![]() Catalog number 10768A and by EMI on the His Master's Voice label as catalog numbers BD 5632 and MH 92) on Bluebird Records (10768), Kay Kyser, Russ Morgan, Gene Autry (also in the 1941 film The Singing Hill), Connee Boswell, and Jimmy Dorsey. Other 1940 recordings were by: the Glenn Miller Orchestra (The most famous version in the 1940s. Gene Krupa's version was issued on OKeh Records on June 3 and singer Mary Small recorded a vocal version on the same label with Nat Brandwynne's orchestra, released June 20, 1940. Victor Records released the recording by the Sammy Kaye Orchestra with vocals by Tommy Ryan on May 31, 1940. The music for "Blueberry Hill" was composed by Vincent Rose and the lyrics by Larry Stock and Al Lewis. " Blueberry Hill" is a popular American song published in 1940, best remembered for its 1950s rock and roll version by Fats Domino. It’s somehow sad, swaggering and resilient all at the same time.For other uses, see Blueberry Hill (disambiguation). The music is similarly direct, with horns punching out from the speakers on the chorus and Fats pounding his piano chords while a relentless drum beat thuds during the verses. The lyrics are blunt, effective poetry – “you made me cry / when you said goodbye / ain’t that a shame / my tears fell like rain” – that would influence generations of songwriters to express heartbreak in minimalist terms. ![]() Not just the best Fats Domino song, but one of the greatest achievements in all rock n’ roll. There’s also a playfulness to the recording that characterized Domino’s contribution to early rock – his fingers fly across the ivories mischievously, and when he starts singing in a wah-wah falsetto as if imitating a trumpet, it’s clear no one was having more fun behind the mic than Fats back in the day. If you’re talking contenders for “first rock n’ roll song,” look no further than Fats Domino’s breakout hit “The Fat Man.” Recorded in 1949 – years before Chuck Berry and Little Richard debuted – this song shows New Orleans rhythm and blues morphing into a swaggering, stomping genre with a sturdy back beat previously unheard in recorded music. But that’s part of what made Fats Domino so appealing – his unabashed sweetness was ever present, and rarely did it dip into saccharine territory. Yes, it’s pretty G-rated stuff, and unlike similar songs from Chuck Berry, there’s no PG-13 subtext. “I Want to Walk You Home” is Domino’s entry in that nascent field, an endearingly gentle invitation to hold hands and get to know each other. Rock n’ roll was strictly the domain of teenagers in the ’50s, so naturally a number of songs were about puppy love and schoolyard crushes. “I’m Walkin'” is one of his finest entries in that category: the shuffling beat, the frisky guitar line and exuberant horn give a sense of optimism to what could otherwise be a dreary, depressing tale of romantic emptiness.ģ. Love and loneliness are key themes for Fats Domino, and he’s at his best when pairing a forlorn lyric with upbeat music. The genre-blurring Fats Domino song finds him at his shuffling, bouncy best. While Fats veered toward New Orleans R&B, songs like “I’m Gonna Be a Wheel Someday” show his willingness to incorporate a guitar tone and style of playing you were more likely to hear out of Memphis than NOLA. There’s no loneliness or heartbreak here, just a fervent celebration of the food and attitude of his hometown.Įarly rock n’ roll records were a melting pot of (at the time) undervalued genres, from rhythm and blues to boogie-woogie to jump blues to country to rockabilly. Unlike a number of his biggest hits, this upbeat number also finds Fats sounding like he’s having a great time. So it was inevitable that at some point, the Fat Man would have to record a song about NOLA’s most famous culinary export (sorry, gumbo, you’re a close second). New Orleans played a central role in Fats Domino’s sound, and Fats Domino’s sound played a central role in New Orleans. So distinct was Fats Domino’s touch in the ’50s that when he turned out a version of the already well-covered 1940 tune “Blueberry Hill,” he pretty much erased all memory of previous ones from the public’s mind, imbuing the song with his easy-going, down home charm and twinkling piano work.Ĩ. ![]() ![]() “Blue Monday how I hate Blue Monday / got to work like a slave all day,” Domino moans, and the hammering, repetitive piano chords seem to echo his malaise. No, it doesn’t have anything to do with New Order, but it has everything to do with the Garfieldian view of the first day of the working week. ![]()
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