Johnny Carroll's name is well known to rock'n'roll and rockabilly enthusiasts the world over. After all, his Decca titles have long been considered classics of their genre; Hot Rock, Crazy Lovin' and Wild Wild Women are slabs of undiluted, frenzied rockabilly at its best. Encompassing a short spell on the legendary Sun label, which produced further proof of Johnny's ability to capture the essence of rockabilly with Rock Baby Rock It,
Johnny went on to form a close association with the late Gene Vincent. Both worked for the Ed McLemore agency.out of Dallas, sharing a common pool of musicians, basically the Bluecaps. Small wonder then that Johnny's recordings of the period should take on an uncanny Gene Vincent-like flavour. The Swing, Sugar and Bandstand Doll, all recorded for Warner Bros., not only bear the Vincent intonation, but also have the authentic Bluecap sound with musicians of the ilk of Grady Owen, Howard Reed and Bill Hennen breathing life into the backing.
The advent of the 60's saw Johnny take a back-seat, along with many other former 50's heroes, as the British Invasion swept America only to be followed by a host of ever more weird musical fads. It was a tough period for a rock'n'roller to survive; Johnny wisely opted to move into other related pastures, taking in record engineering and running a night club. It was in the early 70's that he met Judy Lindsey whilst making a commercial for Dodge trucks. Judy, who was a model and had played a small part in Logan's Run, provided the catalyst that was to bring Johnny out of his self-imposed retire-ment from performing.
With a new nascent career to nurture, John, threw himself wholeheartedly into the task of furthering Judy's musical progress. Forming The Judy & Johhny Band, they recorded on Major Bill Smith's LeCam label before launching a series of singles and albums on their own Gypsy label. The records achieved a fair measure of success in their native Texas, and they soon established a regular circuit on the Hilton Hotel chain, graduated to Las Vegas and recently performed at Billy Bobs, the biggest night club in the world —an honour it took over from Gilley's. In 1974 Johnny demonstrated that his grasp of vintage rock'n'roll had in no way diminished with the passing of the years when he recorded a tribute record to his late friend Gene, entitled Black Leather Rebel, at the instigation of Ronny Weiser. It was released on the UK label and more recently on Rollercoaster. Eventually Weiser persuaded Johnny to record an album of rockabilly on his Rollin' Rock label in 1978 that clearly established Johnny's continued involvement with the rockabilly movement.
With the advent of the 80's, Johnny accompanied by Judy Lindsey, made their British debut. Afforded few favours by their English backing group, and lacking a suitable repertoire for Judy to perform to the discerning UK audiences, they nevertheless showed enough promise to be invited to appear at the biannual Caister Rock'n'Roll Weekend organised by Showstoppers. Their second visit was a triumph; with John, thrashing his Masterrnan II guitar into total submission, Judy rocking like crazy and driving the male section of the audience demented, the show was an unqualified rocking success. In view of this resounding triumph, it was something akin to backing the Grand National winner, for President Records to sign up Judy & Johnny to a recording session under the auspices of Dave Travis. A veritable all-rounder on the British rock'n'roll scene, Travis is a man of many parts; record producer, song-writer, band leader, singer, he lends all facets of his talents to this album.
I caught the Judy &Johnny Band performing at the Fort Worth Hilton, Texas, in the fall of 1981; I had already witnessed Johnny's grasp of rockabilly on his first UK tour, but here on his home ground Johnny unleashed a veritable potpourri of musical styles aided and abetted by his own excellence on lead guitar, the technical proficiency of drummer Johnny Hogan (alias Captain Z), and last but by no means least, the added dimension of Judy Lindsey. Outlaw country, rock'n'roll, blues, and pop were all grist to the mill for this outfit. It therefore comes as no surprise on hearing this album (that has in principle been recorded for the European rock's' roll market) to hear a mixture of the roots influences that Johnny in particular is so familiar with; be it a reworking of Roy Orbison's Sun platter Ooby Dooby or one of Chuck Willis' earthy R&B numbers, Johnny, ably aided by Eddie Jones' searing guitar work, injects a feel that has authenticity stamped all over it.
Judy joins in to duet with Johnny on Baby Let's Play House and Maybe (a number that Carroll wrote for Gene Vincent), and has a solo outing on Wanda Jackson's Fujiyama Mama — one of the highlights of her recent live appearances. The Jodimars' Rattle My Bones has a new lease of life breathed into it in Johnny's capable hands, whilst the remaining numbers are originals penned by Johnny or the ubiquitous Dave Travis.
This then is the genuine article; the music of a man who was there when the pages of rock'n'roll history were being written, who can still recreate that elusive magic, with a tittilating glimpse of an up and coming star in Judy LindseY• It all adds up to an essential package for anyone who ever ran a comb through their Brylcreemed quiff.
Adam Komorowski (Editor New Kommotion) and Git Drant
Article properties: Johnny Carroll: Screamin Demon Heatwave (LP)
Johnny Carroll’s full-throttle brand of snarly-faced rockabilly has always been considered a trifle wilder than the rest even by the hardcore standards with which the music is best judged. Carroll could deliver trembling blue note cameos of Gene Vincent’s balladry, but he was at his best when he personified rockabilly’s most potent image; the sexy, half-crazed fool flailing away at a guitar and hollering his guts out. Paul Menard appeared with him in the film ‘Rock, Baby, Rock It’: “I never saw anyone perform with as much passion. Of all the rockabilly guys, there was Elvis and then there was Johnny. No-one else even came close. He never let up, whether it was sold right out or nobody in the house.”
