Detailed Analysis and Comparison of 'Shake, Rattle and Roll' Versions

This report provides a detailed analysis of the song 'Shake, Rattle and Roll,' focusing on the differences and similarities between Joe Turner's original version and Bill Haley and his Comets' cover. The report explores the evolution of the song within the rock and roll and blues genres, examining musical elements such as instrumentation, tempo, and vocal phrasing. It highlights the changes made in the cover version to appeal to a broader audience, while also acknowledging the retention of key lyrical elements. The analysis draws on the works of various authors to provide a comprehensive understanding of the song's musicality, including the use of vocal riffs, phrasing, and the overall impact on the listener. The report also discusses the differences in energy and arrangement between the two versions, contributing to a deeper appreciation of the song's cultural significance.

Running head: Shake, rattle and roll 1
Shake, Rattle and Roll
Student’s Name
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Abstract
This report will focus on clear analysis of the song Shake, Rattle and Roll and will draw clear
comparison which will include similarities and the differences from this kind of genre.
Keywords: Shake, Rattle, Roll

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Shake, Rattle and Roll
According to online search engine Shake, _Rattle_and_Roll, the song was written by
Jesse Stone who used the name, Charles Calhoun. It was a rock and roll genre of a song. The
song was recorded in 1954 first by Joe Turner, and the cover of the same song was done later in
the year by Bill Haley and his Comets. The Bill Haley cover song constituted of more purified
lyrics in an endeavor to make the song more palatable to white audiences. It also became less of
blues and more of (pop) music (Sand et al, 2018).
The comparisons
In comparison, the original version and the cover version of the song there is a clear
illustration of differences between rock ‘n’ roll and blues. The Comets version features a
strengthened slap bass. In the Turner’s version of the song, a stark instrument in a simplified
form starts, it also has a walking bass line and a lowered arrangement of horns. The horn
arrangement in the Turners version is clearly at odds with a honking alto saxophone licks and
riffs. The sax riff in Haley’s version is an answer to each line as the band shouts ‘Go!’ as part of
the vocal backing (Sand et al, 2018).
The two versions show a definite difference in the energy of a band. The Joe Turner’s
version has a slightly slower projection of the lyrics and the instruments support the slow start to
the song. This slow start makes it easier for the vocalist to have a relaxed start to the song. In the
Bill Haley’s version, the sax puts in some energy from the beginning of the song thus ensuring
that the band puts more power in the vocals (Harper et al, 2015).
The main aim to do the cover of the song is to make it more appealing to the broader
white audience, Bill Haley and the Comets, however, do not remove the most interesting sexual

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simile. According to (Sand et al, 2018). (I’m like a one-eyed cat, peeping…), is not changed.
This retaining of the line is likely because Haley was blind on one eye.
However, the cleaning of the lyrics has affected most of the references considered to be
sexual in the original version, (you make me roll) this line is removed and replaced with another
in the cover song (Sand et al, 2018).
On the other hand, there is a close relationship of musicality in the two versions of the
song. The vocal riffs and licks that both bands use can be found in the original song. Haley and
his Comets do not create their embellishments to the melody. J. P. E. Harper-Scott and Jim
denote that proper use of vocal riffs and phrasing makes an artist a singing individual and give
them the ability to excite and move a crowd. The two bands combine them well with healthy
vocal techniques (Harper et al, 2015).
The phrasing in the two songs is similar despite the two songs having different tempos.
Both bands push and pull back at similar spots which creates the same musical tension and
related impacts on emotions (Hampshire, 2015).

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References
Harper-Scott, J. P. E. and Samson, J (2015). An Introduction to: Music Studies.
Cambridge University Press.
Sand, F., & Sand, C. (2018). Shake, Rattle & Roll.
MECHANICAL ENGINEERING, 140(1), 28-29.
Hampshire, V. (2015). Shake, rattle and roll. Practical Pre-School, 2015(Sup169), 9-10.