Best Known As: The guy who sang "Rock Around the Clock"
Name at birth: William John Clifton Haley
Bill Haley was the leader of Bill Haley & The Comets, the performers of one of the first hits of rock 'n' roll, 1954's "Rock Around the Clock." Haley's musical career began in the 1940s, and he made his first recordings as a country swing artist in 1946. Bill Haley and The Saddlemen became Bill Haley and The Comets and, with the help of Ohio disc jokey Alan Freed, capitalized on the youth market and began to bring rock and roll into the mainstream with "Crazy Man, Crazy" (1952). Haley's "Shake, Rattle and Roll" was hit in 1954, but it was "Rock Around the Clock," used in the 1955 movie The Asphalt Jungle, that catapulted Haley and the Comets to stardom and earned them the reputation as rock music pioneers. The band wore tuxedos and Haley had a signature hairstyle -- a styled forelock called a "kiss-curl" -- but as the music caught on Haley's middle-aged, middle-American look didn't seem as rebellious as the music, and he and his band were overshadowed by Elvis Presley and later, wilder rock 'n' roll stars. Haley and the Comets went about their way, performing for fans in nostalgia shows until the late 1970s, when failing health kept him from touring.
(born July 6, 1925, Highland Park, Mich., U.S. — died Feb. 9, 1981, Harlingen, Texas) U.S. singer and guitarist, one of the pioneers of rock and roll (seerock music). Haley worked as a disc jockey and sang and played guitar for several country music bands in the late 1940s, later forming his own band, the Saddlemen. Marrying elements of country to rhythm and blues, he renamed his band Bill Haley and His Comets and recorded some of rock's earliest hits, including "Shake Rattle and Roll" (1954) and "Rock Around the Clock" (1955). He continued to tour as a nostalgia act into the 1970s.
Representative Albums: "20th Century Masters - The Millennium Collection: The Best of Bill Haley & His Comets," "From the Original Master Tapes," "Best of Bill Haley & The Comets"
Representative Songs: "(We're Gonna) Rock Around the," "See You Later, Alligator," "Shake, Rattle & Roll"
Biography
Bill Haley is the neglected hero of early rock & roll. Elvis Presley and Buddy Holly are ensconced in the heavens, transformed into veritable constellations in the rock music firmament, their music respected by writers and scholars as well as the record-buying public, virtually every note of music they ever recorded theoretically eligible for release. And among the living rock & roll pioneers, Chuck Berry is given his due in the music marketplace and by the history books, and Bo Diddley is acknowledged appropriately in the latter, even if his music doesn't sell the way it should. Yet Bill Haley -- who was there before any of them, playing rock & roll before it even had a name, and selling it in sufficient quantities out of a small Pennsylvania label to attract attention from the major labels before Presley was even recording in Memphis -- is barely represented by more than a dozen of his early singles, and recognized by the average listener for exactly two songs among the hundreds that he recorded; and he's often treated as little more than a glorified footnote, an anomaly that came and went very quickly, in most histories of the music. The truth is, Bill Haley came along a lot earlier than most people realize and the histories usually acknowledge, and he went on making good music for years longer than is usually recognized.
The central event in Haley's career was the single "Rock Around the Clock" topping the charts for eight weeks in the spring and summer of 1955, an event that most music historians identify as the dawn of the rock & roll era. Getting the song there, however, took more than a year, a period in which the band had already done unique and essential service in the cause of bringing rock & roll into the world, with the million-selling single "Shake, Rattle and Roll" to their credit; equally important, in the three years before that, Haley and his band had already broken new ground with the singles of "Rocket 88," "Rock the Joint," and "Crazy, Man, Crazy."
