by Ike Turner and his band but credited to singer Jackie Brenston, the term was used to encompass other forms of black music. In particular, vocal harmony group recordings in the style that later became known as "doo-wop", such as "Gee" by the Crows and "Earth Angel" by the Penguins, became huge commercial successes, often for the new small independent record companies becoming established. These included Modern, Imperial, Specialty, Atlantic, King and Chess. The adoption of rock and roll by white people was hindered by racist attitudes. As Billy Burnette said about his father Dorsey Burnette and uncle Johnny Burnette: They'd buy their clothes on Beale Street, at Lansky Brothers, where all the black people shopped. Right outside Memphis, there was a voodoo village, all black-real mystic kind of people... A lot of real old line southern people called my dad and my uncle white nigger. Nobody was doing rock-and-roll in those days except people they called white trash. When my dad and my uncle started doin' it, they were just about the first. Some of the rhythm and blues musicians who had been successful in earlier years – such as Joe Turner, Ruth Brown, and Fats Domino who had his first R&B hit in 1950 – made the transition into new markets. Fats Domino was not convinced that his work belonged to a new genre. In 1957, he said: "What they call rock 'n' roll now is rhythm and blues. I’ve been playing it for 15 years in New Orleans". In an interview, Ike Turner offered a similar comment but about Rocket 88: "I don't think that ‘Rocket 88’ is rock ‘n’ roll. I think that ‘Rocket 88’ is R&B, but I think ‘Rocket 88’ is the cause of rock and roll existing". According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties". Much of the initial breakthrough of rock and roll into the wider pop music market came from white musicians, such as Haley, Presley, Carl Perkins and Jerry Lee Lewis, re-recording earlier rhythm and blues hits, often making use of technological improvements in recording and innovations such as double tracking, developed by the large mainstream record companies, as well as the invention of the 45-rpm record and the rapid growth