Since rock 'n' roll was the result of the interaction of black and white musical styles, if it was to survive after bursting onto the scene via Alan Freed, it would have to evolve. Inevitably, the white country artists looking to update their sound listened to this original rock 'n' roll and realized a wellspring of possibilities. They became the most zealous of converts but they rarely jumped into rock 'n' roll wholesale but rather mixed it with what they knew and loved--country (or hillbilly as it was actually called back then).
Indeed, the hillbilly radio stations became the place to tune into to hear the latest rock 'n' roll. There were no rock 'n' roll stations or charts back then. One had to see what was topping the R&B or country charts to know what was the hottest thing going.
In the days before Elvis, there was a plethora of beautiful hillbilly music criss-crossing the airwaves:
Zeb Turner - You're My Cutie Pie - YouTube
“You’re My Cutey Pie” by Zeb Turner. Not sure of the year—between ’49 and ’53.
Zeb Turner - Chew Tobacco Rag 1951 - YouTube
“Chew Tobacco Rag” by Zeb Turner, 1951.
Moon Mullican - Rheumatism Boogie 1953 - YouTube
“Rheumatism Boogie” by Moon Mullican, 1953.
Roy Hogsed - Cocaine Blues 1948 - YouTube
“Cocaine Blues” by Roy Hogsed, 1948.
Tennessee Ernie Ford - Hey Mister Cotton Picker - YouTube
“Hey Mr. Cotton Picker” by Tennessee Ernie Ford (1953) featuring Speedy West on steel, Jimmy Bryant on guitar and Cliffie Stone (Merle Travis’s bassist) on bass.
Johnny White & Skeets Mcdonald - Southland Boogie (1950) - YouTube
"Southland Boogie" by Skeets McDonald & Johnny White, 1950.
Hillbilly boogie was the transition point between western swing and rockabilly and an essential ingredient in keeping rock 'n' roll growing by becoming more inclusive. The addition of hillbilly styles wasn't really particularly odd. One of the great myths we have today is that whites and blacks listened to distinctly different styles. In the South, blacks and whites listened to and played country music. The record labels may have been segregated but black bands very frequently played at white dances. The Grand Ol' Opry radio program had a huge black listenership even after King Biscuit Time hit the air (after all, Opry had a clear channel and so was heard nationwide). Black artists as Chuck Berry (who based "Maybelline" on Bob Wills' "Ida Red"), Fats Domino (who got "Blueberry Hill" from Gene Autry) and Ray Charles (who made "I Can't Stop Loving You" the song that it is) openly professed their love of country music and stated that it was what they grew up listening to.
And it hardly bears mentioning how blues and boogie-woogie influenced the white hillbilly artists:
Rocket 88 - Bill Haley and the Saddlemen - YouTube
Bill Haley and the Saddlemen doing "Rocket 88" in 1951 just a few months after Ike Turner's band had released their single. Bill was from Highland Park, Michigan (same city Jackie Wilson was from) and his early musical career was entirely hillbilly music. When rock 'n' roll became the rage, Bill was keen to latch on and his Saddlemen mutated into a rock 'n' roll band called the Comets.
Rocket Boogie 88 pt.1- Pete Johnson - YouTube
"Rocket 88" came from Pete Johnson's "Rocket Boogie 88". Johnson was the partner of Big Joe Turner but did quite a lot of solo material as this. He and Joe came out of the Kansas City jazz and blues scene which is another significant strand of rock 'n' roll.
Big Joe Turner - Pete Johnson 1938 ~ Roll 'Em Pete - YouTube
Joe and Pete with "Roll 'Em Pete" from 1938. Another candidate for a very early rock 'n' roll number.
BIG JOE TURNER. Shake, Rattle & Roll. Live 1954 Performance from Rhythm & Blues Revue - YouTube
Big Joe doing "Shake, Rattle and Roll." He is the original artist to record this tune but Bill Haley had a bigger hit with it. When they first met, Bill was afraid that Joe might be resentful of a white artist taking a black man's material and making a killing off it. Instead, he found Joe a warm, kind man who was nothing but complementary to Bill for his cover. Big Joe and Bill Haley became best buddies and often went fishing together and often played on the same bill. Bill often lent Joe the Comets when he needed a backup band. By the way, the backup band in this clip is none other than that of Paul Hucklebuck Williams who is playing the baritone sax just behind Joe.