Rick Nelson Biography

 

Biography

Rick Nelson was one of the very biggest of the '50s teen idols, so it took a while for him to attain the same level of critical respectability as other early rock greats. Yet now the consensus is that he made some of the finest pop-rock recordings of his era. Sure, he had more promotional push than any other rock musician of the '50s; no, he wasn't the greatest singer; and yes, Elvis, Gene Vincent, Carl Perkins, and others rocked harder. But Nelson was extraordinarily consistent during the first five years of his recording career, crafting pleasant pop-rockabilly hybrids with ace session players, and projecting an archetype of the sensitive, reticent young adult with his accomplished vocals. He also played a somewhat underestimated role in rock & roll's absorption into mainstream America-how bad could rock be if it was featured on one of America's favorite family situation comedies on a weekly basis?

Nelson entered professional entertainment before his tenth birthday, when he appeared with father Ozzie (once a jazz musician), mother Harriet, and brother David on a radio comedy series based around the family. By the early '50s, the series was on television, and Ricky grew into a teenager in public. He was just the right age to have his life turned around by rock & roll in 1956, and started his recording career almost accidentally the following year. The story's sometimes been told that he had no professional singing ambitions until he recorded his debut single to impress a girlfriend. The single, a cover of Fats Domino's "I'm Walkin'," that went to number four, was helped immensely (as all of his early singles would be) by plugs on the Ozzie and Harriet TV show.

So far the script was adhering to the Pat Boone teen idol prototype-a whitewash of an R&B hit stealing the thunder from the pop audience, sung by a young, good-looking fella with barely any musical experience to speak of. What happened next was easy to predict commercially, but surprisingly satisfying musically as well. Nelson was a fairly hip kid who preferred the rockabilly of Carl Perkins and Elvis Presley to the fodder dished out for teen idols, and over the next five years he would offer his own brand of rockabilly music, albeit one with some smooth Hollywood production touches and occasional pure pop ballads. Nelson recruited one of the greatest early rock guitarists, James Burton, to supply authentic licks (another great guitarist, Joe Maphis, played on some early sides). Some of his best and toughest songs ("Believe What You Say," "It's Late") were written by Johnny and/or Dorsey Burnette, who had previously been in one of the best rockabilly combos, the Johnny Burnette Rock 'N Roll Trio. Ricky could rock pretty hard when he wanted to, as on "Be-Bop Baby" and "Stood Up," though in a polished fashion that wasn't quite as wild and threatening as rockabilly's Southern originators.

Nelson really hit his stride, though, with midtempo numbers and ballads that provided a more secure niche for his calm vocals and narrow range. From 1957 to 1962, he was about the highest-selling singer in the U.S. except for Elvis, making the Top 40 about 30 times. "Poor Little Fool" and "Lonesome Town" (1958) were early indications of his ballad style; in the early '60s, "Travelin' Man," "Young World," "Teen Age Idol," and other hits pointed to a more countrified, mature style as he honed in on his 21st birthday (by which time he would shorten his billing from "Ricky" to "Rick"). He could still play rockabilly from time to time, the most memorable example being "Hello, Mary Lou" (co-written by Gene Pitney), with its electrifying James Burton solos.

Nelson was lured away from the Imperial label by a mammoth 20-year contract with Decca in 1963 (which would be terminated prematurely in the mid-'70s), and for a year or so the hits continued, at a less frenetic pace. Early 1964's "For You," however, would be his last big smash of the '60s. The fault wasn't all the Beatles and changing music trends-on both singles and albums, much of the material was either substandard pop or dusty Tin Pan Alley standards, although isolated tracks still generated some sparks. He wasn't exactly starving, as he continued to appear on Ozzie and Harriet. But by the mid-'60s even that institution was declining in popularity, leading to its cancellation in 1966.

Nelson had a strong country feel to much of his material from the beginning, and by the late '60s it was becoming dominant. He covered straight country material by the likes of Willie Nelson and Doug Kershaw, and formed one of the earliest country-rock groups, the Stone Canyon Band, with musicians who had played (or would play with) Poco, Buck Owens, Little Feat, and Roger McGuinn. A cover of Bob Dylan's "She Belongs to Me" made the Top 40 in 1970, but his country-rock outings attracted more critical acclaim than commercial success.

At a rock revival concert in 1971, at Madison Square Gardens, New York, Rick was booed when he tried to introduce some new material to his act. Hurt and frustrated, he wrote and produced the album 'Garden Party' (1972), confounding his critics when it became a million-seller, his first since 1961. Sadly, it was his last major success.

In 1977, his singing career was in the doldrums. His personal life was in ruins, too. His wife had divorced him and taken the four children. Rick returned to acting. He appeared in several television series and films but his heart wasn't in it and he took his singing back on the road. A nostalgia rock tour of Britain, in 1985, was a great success and revived some interest in Rick's work.

Hoping to achieve the same result in the United States, he undertook a tour of the south. On Monday 30 December, following a performance in Guntersville, Alabama (where Rick's last number was Buddy Holly's 'Rave On')

His twin sons, Matthew and Gunnar, have carried on the family name and musical tradition with their hard rock duo, Nelson. His daughter, Tracy, is a film/TV actress.

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