Skiffle

Skiffle is a popular musical genre that originated in the United States and became popular in Europe in the 1950s. The name “skiffle” comes from the word “skiff,” which is a small boat used for fishing or transport. The skiffle music style was influenced by early American jazz, blues, and folk music. It utilizes simple, homemade instruments such as washboards, jugs, kazoos, and tea-chest basses. These instruments were easy to find and affordable, which is why skiffle music quickly became popular in urban areas with a working-class population. The origins of skiffle music date back to the 1920s when jug bands played in African American communities in the southern United States. These bands used homemade instruments made from jugs, washboards, and harmonicas. They played upbeat, danceable music that was accessible to everyone. In the 1940s, the musical style made its way north to Chicago, where it merged with blues, jazz, and country music. One of the most famous skiffle bands of the time was the “Jug Band” led by musician Jim Kweskin. The band was known for playing upbeat, quirky tunes that were often accompanied by humorous lyrics. In the United Kingdom, the skiffle music scene began in the early 1950s when Lonnie Donegan released his first single “Rock Island Line” in 1954. The song became an instant hit and reached number eight on the UK charts. This led a wave of skiffle bands to emerge across the country, and by 1957, there were over 30,000 skiffle groups in the UK alone. Many of these bands were fronted by teenagers who were passionate about music and looking for a way to express themselves. Johnny Duncan, a guitarist, and bandleader is often credited with establishing the first skiffle group in the UK, The Blue Mountains Skiffle Group, in 1952. However, it was Donegan’s 1954 hit, “Rock Island Line,” that made skiffle a household name in the UK and led to the creation of many more bands in the country. Skiffle music became immensely popular in the UK, and many famous musicians of the time, including The Beatles, The Rolling Stones, and Led Zeppelin, have attributed their early musical influences to skiffle. In fact, many of these bands started as skiffle groups before transitioning to rock and roll. In 1957, Donegan released his hit single “Cumberland Gap,” which stayed at the top of the UK charts for five weeks. The song was followed by another hit single “Gamblin’ Man,” which reached number one on the UK charts. Donegan’s success catapulted the popularity of skiffle music even further and helped to establish the genre as a significant musical movement in the UK. In the early 1960s, the popularity of skiffle music began to decline as rock and roll became more popular. Nevertheless, skiffle music has never completely gone away, and it continues to be celebrated by music fans across the globe today.

Lonnie Donegan: Dubbed the "King of Skiffle," Lonnie Donegan popularized the genre in the 1950s with hits like "Rock Island Line" and "Cumberland Gap." He also influenced the early British Invasion bands, including The Beatles and The Rolling Stones. Chas McDevitt: Along with his band, Chas McDevitt Skiffle Group, McDevitt had the first British skiffle hit with "Freight Train" in 1957. He also performed with Donegan and other skiffle artists on the TV show "The Six-Five Special." Ken Colyer: A jazz musician who helped bring traditional New Orleans jazz to the UK, Ken Colyer also performed skiffle music with his band in the 1950s. He was known for his distinctive vocals and banjo playing. The Vipers Skiffle Group: Formed in 1956, The Vipers Skiffle Group was one of the first British skiffle bands and had a string of hits in the late 1950s, including "Don't You Rock Me Daddy-O" and "Streamline Train." Terry Dene: Though primarily a rock and roll artist, Terry Dene recorded some skiffle songs in the late 1950s, including "A White Sport Coat" and "Maybelline." The City Ramblers Skiffle Group: An American skiffle band based in New York City, The City Ramblers Skiffle Group were known for their lively performances and interpretations of traditional folk and blues songs. Johnny Duncan and The Bluegrass Boys - A Scottish band, Johnny Duncan and The Bluegrass Boys brought a unique style to skiffle with their use of bluegrass instruments like the mandolin and fiddle. Dickie Bishop and His Sidekicks: Led by guitarist Dickie Bishop, this British skiffle band had several hit records in the late 1950s, including "Shortnin' Bread" and "My Old Man's A Dustman." The Coffee Bar Skifflers: Formed in 1956, The Coffee Bar Skifflers were a group of teenagers from London who performed skiffle music in coffee shops and other small venues. They recorded several singles for Parlophone Records. The Quarrymen: Though not strictly a skiffle band, The Quarrymen were the earliest incarnation of The Beatles and played skiffle music in their early days. They were heavily influenced by Lonnie Donegan and other skiffle pioneers.