Born in Highland Park, MI, in 1925, Haley was blind in one eye from birth, and, as a consequence, suffered from terrible shyness as a boy. The family moved to Boothwyn, PA, during the mid-'30s, where Haley developed a strong love for country music and began playing guitar and singing; by 14, he had left school in the hope of pursuing a career in music. He bounced through a few country bands based in the Middle Atlantic states and also tried to establish himself as a singing and yodeling cowboy. His first big break came in 1944, when he replaced Kenny Roberts -- who was being drafted -- in the Downhomers, with whom Haley made his first appearance on records. Haley left the group in 1946 and went through several other bands before returning to his home in Chester, PA, where he initially hoped to get some work as a DJ. Instead, he formed a new band, the Four Aces of Western Swing, with keyboardman Johnny Grande, bassist Al Rex, and steel guitar player Billy Williamson, and signed a contract with Cowboy Records, a new label formed by James Myers, a composer, musician, and publisher, and his partner, Jack Howard. Their first record was released in 1948, a version of "Candy Kisses"; by 1949, the group had changed its name to the Saddlemen and began moving between labels, including liaisons with the fledgling Atlantic Records, Ivin Ballen's Gotham Records, and Ed Wilson's Keystone Records, before finally settling at Holiday Records, a small label owned by David Miller, in 1951. Their first release, done at Miller's insistence, was a cover of "Rocket 88," a song that originated out of Sam Phillips' fledgling recording operation in Memphis, courtesy of Jackie Brenston. It was a pumping piece of sexually suggestive, rollicking R&B, and Haley and the Saddlemen simply put a broader, slightly loping country boogie sound onto it and boosted the rhythm section, while a lead guitar (probably played by Danny Cedrone) noodled some blues licks on the break. Haley hadn't liked the idea of doing the song, but Miller wanted it, and the result -- though no one knew it at the time -- was the first white-band cover of what is now regarded by many scholars as the first real rock & roll song.
Just to put this in perspective, rock & roll is usually written about as a phenomenon (and a reaction to) the complacency of the Eisenhower era. But Haley had released what amounted to a rock & roll single in 1951, when "Ike" wasn't even yet running to be president, the country was still mired in Korea, and John Kennedy not yet even a senator. Howlin' Wolf was still based in Memphis and cutting sides for Sam Phillips, while a 15-year-old Elvis Presley was in tenth grade. The members of the Beatles and the Rolling Stones were still in grammar school; Lonnie Donegan was still known as Anthony Donegan and thinking of becoming an entertainer; and Alexis Korner and Cyril Davies had not yet even met. And Big Bill Broonzy was about to introduce American blues to England.
At the time, "Rocket 88" didn't seem to matter too much in terms of sales, as it was neither fish nor fowl; not good enough R&B to eclipse Brenston's original among black record buyers, nor sufficiently a country record the way white audiences or the radio stations that catered to them wanted. No one even had a name for what it was; a "race record" as the trades called discs done in a style that seemed aimed at black listeners, but one done by a white band in a kind of country style. Indeed, the band itself remained strangely anonymous; Miller had seen to it that there were no publicity photos of Bill Haley & the Saddlemen, a calculated effort to obscure their race, though the band's name and the country ballad B-sides to those early singles pretty much told who they really were. That debut single sold just a few thousand copies regionally, as did its follow-up, "Green Tree Boogie." Meanwhile, when Haley and his band played, they and their business manager, Jim Ferguson, began to notice that it was the younger audience members who responded best to the R&B-style songs that Miller had them doing. They also saw all around them that enthusiasm for country music was flat, and that if they were looking for a hit, it likely wasn't going to come from this new direction.
They were trying all kinds of permutations of country and R&B and getting some response, but they didn't know what it exactly was that they were doing musically. Then came "Rock the Joint," their first release on Miller's new Essex Records label; it had a beat, it had a memorable catch phrase, and it had a great performance at its core (including the very same solo that Danny Cedrone would later use on "Rock Around the Clock"), and it sold well enough that the band had to go on tour promoting it. One of the places where it sold well was Cleveland, where DJ Alan Freed picked up on the song; it was immediately after this that Freed began referring to the music embodied by "Rock the Joint," music that he played every night on his show, as "rock & roll," thus giving Haley a good deal of justification for his later claim to have been in on the birth of the music before anyone ever knew it. [Note: Marshall Lyttle remembers "Rock the Joint" as the song Freed was playing during an appearance by the band on his radio show, when he began using the phrase "rock & roll" -- scholars who agree with the Haley connection also often attribute Freed's inspiration to the later single "Crazy, Man, Crazy," while other historians say that Freed appropriated the phrase from Wild Bill Moore's "We're Gonna Rock, We're Gonna Roll".]
