1947 cover of Roy Brown's "Good Rocking Tonight" is also a claimant for the title of first rock and roll record, as the popularity of this record led to many answer songs, mostly by black artists, with the same rocking beat, during the late 1940s and early 1950s. Big Joe Turner's 1939 recording "Roll 'Em Pete" is close to 1950s rock and roll. Sister Rosetta Tharpe also was recording shouting, stomping music in the 1930s and 1940s, including "Strange Things Happening Every Day" (1944), which contained major elements of mid-1950s rock and roll. Pushing the date back even earlier, blues researcher Gayle Dean Wardlow has stated that "Crazy About My Baby" by Blind Roosevelt Graves and his brother, recorded in 1929, "could be considered the first rock 'n' roll recording". By contrast, musician and writer Billy Vera argued that because rock and roll was "an evolutionary process", it would be foolish to name any single record as the first. Writer Nick Tosches similarly felt that, "It is impossible to discern the first modern rock record, just as it is impossible to discern where blue becomes indigo in the spectrum." Music writer Rob Bowman remarked that the long-debated question is useless and cannot be answered because "criteria vary depending upon who is making the selection." Fats Domino was not convinced that he was singing rock and roll music. In 1956, he offered this comment on his work: "What they call rock and roll is rhythm and blues, and I've been playing it for 15 years in New Orleans." Ike Turner offers another perspective, imagining Sam Philips' plan as follows: if I get me a white boy to sound like a black boy, then I got me a gold mine’, which is the truth". Ike's story continues: "So, that's when he got Elvis and he got Jerry Lee Lewis and a bunch of other guys and so they named it rock and roll rather than R&B... and so this is the reason I think rock and roll exists". An expert music critic offered a similar comment about songs such as Haley's "Rock Around the Clock" and Presley's version of "That's Alright Mama". He does not consider them to be the first in the new genre. "They were simply the first white artists' interpretations of a sound already well-established by black musicians almost a decade before. It was a raucous, driving, unnamed variant