists Category:Musical groups established in 1949 Category:Rock music groups from Pennsylvania Category:Rockabilly music groups

cs:Bill Haley & His Comets et:Bill Haley & His Comets es:Bill Haley y sus Cometas hr:Dodatak:Diskografija Billa Haleya id:Bill Haley & His Comets he:Bill Haley & His Comets pt:Bill Haley & His Comets sh:Bill Haley & His Comets fi:Bill Haley & His Comets

name	Ed Sullivan
birth name	Edward Vincent Sullivan
birth date	September 28, 1901
birth place	New York City, New York, U.S.
death date	October 13, 1974
death place	New York City, New York, U.S.
occupation	Television hostWriter
years active	1932–1973
spouse	Sylvia (m. 1930–1973) }}

Edward Vincent "Ed" Sullivan (September 28, 1901 – October 13, 1974) was an American entertainment writer and television host, best known as the presenter of the TV variety show ''The Ed Sullivan Show''. The show was broadcast from 1948 to 1971 (a total of 23 years), which made it one of the longest-running variety shows in U.S. broadcast history.

In 1996, Ed Sullivan was ranked #50 on ''TV Guide'''s "50 Greatest TV Stars of All Time".

Early career[link]

A former boxer, Sullivan began his media work as a newspaper sportswriter for ''The New York Evening Graphic''. When Walter Winchell, one of the original gossip columnists and the most powerful entertainment reporter of his day, left the newspaper for the Hearst syndicate, Sullivan took over as theatre columnist. His theatre column was later carried in ''The New York Daily News''. His column, 'Little Old New York', concentrated on Broadway shows and gossip, as Winchell's had and, like Winchell, he also did show business news broadcasts on radio. Again echoing Winchell, Sullivan took on yet another medium in 1933 by writing and starring in the film ''Mr. Broadway'', which has him guiding the audience around New York nightspots to meet entertainers and celebrities. Sullivan soon became a powerful starmaker in the entertainment world himself, becoming one of Winchell's main rivals, setting the El Morocco nightclub in New York as his unofficial headquarters against Winchell's seat of power at the nearby Stork Club. Sullivan continued writing for ''The News'' throughout his broadcasting career and his popularity long outlived that of Winchell.

Television[link]

In 1948, the CBS network hired Sullivan to do a weekly Sunday night TV variety show, ''Toast of the Town'', which later became ''The Ed Sullivan Show''. Debuting in June 1948, the show was broadcast from CBS Studio 50, at 1697 Broadway (at 53rd Street) in New York City, which in 1967 was renamed the Ed Sullivan Theater (and is now the home of ''The Late Show with David Letterman'').

Television critics gave the new show and its host poor reviews. Harriet Van Horne alleged that "he got where he is not by having a personality, but by having ''no'' personality." (The host wrote to the critic, "Dear Miss Van Horne: You bitch. Sincerely, Ed Sullivan.") Sullivan had little acting ability; in 1967, 20 years after his show's debut, ''Time'' magazine asked "What exactly is Ed Sullivan's talent?" His mannerisms on camera were so awkward that some viewers believed the host suffered from Bell's palsy. ''Time'' in 1955 stated that Sullivan resembled

The magazine concluded, however, that "Yet, instead of frightening children, Ed Sullivan charms the whole family." Sullivan appeared to the audience as an average guy who brought the great acts of show business to their home televisions. ("Ed Sullivan will last", comedian Fred Allen said, "as long as someone else has talent", and frequent guest Alan King said "Ed does nothing, but he does it better than anyone else in television.") He had a newspaperman's instinct for what the public wanted, and programmed his variety hours with remarkable balance. There was something for everyone. A typical show would feature a vaudeville act (acrobats, jugglers, magicians, etc.), one or two popular comedians, a singing star, a hot jukebox favorite, a figure from the legitimate theater, and for the kids, a visit with puppet "Topo Gigio, the little Italian mouse." The bill was often international in scope, with many European performers augmenting the American artists.

Sullivan had a healthy sense of humor about himself and permitted—even encouraged—impersonators such as John Byner, Frank Gorshin, Rich Little and especially Will Jordan to imitate him on his show. Johnny Carson also did a fair impression, and even Joan Rivers imitated Sullivan's unique posture. The impressionists exaggerated his stiffness, raised shoulders, and nasal tenor phrasing, along with some of his commonly used introductions, such as "And now, right here on our stage...", "For all you youngsters out there...", and "a really big shew" (his pronunciation of the word "show"). Will Jordan portrayed Sullivan in the films ''I Wanna Hold Your Hand'', ''The Buddy Holly Story'', ''The Doors'', ''Mr. Saturday Night'', ''Down with Love'', and in the 1979 TV movie ''Elvis''.

