5 fantastic 1950s rock & roll songs from female artists

In our recent analysis, we focused on five remarkable tunes from the 1950s that often played second fiddle to later cover versions. It’s important to note there were many more tracks fitting this pattern. One of those overlooked songs will make an appearance in today’s selection. Today, however, we are shifting our focus to another five fantastic ’50s hits – all sung by women.

A wealth of highly accomplished female singing artists emerged during the 1950s. Some originated from the latter phase of the big band era, such as Rosemary Clooney and Doris Day. There were also stars hailing from jazz (Sarah Vaughan), gospel (Mahalia Jackson), country (Patsy Cline and Patti Page), and those who excelled in any genre (Ella Fitzgerald).

Few rock & roll artists were around during that time. Connie Francis and the Chordettes dabbled in rock music, yet they never fully departed from their origins in traditional pop. Essentially, songs like “Who’s Sorry Now” and “Mr. Sandman,” which are classic pop tunes, defined them, so it was challenging for them to delve deeply into rock & roll.

1950s rock and roll wasn’t just for the boys

In the ’50s, particularly after Elvis shook things up with his dancing, there were several women who led the charge as true rockers. However, it’s important to note that they also sang various other genres. But fundamentally, they were a significant part of the rock and roll revolution, often overlooked. In an attempt to bring attention back to their contributions, today we’ll delve into five exceptional rock and roll songs by women from the 1950s.

This version aims to maintain the original’s style while making it more accessible for casual readers.

In chronological order…

“Whole Lotta Shakin’ Goin’ On” by Big Maybelle (1955)

In the 1950s, there weren’t many singers like Mabel Louise Smith. Even today, seventy years later, few can match her. Known as Big Maybelle, she captured public attention in 1953 with several major R&B hits for Columbia Records’ Okeh label. Later, she collaborated with bandleader and arranger Leroy Kirkland to record a new song, which was co-written by rockabilly pianist Roy Hall.

In a lively, jazzy rendition, Maybelle infuses “Whole Lotta Shakin’ Goin’ On” with a soulful, brass-infused style that transports listeners straight to a bustling dance hall. Kirkland skillfully lets his jazz band express their creativity while maintaining the song’s catchy rhythm.

Jerry Lee Lewis would eventually make a song iconic, and I can’t think of anything bad to say about his energetic rocker driven by the piano. However, Lewis never managed to discover “the ding dong.” When Big Maybelle invites you over – that’s an invitation too tempting to resist.

“My Boy Elvis” by Janis Martin (1956)

In 1956, Elvis Presley achieved his first top-charting mainstream single, but he had been generating quite a stir for a couple of years prior to that. Janis Martin, a teenage admirer of Elvis, was essentially the embodiment of an ardent Elvis fan. She was steeped in country music and found herself captivated by the raw energy and the emerging deity of rock & roll.

Contrary to many of her fervent admirers, Janis Martin was not just an enthusiastic fan of the guitarist; she herself was proficient in playing the instrument and singing melodies with the finesse of a veteran artist. In fact, before inviting everyone to join him, she had already achieved success with “Will You Willyum,” and confidently proclaimed that this man with the guitar was a new sensation sweeping across town, whose music “Sets off like a rocket, there he goes – Rockin’ from his head down to his toes.

15-year-old Martin was on the brink of a significant breakthrough in her career. Colonel Tom Parker proposed to manage her and market her alongside Elvis Presley. In fact, her record label had already dubbed her the “female Elvis.” However, Martin’s parents were hesitant about collaborating with the Colonel. Unfortunately, she got married and became pregnant shortly after, which hindered her career advancements.

She left the music recording industry at a young age, not yet fully grown, but her talent was rekindled several decades later as rockabilly experienced an unexpected surge in popularity across Europe. Upon listening to re-released versions of her 1950s hits such as “My Boy Elvis,” fans were astonished by the maturity and confidence displayed by a 15-year-old, singing rock & roll at a time when most people were still unaware of the genre that would soon become culturally dominant.

“Wait a Minute” by Jo Ann Campbell (1957)

Jo Ann Campbell gained significant recognition during the early 1960s, particularly following her daring and attention-grabbing rendition of “Let Me Do My Twist” in the 1961 musical film “Hey Let’s Twist.” Subsequently, she achieved a moderate success in country music with the single “(I’m the Girl From) Wolverton Mountain,” as a reaction to Claude King’s previous release.

In the late 1950s, when she was only 20, Campbell penned and recorded a rock-inspired song about immediate attraction titled “Wait a Minute.” The tune features horns and a saxophone solo, evoking an early Elvis Presley feel. In fact, the lyrics reference his hit “All Shook Up.” This song was the lead track on her debut album, “I’m Nobody’s Baby” which was released in 1959.

This album is an exceptional assemblage of tunes penned by some top-notch songwriters of that period. The main track has a traditional pop feel, whereas the majority are genuine rock ‘n’ roll numbers. Campbell chose to stop recording in the mid-60s following his marriage and the start of his family.

“Don’t Wait Up” by Laura Lee Perkins (1958)

In the year 1939, I hail from the heartland of West Virginia. Known simply as Laura Lee Perkins, I was a musical prodigy on the piano, earning a new name through my label due to my exceptional skills – if you’re familiar with Janis Martin as the “female Elvis,” then think of me as the female Jerry Lee Lewis. Fresh out of high school and juggling waitressing duties, I found myself playing and singing wherever possible. A fateful encounter with a Cleveland DJ catapulted me to Los Angeles for an audition – a turning point that would forever change my life in the world of music.

Her second single, ‘Don’t Wait Up,’ truly highlights her exceptional piano abilities. However, it’s not just her playing; the band that once backed Imperial Records artist Ricky Nelson on his initial chart-toppers provides additional support, with Joe Maphis’ robust rockabilly electric guitar serving as a strong foundation.”

“In ‘Don’t Wait Up,’ her second single, her piano skills really shine. Yet, it’s not just her playing; the band that previously worked with Imperial Records artist Ricky Nelson on his early successes adds support, most notably Joe Maphis’ solid rockabilly electric guitar.

On the track “Don’t Wait Up,” Perkins opted to stay within her higher vocal range instead of using the deep growl typically associated with male singers. Instead, she allowed the piano and guitar to take center stage. Similar to Jo Ann Campbell, Perkins decided to stop recording after getting married in the 1960s.

“Let’s Have a Party” by Wanda Jackson (1958)

Among the iconic rockabilly singers from the ’50s music scene, none held as significant an influence as Wanda Jackson. With her powerful vocals delivering lines such as “I’ve never kissed a bear – I’ve never kissed a goon – But I can shake a chicken in the middle of the room – Let’s have a party,” she played a crucial role in shaping the emerging genre of rock and roll.

As a teen, Jackson was known for her country singing prowess. However, at age 18, she discovered Buddy Holly’s music and subsequently signed with Capitol Records. This marked the emergence of rock & roll’s first authentic female star. Her initial three albums – Wanda Jackson (1958), There’s a Party Goin’ On (1959), and Rockin’ With Wanda (1960) played a significant role in shaping the new genre, contributing almost as much as the music from rock’s leading figures.

Wanda’s unique, forceful singing style played a key role in shaping the sound of future rock singers. Many memorable songs were composed by her, but it was “Let’s Have a Party,” the last track on her first album, that was written by Jessie Mae Robinson – an often overlooked pioneer in early rock & roll. Elvis had previously recorded this song, but Wanda’s version is superior – showcasing her exceptional talent.

2025-01-28 14:01