By this time, the bandmembers, all well into their 30s and long past being teenagers, were taking what amounted to a crash course in what that audience wanted; at Ferguson's suggestion, they played hundreds of high-school dances, not normally a venue that a professional country band would bother with. In the process, they also changed their image and name. By 1952, Bill Haley and the Saddlemen were history; instead, playing off of their leader's name and the celestial phenomenon called Halley's Comet, they became Bill Haley & His Comets. The cowboy hats and other country paraphernalia were junked as well. And they took a close look at the successful R&B stage acts of the time, especially the Treniers, and began working out wild quasi-acrobatic moves by their bass player and saxman, in particular, stuff that was unthinkable for a country band but seemingly what the kids devoured at dances.
Most important, they would try out material, phrases, and stage moves, seeing what worked and what didn't, in front of the teenage audiences they found in Pennsylvania; and they listened to the way that this teenaged audience talked. Haley tried to use phrases that he heard, and put them into this musical stew; some of what they came up with was pleasantly silly material like "Dance With a Dolly" and "Stop Beatin' Round the Mulberry Bush" (though even the latter had a guitar solo worth hearing more than once). But some of it, like "Rockin' Chair on the Moon," was years ahead of its time; and some of it, like "Crazy, Man, Crazy" -- a Haley original whose title came from a piece of teen slang that he'd heard -- did exactly what was intended, hitting the Top 20 on the pop charts in 1953, a first for a white band playing an R&B-style song.
Late that year, James Myers offered Haley and Miller a song that he had published (and, on paper, at least, co-authored as Jimmy De Knight) entitled "Rock Around the Clock." Written almost as a parody of R&B conventions, its principal composer was Max C. Freedman, a songwriter best remembered up to that time for his 1946 hit "Sioux City Sue," and also responsible for such songs as "Do You Believe in Dreams" and "Her Beaus Were Only Rainbows." Miller either genuinely didn't see the potential of the song, or else he didn't like the business arrangement that Myers had with Haley, because he refused to record it. After a few more attempts at cutting other songs for the teen market that simply didn't work, Haley and the band and their manager were ready to leave Miller and Essex Records. A meeting was set up with Milt Gabler, a producer at Decca Records, who not only liked the song and had no problem cutting it, but saw some serious potential in Bill Haley & His Comets, based on what Essex had done with them on "Rock the Joint" and "Crazy, Man, Crazy." A contract was signed, and on April 12, 1954, the band, with Danny Cedrone on lead guitar, did a two-song session in New York that yielded "Thirteen Women" -- a post-nuclear holocaust sex fantasy worthy of Hugh Hefner (who had only started up Playboy magazine a year earlier) -- and "Rock Around the Clock." It was released a month later and made the charts for one week at number 23, selling 75,000 copies, not bad but not very significant either. It was enough, however, for Gabler to schedule another session in early June, where the band recorded "Shake, Rattle and Roll."
That was the record that broke the band nationally on Decca, reaching number seven and selling over a million copies between late 1954 and early 1955. They followed it up quickly with "Dim, Dim the Lights (I Want Some Atmosphere)," a jaunty piece that reached number 11 nationally and actually made the R&B charts for Haley, a first for him. Then, in early 1955, James Myers managed to get "Rock Around the Clock" placed in the juvenile delinquency drama The Blackboard Jungle, playing over the credits. The movie was a huge hit, and in its wake Decca re-released the song that spring. "Rock Around the Clock" shot up the charts this time, and the result was an eight-week run in the number-one spot; by some estimates, it became the second biggest worldwide-selling single after Bing Crosby's "White Christmas" (oddly enough, also a Decca release), 25-million copies sold worldwide.