1. "Rock Island Line" by Lonnie Donegan 2. "Putting on the Style" by Lonnie Donegan 3. "Cumberland Gap" by Lonnie Donegan 4. "Don't You Rock Me Daddy-O" by Lonnie Donegan 5. "Tom Dooley" by Lonnie Donegan 6. "My Old Man's a Dustman (Ballad of a Refuse Disposal Officer)" by Lonnie Donegan 7. "Gamblin' Man" by Lonnie Donegan 8. "Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight?)" by Lonnie Donegan 9. "Battle of New Orleans" by Lonnie Donegan 10. "Midnight Special" by Lonnie Donegan 11. "Lonesome Traveller" by Lonnie Donegan 12. "Seven Daffodils" by The Chas McDevitt Skiffle Group 13. "Freight Train" by Chas McDevitt Skiffle Group 14. "Greenback Dollar" by The Kingston Trio 15. "Worried Man Blues" by The Kingston Trio 16. "Maggie May" by The Vipers Skiffle Group 17. "Don't You Just Know It" by The Vipers Skiffle Group 18. "Chicken Shack Boogie" by Amos Milburn 19. "Hoots Mon" by Lord Rockingham's XI 20. "Telstar" by The Tornados 21. "Johnny B. Goode" by Chuck Berry 22. "Ring of Fire" by Johnny Cash 23. "You Are My Sunshine" by Jimmie Davis 24. "On Top of Old Smoky" by The Weavers 25. "Tie Me Kangaroo Down, Sport" by Rolf Harris

One of the earliest books written on the subject was Skiffle: The Definitive Inside Story, by Chas McDevitt and Mike Read. The book provides a detailed account of skiffle, its origins, and the impact it had on the British music scene. McDevitt, who was himself a skiffle artist, provides an insider's perspective on the genre, which is complemented by Read's thorough research. Here, McDevitt describes the skiffle sound as something that was "a bit like jazz, a bit like folk. You could make it with anything you had, as long as it was loud." In the same vein, musician and historian Billy Bragg has had quite a bit to say about skiffle. In his book Roots, Radicals and Rockers, he describes it as "the closest Britain ever came to creating a folk music jazz, or perhaps a jazz music folk." He notes that it was a genre that was born out of the desire of young people to make music for themselves, without having to rely on expensive instruments. Bragg also stresses the role of the BBC's Light Programme in popularizing skiffle, stating that "without the civilizing hand of the BBC, it's arguable whether British culture would have developed as it did in the 1950s." Finally, music critic Simon Frith has also written extensively about skiffle. In his book The Sound of the City, he describes it as a reflection of the social changes that were happening in Britain at the time. Frith notes that the musicians who played skiffle were working-class kids who were rejecting the values of their parents' generation, and seeking a new form of self-expression. He adds that "skiffle was an assault on conventional ideas of what music should be, and a projection of the idea that anyone could make music with whatever was at hand."

The early 1950s saw a pervasive sense of hopelessness and disillusionment among the British youth, a feeling that was exacerbated by the ongoing social and economic effects of the Second World War. In this context of restlessness and introspection, popular culture became an escape for many young Britons, who were searching for meaning and purpose in their lives. African American music provided a powerful solace and inspiration for the young British youth, who were able to relate to the struggle and pain that many of the songs conveyed. Skiffle music was largely a product of this influence, and the form of music began to become popular among young people who wanted something more than the traditional British pop and folk music. The increasing affordability of instruments in the late 1940s and 1950s also played a significant role in the emergence of skiffle. It was easier than ever before for kids growing up in England to get their hands on guitars, banjos, and basses. This presented a unique opportunity for the young generation to engage in DIY culture and create their own music. The genre of skiffle allowed teenagers and young adults to pick up a guitar and jam with their friends, which allowed them to develop a unique sound that was distinctly British and American. The recording industry also played a crucial role in the rise of skiffle music, as record labels and producers began to see the potential for a new sound that could attract a youth audience. Major record labels such as Parlophone, Columbia, and Philips all began to sign up skiffle bands and solo acts in the early 1950s, which helped to propel the genre into the mainstream. Journalists such as George Melly and John Pilgrim also played important roles in promoting skiffle music, writing about it in newspapers such as the Daily Mail and the New Musical Express. Notable skiffle musicians who played an influential role in the genre's history include Lonnie Donegan, Ken Colyer, and Chris Barber. Donegan, in particular, is often referred to as the "King of Skiffle," as he rose to prominence in the mid-1950s with his hit single “Rock Island Line”. Donegan’s success led to a surge of interest in the genre, and soon a wave of skiffle bands began to emerge all over the country. Despite the genre’s popularity at the time, it had a relatively short lifespan, and by the early 1960s, it had largely been superseded by the emergence of rock and roll.