In 1963, Ed Sullivan appeared as himself in the film Bye Bye Birdie.

Sullivan, the starmaker[link]

In the 1950s and 1960s, Sullivan was a respected starmaker because of the number of performers that became household names after appearing on the show. He had a knack for identifying and promoting top talent and paid a great deal of money to secure that talent for his show.

When Elvis Presley became popular, Sullivan was wary of the singer's bad-boy style and said that he would never invite Presley on his program. However, Presley became too big a name to ignore, and Sullivan scheduled him to appear on September 8, 1956. In August, however, Sullivan was injured in an automobile accident that occurred near his country home in Southbury, Connecticut. Sullivan had to take a medical leave from the series and missed the Elvis Presley show. Charles Laughton wound up introducing Presley on the Sullivan hour. After Sullivan got to know Presley personally, he made amends by telling his audience, "This is a real decent, fine boy."

Sullivan's failure to scoop the TV industry with Presley made him determined to get the next big sensation first. In 1964, he achieved that with the first live American appearance of The Beatles, on February 9, 1964, the most-watched program in TV history to that point and still one of the most-watched programs of all time. The Beatles appeared three more times on the Sullivan show in person, and submitted filmed performances later. Sullivan struck up such a rapport with the Beatles that he agreed to introduce them at their momentous Shea Stadium concert on August 15, 1965. The Dave Clark Five, heavily promoted as having a "cleaner" image than the Beatles, made 13 appearances on the Sullivan show, more than any other UK group.

Unlike many shows of the time, Sullivan asked that most musical acts perform their music live, rather than lip-synching to their recordings. Some of these performances have recently been issued on CD. Examination of performances show that exceptions were made, as when a microphone could not be placed close enough to a performer for technical reasons. An example was B.J. Thomas' 1969 performance of "Raindrops Keep Fallin' on My Head", in which actual water was sprinkled on him as a special effect. In 1969, Sullivan presented the Jackson 5 with their first single "I Want You Back", which ousted the B. J. Thomas song from the top spot of Billboard's pop charts.

Sullivan appreciated African American talent. He paid for the funeral of dancer Bill 'Bojangles' Robinson out of his own pocket. He also defied pressure to exclude African American musicians from appearing on his show. One of Sullivan's favorite and most frequent acts was The Supremes, who appeared 17 times on the show, helping to pave the way for other Motown acts to appear on the show such as The Temptations, The Four Tops, and Martha and the Vandellas.

At a time when television had not yet embraced country and Western music, Sullivan was adamant about featuring Nashville performers on his program. This insistence paved the way for shows such as ''Hee Haw'' and variety shows hosted by country singers like Johnny Cash and Glen Campbell.

The act that appeared most frequently through the show's run was the Canadian comedy duo of Wayne & Shuster, making 67 appearances between 1958 and 1969.

Sullivan also appeared as himself on other television programs, including an April 1958 episode of the Howard Duff and Ida Lupino CBS sitcom, ''Mr. Adams and Eve''. On September 14, 1958 Sullivan appeared on ''What's My Line?'' as a mystery guest, and showed his comedic side by donning a rubber mask. In 1961, Sullivan was asked by CBS to fill in for an ailing Red Skelton on ''The Red Skelton Show''. Sullivan took Skelton's roles in the various comedy sketches; Skelton's hobo character "Freddie the Freeloader" was renamed "Eddie the Freeloader."

Personality[link]

There was another side to Sullivan: he could be very quick to take offense if he felt he had been crossed, and could hold a grudge for a long time. This could sometimes be seen as a part of his TV personality. Jackie Mason, Bo Diddley, Buddy Holly, and The Doors became intimately familiar with Sullivan's negative side.

On November 20, 1955, Bo Diddley was asked by Sullivan to sing Tennessee Ernie Ford's hit "Sixteen Tons". Diddley sensed the choice of song would end his career then and there, and instead sang his #1 hit "Bo Diddley". He was banned from the show.