The success of "Rock Around the Clock" took place while Elvis Presley had yet to chart a record nationally; at a point when Chuck Berry's very first single for Chess had barely been recorded; and when Roy Orbison and Buddy Holly weren't even close to auditioning for recording contracts. One has to visualize a reality in which Bill Haley & His Comets were the only established white rock & roll band, and the only white rock & roll stars in the world. Within a year, that would all change, but it was long enough for Haley and his band to become stars, with appearances on national television and a movie deal of their own. From the end of 1954 until the end of 1956, they would place nine singles into the Top 20, one of those at number one and three more in the Top Ten.
The Comets were one of the best rock & roll bands of their era, with a mostly sax-driven sound ornamented with heavy rhythm guitar from Haley, a slap-bass, and drumming with lots of rim-shots; they had the "blackest" sound of any white band working in 1953-1955. It wasn't always obvious then, and has been forgotten today, precisely how fluid their membership was, for all of the consistency of that sound. Haley's two original bandmates from his Four Aces days, Johnny Grande and Billy Williamson, were formal partners, joined to him at the hip legally, with fixed shares in the group's earnings; tenor saxman Joey D'Ambrosio, bassist Marshall Lytle, and drummer Dick Richards, by contrast, were hired employees earning 150 dollars a week plus expenses -- a respectable living for most working musicians in 1955 -- when "Rock Around the Clock" hit the top of the charts. Ironically, Danny Cedrone, whose guitar dominated that song and the key Essex hits "Rock the Joint" and "Crazy, Man, Crazy," died in an accident in July of 1954, and his successor, Franny Beecher, was earning 150 dollars a week when he worked with the band. In the late summer of 1955, with a number-one single to their credit and lots of work in front of them, D'Ambrosio, Lytle, and Richards all demanded raises, which Haley refused to grant them. They quit that month and formed a short-lived Comets soundalike unit called the Jodimars (taken from parts of their first names), who recorded for Capitol Records. Beecher was taken into the group as a full-time member (though not a partner) and remained with them until 1961, while D'Ambrosio's successor, Rudy Pompilli, became a core member of the band, working with them virtually without interruption for the next 19 years, until his death in 1975.
In the late spring of 1956, rock & roll changed again as Elvis Presley, who was younger, leaner, and a more fiercely sexual presence, emerged as a star; he not only made music that was as good as Haley's but he looked the role of a rock & roll star. The differences in their respective images could be summed up by examining the truest scenes in the movies that each did. Rock Around the Clock, starring Bill Haley & His Comets, was a highly fictionalized account of the band and its success, but it did capture something of the spirit of the early days of rock & roll, with some good performance clips; the comparable Elvis Presley movie was Loving You, in which the singer played a fictionalized version of himself, named Deke Rivers. In Loving You, when Deke Rivers performs in front of an audience and sets the girls screaming and swooning, his would-be manager comments, "If he'd gone on any longer, they'd be giving him their door keys." In Rock Around the Clock, by contrast, the single truest scene depicts a would-be promoter driving through rural Pennsylvania and chancing upon a dance where Haley and company are playing; he enters, sees hundreds of kids dancing to the band's music, and asks a woman being lifted up over the head of her partner, "Hey sister, what's that exercise you're getting?" She answers, exuberantly, legs in the air, "It's rock & roll!"
Haley's music was the soundtrack to a good time, whether dancing or more private recreation; Presley's music, at least where women were concerned, was an invitation to sexual fantasy about the singer. Nobody except the three Mrs. Haleys could have had sexual fantasies about pudgy, balding, dorky-looking Bill Haley. And, yet, Haley was every bit as outrageous and daring in what he got away with in his music as the worst accusations ever leveled against Presley; even Haley's bowdlerized version of "Shake, Rattle and Roll" was the most overtly sexual song ever to reach the American Top Ten up to that time, and "Rock Around the Clock" wasn't very far behind. Though Max C. Freedman might've meant his song differently, taken literally in the true meaning of the word "rock" as it was used in 1953-1954, "Rock Around the Clock" was a bouncing, beguiling musical account of 24 hours of sexual activity, and the precursor to such numbers as "Reelin' & Rockin'" by Chuck Berry. Haley might've looked the part of the square trying to be cool once Presley came along, but on those two songs he was as culturally and morally subversive as the worst warnings of the anti-rock & roll zealots intimated.
