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From Blackcat Rockabilly:

"Guitarist Link Wray, considered as one of the pioneers of the American rock scene, cult figure and a man who many said was way ahead of his time, passed away at the age of 76 in Copenhagen, where he lived for two decades", reported today by the Danish newspaper 'Politiken'.

Rock guitarist Link Wray was born on May 2nd in North Carolina. In his 1958 instrumental hit "Rumble," Wray invented the power chord, the basis of modern rock guitar-playing from thrash to heavy metal. He is the missing link in the history of rock guitar in that he is not often given credit for being the connection between early blues guitarists and the late '60s gods (Jimi Hendrix, Eric Clapton, Jimmy Page, Pete Townsend, etc.). Wray began his career in the early '50s as a member of Lucky Wray and the Palomino Ranch Hands, a band that he formed with his brothers Vernon and Doug. They moved from North Carolina to Washington, D.C., where they recorded an EP. Soon after, Wray began concentrating on guitar, since an earlier bout with tuberculosis began to make singing increasingly difficult. He then developed his guitar style: a slow drag across distorted strings in a simple chord progression.

This led to his recording of "Rumble," which cracked the U.S. top 20, despite being banned by some radio stations because its title connoted gang violence. The Wrays then signed to Epic Records after disagreeing with their original label, Cadence, which wanted to tone down the tough image they began to have from "Rumble." The Wrays' next single, the pounding "Rawhide," went to #23 and was a hit among leather-jacketed, motorcycle-loving male youths. Link Wray was becoming the hero of juvenile delinquents and this scared record companies, who forced him to record non-rock songs such as "Danny Boy" with orchestras.

The Wrays tried forming their own record company, Rumble Records, which produced their next big hit, "Jack The Ripper." The song was later used in the '80s remake of the film "Breathless," starring Richard Gere. The company was short-lived and the Wrays found themselves at U.K.-based Swan Records, where they were given free rein to create what they wanted. What followed was a decade of improvised, guitar-heavy records issued under strange names such as the Moon Men and the Spiders. The '70s were filled with ups and downs for Link Wray. In 1971, his self-titled solo album was critically lauded but didn't sell, and none of his other releases made a splash. He spent some time backing Robert Gordon -- the singer for New York punkers the Tuff Darts -- on a rockabilly project and also recorded several albums in the '80s that relied heavily on drum machines. He attracted attention with rare live appearances in which he proved that he could still wow 'em with the guitar style he pioneered.

Above write up courtesy of The Rockabilly Hall Of Fame.

Of late, Link Wary enjoyed the revival of his music to today's audiences. His appearance at venue's such as Hemsby has been denoted as simply breath taking. At present it isn't known what caused his death, nor has there been a date to which he died. Link Wray was buried this week in the intimacy of the Church Of Christian in the neighbourhood of Christianshavn.

What can only be named as his theme tune, The Rumble will live on.

Rest In Peace Link Wray.

"Rumble" was the first song that I ever played on an electric guitar. Oddly enough, just on Friday I was at the Las Artes graduation and played the song with one of my former students on drums. It was all impromptu. Wray would have been proud.


Wray was a deeply religious man, and felt that his playing was a sort of ministry (He even said that the writing of "Rumble" was Jesus working through him). Because of this, he always made sure to make his audiences part of his shows. He used to take his guitar at one point and hold it out in the audience, allowing the fans to play it. It was really a remarkable moment to share with him and the other fans.

In his honor, everyone should pick up a guitar, and play the first three chords of "Rumble," the song that both Bob Dylan and Pete Townsend count among their favorites:



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