Buddy Holly and the Crickets had first appeared on the Sullivan show in 1957, singing two songs and making a favorable impression on Sullivan. He invited the band to make another appearance in January 1958. Sullivan thought their record hit "Oh, Boy!" was too raucous and ordered Holly to substitute another song. Holly had already told his hometown friends in Texas that he would be singing "Oh, Boy!" for them, and told Sullivan as much. Sullivan was unaccustomed to having his instructions disobeyed. When the band was summoned to the rehearsal stage on short notice, only Holly was in their dressing room. Sullivan said, "I guess The Crickets are not too excited to be on The Ed Sullivan Show," to which Holly, still annoyed by Sullivan's attitude, replied, "I hope they're damn more excited than I am." Sullivan, already bothered by the choice of songs, was now even angrier. He cut the Crickets' act from two songs to one, and when introducing them mispronounced Holly's name, so it came out vaguely as "Buddy Hollett." In addition, Sullivan saw to it that the microphone for Holly's electric guitar was turned off. Holly tried to compensate by singing as loudly as he could. The band was received so well that Sullivan was forced to invite them back for a third appearance. Holly's response was that Sullivan did not have enough money. Footage of the performance survives; photographs taken that day show Sullivan looking angry and Holly smirking and perhaps ignoring Sullivan.

In 1963, Bob Dylan was set to appear on the show, but network censors rejected the song he wanted to perform, "Talkin' John Birch Paranoid Blues", as potentially libelous to the John Birch Society. Refusing to perform a different song, Dylan walked off the set at dress rehearsal. Sullivan, who had approved the song at a previous rehearsal, backed Dylan's decision. The incident resulted in accusations against the network of engaging in censorship. This was not the first incident of apparent network censorship on Sullivan's show. In 1956, Sullivan flew to Europe and was able to film an interview with Ingrid Bergman, Yul Brynner, and Helen Hayes on the set of the film ''Anastasia''. When he arrived home, Sullivan learned he would not be able to air the Bergman material from it.

Jackie Mason was banned from the series in October 1964 (the ban was removed a year and a half later, and Mason made his final appearance on the show). During a taping of Mason's monologue Sullivan, off camera, gestured that Mason should wrap things up, as the show was suddenly shown live following an abbreviated address by President Lyndon Johnson, which was expected to preempt the entire show. The nervous Mason told the audience, "I'm getting two fingers here!" and made his own frantic hand gesture: "Here's a finger for you!" Videotapes of the incident are inconclusive as to whether Mason's upswept hand was intended to be an indecent gesture, but Sullivan's body language immediately afterward made it clear that he was convinced of it, despite Mason's panic-stricken denials later. Sullivan later invited Mason back for a return engagement, but the notoriety of the "finger" incident lingered with the studio audience.

When The Byrds performed on December 12, 1965, David Crosby got into a shouting match with the show's director. They were never asked to return.

On January 15, 1967 The Rolling Stones were told to change the chorus of "Let's Spend the Night Together" to "Let's spend ''some time'' together". Lead singer Mick Jagger complied, but deliberately called attention to this censorship by rolling his eyes and mugging when he uttered the new words. Shortly, after the performance, the Stones went backstage, and came back on stage, dressed in Nazi uniforms with swastikas, which caused an angry Sullivan to tell them to go back to their dressing rooms and change back into their performing outfits, however, the Stones left the studio and Sullivan banned the group from ever appearing on his show again. Nonetheless, the Stones appeared on the show one final time on November 23, 1969.

The Doors were banned on September 17, 1967 after they were asked to remove the lyric "Girl, we couldn't get much higher" from their song "Light My Fire" (CBS censors believed that it was too overt a reference to drug use). The band was asked to change the lyric to "girl we couldn't get much better". Morrison sang the original lyric.

Moe Howard of the Three Stooges recalled in 1975 that Sullivan had a memory problem of sorts: "Ed was a very nice man, but for a showman, quite forgetful. On our first appearance, he introduced us as the Three Ritz Brothers. He got out of it by adding, 'who look more like the Three Stooges to me'." Joe DeRita, who worked with the Stooges after 1959, had commented that Sullivan had a personality "like the bottom of a bird cage."

Diana Ross later recalled Sullivan's forgetfulness during the many occasions The Supremes performed on his show. In a 1995 appearance on The ''Late Show with David Letterman'' (which is filmed in Ed Sullivan Theater), Ross stated, "he could never remember our names. He called us 'the girls'."

In a 1990 press conference Paul McCartney recalled meeting Sullivan again in the early 1970s. Sullivan apparently had no idea who McCartney was. McCartney tried to remind Sullivan that he was one of The Beatles but Sullivan obviously could not remember and, nodding and smiling, simply shook McCartney's hand and left.

Politics[link]

Ed Sullivan, like many American entertainers, was pulled into the Cold War fervor of the late 1940s and 1950s. In 1949, Sullivan booked dancer Paul Draper to appear on ''Toast of the Town''. However, Draper’s scheduled appearance in January 1950 was met with opposition from Hester McCullough, a woman who involved herself in the hunt for subversives. McCullough accused Draper of sympathizing with the communist party, and although Draper denied the accusation, McCullough demanded that Sullivan’s lead sponsor, the Ford Motor Company, cancel Draper’s appearance. Despite McCullough’s protest, Draper was a guest on ''Toast of the Town'', as was originally scheduled. After the program was broadcast, Ford received over a thousand angry letters and telegraphs in response to Draper’s appearance. Consequently, Sullivan was obligated to write a letter of apology to Ford’s advertising agency, Kenyon & Eckhardt, promising to never again move forward with such a controversial guest. Meanwhile, Draper was forced to move to Europe to earn a living.

