Ain’t No Pity In Pseudonym City: 25 Rock & Roll Aliases

Various Artists
FORMAT: Audio CD - 1 Disc
Release date: 14 Jun 2010


"A nicely varied and entertaining collection of rock n roll tracks"  NOW DIG THIS

CAT No: FVCD053UPC TEXT: 5055311000534

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During the formative years of rock & roll, aliases, sobriquets and nom-de-guerres were readily adopted by performers in pursuit of a hit. Given the way that some artists were more favourably promoted than others, this was hardly surprising. Moonlighting on a rival label was therefore considered a legitimate opinion for those who were determinedly seeking their just desserts. After all, there was little to lose if some industry type whispered “”Do your label-hopping now, and explain your actions later.”” The fact that the labels themselves could just as easily be responsible for the chicanery, would explain where some of the more outlandish monikers came from.

We should be thankful for small mercies, otherwise we might never have known that Webb Pierce once recorded as Shady Wall; that jazz-legend Shorty Rogers had a brief pop career as Boots Brown & The Blockbusters; and that “Frantic” Johnny Rogers was a lopsided handle for a young Duane Eddy. On the odd occasion, the subterfuge could pay off handsomely. At a time when their own hit trail was tapering off, Bill Haley’s Comets went Top 40 as The Kingsmen with the instrumental Weekend. A few weeks later, in the fall of ’58, the singing deejay from Beaumont, Texas, JP Richardson, made the #1 slot under the name of The Big Bopper. Then in 1959, after barely getting by as plain David Clowney, Dave “Baby” Cortez topped the US charts as the uncrowned king of the Hammond B3 organ. Such was the impact of rock & roll on the sales of country music, both George Jones and Buck Owens made some of their earliest recordings in the rockabilly style using assumed names. Vanity also played a part, in that Phil Spector once set out to become the next Duane Eddy when he picked guitar on Bumbershoot. The bare-faced award for front, though, went to the rotund John D Loudermilk who recorded Sittin’ In The Balcony on the pretext that he was a teenage idol.

Stuart Colman, who compiled and annotated “”Ain’t No Pity In Pseudonym City””, states that the masquerade isn’t over. It seems there’s plenty more where these earnest expedients came from.



  1. Real Wild Child (Ivan)
  2. Rhythm And Booze (Corky Jones)
  3. Margarita (Chuck Rio & The Originals)
  4. White Lightning (The Big Bopper)
  5. Your Line Was Busy (Big Bob)
  6. Ladies Choice (Patty Saturday)
  7. Trollin' (Boots Brown)
  8. I've Lied (Willie Wilson & The Tunemasters)
  9. Sittin' In The Balcony (Johnny Dee)
  10. Betty Jean (The Pledges)
  11. Week End (The Kingsmen)
  12. The New Raunchy (Shady Wall)
  13. Bop Cat Bop (Simon Crum)
  14. Percolator (Randy Randolph)
  15. Bumbershoot (Phil Harvey)
  16. Heavenly Angel (The Satellites)
  17. On Bended Knee (The Flyers)
  18. Fast Freight (Arvee Allens)
  19. Kansas City (Rockin' Ronald & The Rebels)
  20. Ramrod (Frantic Johnny Rogers)
  21. My Baby Left Me (Rock Rogers)
  22. The Girl In My Dreams (The Cliques)
  23. How Come It (Thumper Jones)
  24. The Whistling Organ (Dave "Baby" Cortez)
  25. Let Me Sleep Woman (The Ecuadors)