The Birth of Rock and Roll. This item is unavailable.The Birth of Rock and Roll

In The Birth of Rock and Roll, Americana collector Jim Linderman has arranged a storyboard of sorts that dramatizes the spirit of rock and roll in its early days—when "a juke-joint with fifty patrons was a big show," as Linderman writes in his introduction. "A church with fifty congregants was a full house. The annual square dance at the town hall, a rent party, a fish-fry, the honky-tonk piano in the whore house, the union meeting … There was no real money in it. A performer was lucky to be fed, get drunk and get laid." The photographs have little to do with the conventional iconography of the birth of rock and roll: conspicuously absent are pictures of young white men in Memphis, poodle skirts, Alan Freed and Bill Haley's Brylcream. These photographs instead document and celebrate the pure but indefinable essence of rocking. Ordinary, anonymous men, women and children—some white, some black—are holding guitars and strumming while looking relaxed or frantic, but nearly always blissful. Some of the action takes place in rural fields, some in dance halls, some at civic events, some in living rooms and basements. Wherever there was an urge to make acoustic or electric music—whether to help at a rent party, busk in front of a crowd or testify in the name of Jesus—there was an uncredited photographer there to snap an image, and these are the photographs that comprise Linderman's fascinating narrative.

The birth of rock and roll didn't occur as you ve been told. It wasn t a big-bang event with Elvis Presley or Chuck Berry or a conspiracy by Murray the K or Alan Freed. Rather, the music was born over decades as segregated neighbors passed each other on the street, as music seeped from windows and into alien ears, as communities integrated one borrowed melody and rhythm at a time. The evidence is gathered throughout The Birth of Rock and Roll, a forthcoming book of found photos from the collection of Jim Linderman. Filled with images of long-gone souls lost in revelry, moving to music, posing with instruments, they offer snapshot takes on culture clash in the decades prior to the rock explosion of the 1950s. --Randall Roberts, LOS ANGELES TIMES