John Lewis Carrell was his real name, and not Johnny or even Carroll which was a Decca mis-spelling he failed to correct. He was born on October 23, 1937 in Cleburne, Texas and raised in nearby Godley. His father was a schoolteacher, a cattle rancher and a dairy farmer. It didn’t hurt that Johnny’s mother, Ina Mae, came from a long line of musicians, mainly breakdown fiddlers and accordionists. Radio was an early fascination in Carroll’s life; he struggled to catch Roy Acuff, Tex Ritter or Ernest Tubb before the battery faded altogether. Armed with his first acoustic guitar, aged nine or ten, Carroll sang and played on Cleburne’s KCLE on Saturday mornings. Electricity came to Godley in 1947: “From then on we had big, big radios that looked like a jukebox… Blues had such an impact. We were getting it out of New Orleans and on WLAC in Nashville… While I was in high school we were all getting into the Clovers and The Charms. We were basically country people and we still had a hillbilly band. But there was no segregation musically.” Carroll’s high school band, formed in 1952, was called the Texas Moonlighters because of the many nights he and his friends spent milking cows or baling hay. On graduation in 1955, the band included Bill Hennen on piano and Billy Bustin on bass. Lead guitarist Jay Salem from Burleson, Texas was brought in when he came second in a talent contest at which the Moonlighters won first prize.
The Moonlighters never made a dime more than subsistence living even though, in Carroll’s words, “we played anyplace we possibly could and just tried to get on stage anywhere we could.” It was at the Northside Coliseum in Fort Worth that Carroll met Ferlin Husky. “Ferlin heard us and he said: ‘I’ll tell you what I’m gonna do. There’s a lot of important people out there. You go out and do the first fifteen minutes of my show.’ And we did, and that’s when this J. G. Tiger came up...” J. G. stood for Jack Goldman, who added a flamboyant but fictional surname to increase his prestige. Johnny thought he was pushy but positive. Tiger took the band, now renamed the Hot Rocks, into Dallas where he had an interest in the Top Ten Recording Studio. Tiger used the tapes they made to pitch to Paul Cohen, Decca’s A&R chief in Nashville. “Tiger called me saying, ‘I’ve got you a deal but the regular boys in the band can’t come to the session.’ We went down and did three tunes and the next day we did three more. They were cut in the basement of a house that belonged to Owen Bradley. The session guys listened to our demos and copied ‘em almost exactly.” The Decca singles were played in the South and the North East. Most of Carroll’s fan mail – enough to fill two suitcases - came from New York or New Jersey, but on a national scale kids paid more attention to ads for pimple cream. The entrepreneurial Goldman decided that a movie would best promote his nineteen year old protégé. His family financed ‘Rock, Baby, Rock It’, filmed mainly in Dallas, a movie about a group of youngsters who thwart gangsters threatening to evict them from the building in which they run their Hot Rock Club. Filmed in October 1956 and released in the summer of 1957, the musical interest centered on the R&B of the Five Stars and Rosco Gordon. Johnny Carroll and the Hot Rocks injected their own kind of blues – a wild, passionate, thoroughly abrasive music – recorded for the film at Pappy Sellers’ studio in Dallas. The film played in a few venues and was then withdrawn. Carroll continued on stage but he and Goldman parted in acrimonious circumstances when Carroll discovered a Dallas venue had been paying a thousand dollars a night to Goldman, but Johnny had been getting a hundred.
Then Carroll played a Louisiana Hayride show with Scotty Moore and Bill Black and they suggested he approach record distributor Bill Emerson about a record deal with Sun. Emerson called Sam Phillips, who took four songs Carroll and his band had recorded with a pick-up drummer at Cliff Herring’s Fort Worth studio in June 1957. The principal track was Rock, Baby, Rock It which Phillips presumably bought in the hope that it would sell on the back of the movie. Time passed, and Phillips issued That’s The Way I Love instead. Carroll said: “I flew to Memphis because Sam wanted to talk to me. He said he was gonna start this new label. He said ‘I know Philips [the Dutch electrical giant] is planning on coming to the US. I want to establish Phillips International as a known label so they’ll have to buy me out... You can be released on Sun now or you can wait a couple of months and go on Phillips International. I’m gonna release five records in one package and whichever one the disc jockeys start playing, I’m gonna put everything behind that one record.’ I said, ‘I’ll take my chance,’ and then ‘Raunchy’ came out ...”
Phillips did not renew Carroll’s one-session contract. Johnny stayed in Dallas and worked with Gene Vincent before recording Bandstand Doll and The Swing for Warner Brothers. It sold quite well and became Johnny's biggest seller. He recorded for some minor labels but tired of touring far and wide to get work. “I finally said ‘this is ridiculous’ and quit.” He became a booker and fixer at a Fort Worth nightclub until in the ‘70s Ronny Weiser drew his attention to the rockabilly renaissance and persuaded him to record for Rollin’ Rock. Then he teamed with former beauty queen Judy Lindsey, singing on the Texas country circuit and in Europe.
Johnny Carroll died on February 18, 1995 after a liver transplant.