Skip to main content

So You Want To Be A Rock ‘N’ Roll Star: “The All-American Boy” by Bill Parsons


Not only the first novelty record in this list to get to number two, but also the first number two with an erroneously-credited performer. Parsons, who came from Coalton, Ohio, was pals with the young Bobby Bare and “The All-American Boy” was apparently written by Parsons himself in collaboration with a strange, middle-aged Irish-Cherokee drifter named Orville Lunsford. However, when Parsons and Bare finally made it into a recording studio, Parsons preferred to sing a song called “Rubber Dolly” and asked Bare to do the talking blues narrative on “The All-American Boy.” However, when the single was released, both sides were credited to Parsons.



Indeed the booming narrator we hear on this record is Bobby Bare, and it’s a very good and purposeful send-up of the rise and conscription of Elvis; I wonder whether Presley had this record in mind when he recorded “Guitar Man” a decade later. More than that, it’s a useful snapshot of how so many rock careers would go – hence the connection with the abovementioned Byrds hit from 1967 – with the final advent of Uncle Sam, threatening to cut the rocker’s hair and replace his guitar with a rifle, providing an ominous prophecy of today, when the Establishment seems intent on depriving the young of any meaningful future whatsoever.



Date Record Made Number Two: 7 February 1959

Number of Weeks At Number Two: 1

Record At Number One:“Smoke Gets In Your Eyes” by The Platters

UK Chart Position: 22

Other Information: After a few further unsuccessful records, Bill Parsons retired from the music business in 1961. Bobby Bare went on to become a significant name in country music – it is hard to imagine The Proclaimers not being familiar with his signature song “500 Miles Away From Home.”

Comments

Popular posts from this blog

Threads Of Alligator Lizards In The Air: “Purple Rain” by Prince and The Revolution

The original idea was for a country-style collaboration with Stevie Nicks, to whom Prince sent a ten-minute instrumental backing track, asking her to come up with some lyrics. However, Nicks was overwhelmed by what she heard and feared that the task was too much for her to take on, so the song was reworked in rehearsal with The Revolution, utilising Wendy Melvoin’s guitar phrasing as a new guideline. The song appears to have existed before the film; Purple Rain the movie is best described as lucid hokum, but its soundtrack changed the atoms which constituted “pop,” far more so than much ostensibly radical music of the period. For many of that decade’s generation, Purple Rain the soundtrack was “our” Ziggy Stardust – better conceived, performed and produced in every way – and the title song, which closes the album, was “our” “Rock ‘N’ Roll Suicide.” It is such a patient epic, the song, and about a lot of things, and people – each of the verses addresses a different su...

“I Would Have Thought In The Middle Of The Atlantic In The Middle Of The Night That Rockets Must Mean Trouble”: “I’m Not In Love” by 10cc

"watching for night, with absinthe eye cocked on the lone, late, passer-by." (Sylvia Plath, "Prospect," 1956) This story begins in 1954, before most people had really recognised anything called rock, and a pop record which is half-perfect. That record, which stayed at number one in our charts for ten weeks, was “Cara Mia” by David Whitfield with Mantovani and his Orchestra and Chorus. Now, Whitfield was never the most subtle of singers and his in-your-face bellowing is somewhat distracting – it is significant that he was the first British reality media star (not from television, because at that time Opportunity Knocks was only broadcast on Radio Luxembourg) since his climactic high C at the end of “Cara Mia” is like a display of gymnastics, or an athletic field event; can he do that triple loop or throw that javelin beyond the stadium? It proves that technical prowess can often render itself unlistenable. But the magic here lies in the extraordinary ...

A Pre-Emptive, Though Hopefully Temporary, Bowing Out: “Don’t Let The Sun Go Down On Me” by Elton John

This isn’t quite the last piece of music I’ll be writing about before taking a long break from writing this blog (and most other things) – there’s one more song tomorrow that I’ve been persuaded to write up before I disappear – but the situation is this; I am imminently due to go into hospital for major surgery to treat a long-standing and hugely-annoying hernia. This should have been sorted out years ago but for reasons too tedious to document it’s only being sorted out now. It is going to be a long, fairly complex and in places possibly pioneering procedure. I am being operated on by world-class surgeons whom I trust implicitly and there has been much liaison between my local hospital (where I’ll be going) and the hospital where I myself work to enable this to happen. However, I have to warn you that the procedure carries a fairly high risk of what medical people call “morbidities,” mainly to do with breathing and cardiac issues, for which I will be closely monitored in I...