JOHNNY KAY (By Johnny Kay and Klaus Kettner with Tony Wilkinson)
Born John Kaciuban, 23 June 1940 This is not the Johnny Kay from the rockband Steppenwolf, or the one who made some pop recordings in the Pennsylvania area in the 1950s, but the one who was Bill Haley´s guitar player for many years. Whilst Johnny may not have been a Comet at the peak of Bill Haley's popularity and hit recordings, nevertheless, he was a longer serving Comet than most others apart from Johnny Grande, Billy Williamson and Rudy Pompilli. This can best be explained because he is a very talented artist in his own right and one of the genuinely good guys in the music business. Bill Haley generally had the knack of selecting some of the best musicians around (okay, on occasion, he goofed) and, with Johnny Kay, he picked a talent that could play guitar, sing and write good songs. He did not have any releases in the 1950s but, fortunately for us, four songs from the days of his band Johnny Kay´s Rockets have survived on acetates and are included on the recently issued compilation on Hydra Records ('Bill Haley & Friends Vol. 4 - Johnny Kay - The Tale Of A Comet' BCK 27139). Whilst their sound quality is not in the highest of fi, the songs are good examples of late fifties rock 'n' roll. But let us call on the man himself to tell his own story:
JOHNNY KAY (Bill Haley's Comets)
I suppose that the time has now come to look back over my life and reflect a bit. In many ways I feel blessed to have lived in and experienced the birth of something new and exciting. That something is Rock 'n' Roll, which is still with us today, grander and more varied than ever. However, I can remember that in 1953 there was no such thing as Rock 'n' Roll. There was popular music, hillbilly music, and "race music" - the white folks' name for the black blues sounds. That's what I listened to in the early 1950's. They were separate music forms and were never played on the radio waves together. I have loved music as far back as I can remember. My father played the violin and accordion. He was "self taught" and at age 51, I thought he was very good. At that young age, I remember swinging in the backyard and singing songs. When I went to relative's weddings, I would be seated by the band because my parents knew I would "stay put" and listen with fascination to the music (usually polkas).
Early on I had no desire to play a musical instrument. My mother sent me to have free mandolin lessons at our church - I hated it - and skipped most of them. Then they suggested accordion lessons; I hated the thought of those, too. Don't get me wrong: I loved music, but the thought of learning to play an instrument did not excite me at all! And so it went until one fateful day in 1954, the year I came down with acute bronchitis and was kept at home for about two weeks. Our family physician made a house call, and informed us that I was on the road to recovery, and would need more rest. On his way out of my room, he asked me if I wanted the radio on. I answered yes, he turned the knob of our tabletop radio, and then it happened - the pivotal point in my life: I heard Bill Haley & The Comets play "Crazy Man Crazy". "WOW! What was that sound?" I asked myself. There was a beat, a melody, and an electric guitar! I told my parents that very day: "I wanna play a guitar!" "No, you don't!" my mother replied. "We have already wasted too much time and effort trying to get you to play an instrument." "Yes, but I will learn to play like Bill Haley's Band" I answered, as convincingly as I could. At that point, it was very important.
My parents reluctantly agreed to have me start guitar lessons at a local music store. My guitar instructor was an elderly Italian gentleman who was referred to simply as "Pop". When he saw me he instantly decided three things about me:
Opportunity really came a-knocking on my door one evening when I received a call from a man claiming to be Bob Hayes, manager of Bill Haley. He said that Bill had heard of me and wanted to "catch the group" as soon as possible. Frankly, I was doubtful that the voice on the phone was Bill's manager, thinking rather that it was a prank being pulled by a friend. I told him that we would be at a nearby VFW post on Saturday, he said that Bill would be there to "catch the act". Bill and Mr. Hayes did in fact make it to that Saturday gig, staying for two numbers and leaving before the set was finished. I remember saying to the guys in the band "Oh well, I gave it a shot!" To my surprise, exactly one week later Bob Hayes called again and asked me to come to Bill's office in Chester, PA for an audition. This was May of 1960 and I was only 19 years old. I was sure that it was all a dream, and that I could pinch myself and wake up. But no - the following week I went and auditioned. When I arrived at the office, I heard the sound of a guitarist auditioning for the right to be a "Comet". I don't know who he was, but he was definitely a jazz man, and he played wonderfully. Then came my turn to do my stuff. Bill Haley, John Grande and Bill Williamson were ready to play. They all greeted me warmly, asking if I was nervous. They needn't have asked that question; my knees and hands were shaking.