Another guest who never appeared on the show because of the controversy surrounding him was legendary African-American singer-actor Paul Robeson, who, at the time of the Draper incident, was undergoing his own troubles with the industry's hunt for supposed Communist sympathizers.

After the Draper incident, Sullivan began to work closely with Theodore Kirkpatrick of the anti-communist ''Counterattack'' newsletter. Sullivan would check with Kirkpatrick if a potential guest had some "explaining to do" about his politics. Sullivan wrote in his June 21, 1950 ''New York Daily News'' column that "Kirkpatrick has sat in my living room on several occasions and listened attentively to performers eager to secure a certification of loyalty." Jerome Robbins, in his PBS ''American Experience'' biography, claimed that he was forced to capitulate to the House Un-American Activities Committee, identifying eight Communist sympathizers and disgracing himself among his fellow artists, allegedly because Sullivan threatened to reveal Robbins's homosexuality to the public.

Later years and death[link]

In the fall of 1965, CBS began televising the weekly programs in color. Although the Sullivan show was seen live in the Central and Eastern time zones, it was taped for airing in the Pacific and Mountain time zones. Most of the taped programs (as well as some early kinescopes) were preserved, and excerpts have been released on home video.

By 1971, the show's ratings had plummeted. In an effort to refresh their lineup, CBS cancelled the program along with some of its other longtime shows. Sullivan was angered by this so greatly that he refused to do a final show, although he remained with the network in various other capacities and hosted a 25th anniversary special in 1973.

In early September 1974, X-rays revealed that Sullivan had advanced esophageal cancer. Only his family was told, however, and as the doctors gave Sullivan very little time, the family chose to keep the diagnosis from him. Sullivan, still believing his ailment to be yet another complication from a long-standing battle with ulcers, died five weeks later, on October 13, 1974, at New York's Lenox Hill Hospital. His funeral was attended by 3,000 at St. Patrick's Cathedral, New York on a cold, rainy day. Sullivan is interred in a crypt at the Ferncliff Cemetery in Hartsdale, New York.

Personal life[link]

Sullivan was engaged to champion swimmer Sybil Bauer, but she died of cancer in 1927 at the age of 23. He was married to the former Sylvia Weinstein from April 28, 1930, until her death on March 16, 1973. They had one daughter, Betty Sullivan (who married the ''Ed Sullivan Show'''s producer, Bob Precht). Sullivan was in the habit of calling Sylvia after every program to get her immediate critique.

Sullivan has a star on the Hollywood Walk of Fame at 6101 Hollywood Blvd.

References[link]

Further reading[link]

Leonard, John, ''The Ed Sullivan Age'', ''American Heritage'', May/June 1997, Volume 48, Issue 3

Nachman, Gerald, ''Ed Sullivan'', December 18, 2006.

Maguire, James, ''Impresario: The Life and Times of Ed Sullivan'', Billboard Books, 2006

Bowles, Jerry, ''A Thousand Sundays: The Story of the Ed Sullivan Show'', Putnam, 1980

Barthelme, Donald, "And Now Let's Hear It for the Ed Sullivan Show!" in ''Guilty Pleasures'', Farrar, Straus and Giroux, 1974

External links[link]

The Official Ed Sullivan Show Website

Ed Sullivan at TVGuide.com

Overview of Ed Sullivan's life

The Ed Sullivan Show – Rock 'n' Roll Classics

Category:1901 births Category:1974 deaths Category:American people of Irish descent Category:American writers of Irish descent Category:American television personalities Category:Burials at Ferncliff Cemetery Category:Cancer deaths in New York Category:Deaths from esophageal cancer Category:Gossip columnists Category:People associated with The Beatles Category:People from New York City

cs:Ed Sullivan da:Ed Sullivan de:Ed Sullivan es:Ed Sullivan fr:Ed Sullivan it:Ed Sullivan he:אד סאליבן nl:Ed Sullivan ja:エド・サリヴァン no:Ed Sullivan pl:Ed Sullivan pt:Ed Sullivan simple:Ed Sullivan sh:Ed Sullivan fi:Ed Sullivan sv:Ed Sullivan th:เอ็ด ซัลลิแวน zh:埃德·沙利文