Haley may not have seemed a cutting-edge artist after mid-1956, but he remained a force to be reckoned with in music for another year, cutting good singles -- including "Razzle-Dazzle," "Burn That Candle," and "See You Later Alligator" -- and several surprisingly strong albums. He did gradually lose touch with the teenage audience, and his square persona couldn't possibly compete with the likes of Presley, Jerry Lee Lewis, and Chuck Berry, though the group always put on a good show. Additionally, overseas, where any visiting American artist was treated well, Haley was greeted like visiting royalty; he always had large and fiercely loyal audiences in England, France, and Germany, which would turn out in huge numbers to see him.
By 1959, Haley was no longer placing either singles or albums anywhere near the top of the charts. His brand of rock & roll, made up of R&B crossed with country boogie and honky tonk, was passé, and a switch to instrumentals didn't solve the problem of falling sales. None of this would have been so bad, except that Haley -- mostly through the horrendous job done by his business manager Jim Ferguson -- had managed to squander most of what he'd earned during the good years, and owed a crippling tax liability to the government as well. Contrary to the popular perception, he remained an active musician throughout the 1960s, recording for Warner Bros. and a brace of other U.S. labels, and he also found a lucrative performing and recording career in Mexico (where Haley, not Chubby Checker or Hank Ballard, started the "twist" craze). He pursued a music career while avoiding tax liens, and trying to keep a marriage and a collapsing publishing business together. Haley managed to pull it off, getting through the decade with some possessions still in his hands, mostly by juggling a lot of gigs in Mexico and Europe and taking lots of payments in cash. Curiously, during this period Haley himself became something of a rock & roll historian in interviews; perhaps sensitive to his own experience of being shunted aside, when he talked about the twist phenomenon, he went out of his way to credit Hank Ballard as the originator of the song, and always acknowledged his debt to Big Joe Turner for "Shake, Rattle and Roll."
By the late '60s, with the advent of the rock & roll revival, Haley suddenly found himself faced for the first time in a decade with major demand for his work in America. It couldn't have happened at a better time, because that same year, for the first time in more than ten years, he didn't owe anything to the government. The Internal Revenue Service had been seizing all of his royalties from Decca Records for a decade, and luckily for him, Decca (possibly thanks to Milt Gabler) had been honest in its accounting; in that time, sales of "Rock Around the Clock" and his other Decca hits, mostly overseas, had wiped out Haley's entire six-figure tax debt. And to top off the good news, Haley not only had a full concert schedule in front of him in the U.S.A., but major record labels interested in recording him; he ended up signing with Buddha/Kama Sutra Records for a pair of live albums. The next few years showed Haley in a triumphant comeback around the world. To top it all off, "Rock Around the Clock" even charted anew in the Top 40 during 1974 when it turned up as the theme music for the hit television series Happy Days during its first season.
By the 1970s, however, age and the ravages of time were starting to catch up on all concerned. Saxman Rudy Pompilli, who'd been with him since 1955, died in 1975, and Haley eventually retired from performing. During his final years, Haley developed severe psychological problems that left him delusional at least part of the time. By the time of his death in 1981, the process of reducing his role in the history of rock & roll had already begun, partly a result of ignorance on the part of the writers handling the histories by then, and also, to a degree, as a result of political correctness; he was white, and was perceived as having exploited R&B, and there were enough people like that in the early history who had to be written about but were easier to cast as "rebels."