Bill Williamson asked me to play one of the tunes Bill Haley had heard the Saturday evening before. So I mustered all the nervous energy in me and played "Johnny B Good" for them. After the song, there was no reaction. Then John Grande asked if I knew a Comets song, so I played and sang "Shake, Rattle and Roll" right there in front of the guys who made it a hit record! This time I got a smile, a thank you, and Bill Haley said "We will call if you are chosen". I knew it was over - I had just blown my chance at the big time. A couple of days later I was asked to come back to the office. Bill Williamson greeted me with "Hi Little Johnny Kay, can you learn the lead to "Rock Around the Clock" and "See Ya Later, Alligator" by next Saturday?" I said I could, and then he said we would be leaving for Milwaukee, Wisconsin that day. And so I became a Comet. Here I was - 20 years old - playing guitar in the very band that started me playing guitar in the first place! Imagine that! I remained a Comet from June of 1960 until January of 1968, it was an experience that few musicians ever get, and I will always cherish the memory of that time of my life. I recorded, met many famous people and traveled the world along with a great group of guys - my friends the Comets.After leaving the Comets, I returned to Delaware to teach guitar. I did that until 1972, when Bill asked me to return to the group for a brief tour which consisted of a Rock 'n' Roll show in London, England, another R&R show in Las Vegas, and a "country" recording session in New York City. So again, for a brief time, I was a Comet, and after that I never saw Bill Haley again. I did remain friends with Bill Williamson until his death a few years ago.
My brother Stan Kay is nine years younger than me, but has played drums since he was ten. He occasionally played with the Comets, but never became an "official Comet". He was a little too young and unable to travel. He really loved watching all the Comets perform - especially the drummers and also loved to "sit-in" for the Comets drummer or Bass player. After my Comet days, Stan played drums and bass with me in another group that played locally, but at 16 years of age he was too young to travel. Stan is a very fine musician in his own right. He was teaching drums and playing up the road on a Philadelphia R&B television show when he was still a teen! My little brother has worked with many jazz & R&B greats like Rufus Harley and Harold Melvin and the Blue Notes in the Philly area. For a while, in the late sixties and early seventies, he was a part of the famous "Philadelphia Sound". The versatile cuss has even played with various country artists like Tammy Wynette and former Haley member Ray Parsons when they were in the vicinity. I think, I may have gotten him those country jobs? In 1972, Stan and I formed a partnership in music by playing with the same group in the Wilmington, Delaware area, "Al Santoro & the Hi-Liters", and we have enjoyed performing together ever since. That's why Stan is the drummer, editor and recording engineer for these songs. When I turned 66, I thought the time was ripe to revisit the music that changed my life. So I pulled out some early Haley & the Comets recordings and I really listened to them intently. In discussing it anew with Stan, we agreed that there is some really wonderful music in there, and perhaps it would be fun to play those "early rock" era tunes again - but just the ones that I love the best. As always, Stan was game to play again - just for fun this time - and for several months we had an absolute blast re-recording all of the Haley tunes that made me want to play rock in the first place. When you listen to these tunes, I hope that our love of music and the fun that we had recording them shines through for you, too.
Bill Haley often told me that the original idea behind Rock 'n' Roll was to create music to "make you feel good inside". So listen and "Live It Up"! Have a "Crazy Man Crazy" time!
Comet, 1960-1968 & 1972
(From the liner notes for Hydra BCK 27139. Reproduced with permission - Dik)
|These pages were saved from "This Is My Story" for reference usage only. Please note that these pages were not originally published or written by BlackCat Rockabilly Europe. For comments or information please contact Dik de Heer at firstname.lastname@example.org|
[Ads by Google]