In the years since his death, the surviving members of the Comets, including pianist Johnny Grande guitarist Franny Beecher, saxman Joey D'Ambrosio, bassist Marshall Lytle, and drummer Dick Richards, all in their 70s and 80s, have continued to work together and were still able to perform to sell-out crowds in Europe during the 1990s and early 2000s, doing Haley's classic repertory. Haley's own reputation has increased somewhat, particularly in the wake of Bear Family Records' release of two boxes covering his career from 1954 through 1969, and Roller Coaster Records' issuing of Haley's Essex Records sides. True, there are perhaps 45 songs on those 12 CDs of material that Haley should not have bothered recording, but there are hundreds more in those same collections, some of it dazzling and all of it constituting a serious body of solid, often inspired rock & roll, interspersed here and there with some good country sides. Perhaps little of the post-1957 stuff could set the whole world on fire, but Haley had already been there and done that, and still had a lot of good music to play. ~ Bruce Eder, All Music Guide
This article is specifically about the singer. For detailed information about his rock and roll group, see Bill Haley & His Comets.
Bill Haley (pronounced /ˈheɪliː/) (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 and their hit song "Rock Around the Clock". Bill Haley is known as the Father of Rock n Roll.[1]
The anonymous sleeve notes accompanying the 1956 Decca album “Rock Around The Clock” by Bill Haley and His Comets describe Haley’s early life and career thus: ‘Bill Haley was born and raised in Highland Park, Michigan, and then his family moved, when he was seven years old, to a house near Wilmington, Delaware. Like most future musicians and composers he soon showed definite signs of the musical bug; and lack of funds, which generally affects the young genius, forced him to manufacture his own musical instrument out of cardboard. This was a guitar and the fable has it that it actually produced musical sounds, incredible as this may seem. Father Haley was moved by this demonstration of filial endeavour to buy his son a real guitar and was justified by Bill getting 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 travelling 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.’
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.’
During the Labour 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 wouldn't 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 (Dawson 2005). 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. Haley and his band were important in launching the music known as "Rock and Roll" to a wider, mostly white audience after years 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 charts 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 Magazine separates 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. His star was soon surpassed in the USA by the younger, sexier Elvis, but Haley continued to be a major star in Latin America, Mexico, and in Europe throughout the 1960s.
Death and legacy
A self-admitted alcoholic (as indicated in a 1974 radio interview for the BBC), Haley fought a battle with liquor well 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. 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 retired to his home in Harlingen, Texas, where he died early on the morning February 9, 1981.
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 describes Haley painting the windows of his home black and making rambling late-night phone calls to friends and relatives, there is little information extant about Haley's final days. The exact cause of his death is controversial. Media reports, supported by Haley's death certificate (reproduced in the book Bill Haley: The Daddy of Rock and Roll by John Swenson), suggest he died of "natural causes most likely heart attack". Members of Haley's family, however, contest that he died from the brain tumor.
Songwriters Tom Russell and Dave Alvin addressed Haley's sad 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 from 1954 and 1955 still tour the world to packed houses. Despite ranging in age from 72 to 84, the band members show no sign of slowing down, releasing a concert DVD in 2004 on Hydra Records, playing the trendy Viper Room in West Hollywood in 2005, and performing 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(Schleissheimerstr.321,München www.rockithydra.de). On October 27, 2007 ex Comets guitar player Bill Turner opened the Bill Haley Museum for the public. The Museum keeps the legacy and importance of Bill Haley & His Comets alive. There are hundreds of photos, posters, books, instruments, Gold Records, business papers and merchandise on display.
Married three times, Bill Haley had at least eight children. John W. Haley, his eldest son, wrote Sound and Glory, a biography of Haley, while his youngest daughter, Gina Haley, is an up-and-coming musician based out of Los Angeles. Scott Haley is a noted athlete, while Bill's youngest son, Pedro Haley, is also a musician-in-the-making. He also had a daughter from his last marriage with Mrs. Martha Velasco. Her name is Martha Maria.
Bill Haley Jr. (b. 7/28/55), Bill'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.
Biographies
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), which is controversial among Haley fans for alleged inaccuracies.
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 long 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 ([1]).
Film portrayals
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)
In March 2005, the British network Sky TVreported 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.
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. (Source: the Bill Haley Database)
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
1949 or 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.[2] 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
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.
^ Dawson, Jim and Whitcomb, Ian (2005). Rock Around the Clock: The Record that Started the Rock Revolution!, p. 180. Hal Leonard Corporation. ISBN 087930829X
Sources
Books
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)
