CONTAINS

Flip 501-504 Audio Series 

This page is too long, so it may take long before he is loaded (15 sec)

 
Carl Perkins
"MOVIE MAGG" - B.M.I. - 2:08
Composer: - Carl Perkins
Publisher: - Hi-Lo Music Incorporated - Knox Music Limited
Matrix number: - F 18 - Take 2
Recorded: - October 1954
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - February 1955
First appearance: - Flip Records (S) 78/45rpm standard single Flip 501-A mono
MOVIE MAGG / TURN AROUND
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15802 DI-4-21 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Carl Perkins - Vocal and Guitar
James Buck Perkins - Rhythm Guitar
Lloyd Clayton Perkins - Bass
W.S. "Flut" Holland - Drums
Quinton Claunch - Electric Guitar
Stanley Kesler - Steel Guitar
William E. Cantrell - Fiddle

No, ''Blue Suede Shoes'' wasn't Carl Perkins' first record. It was preceded by two less revolutionary efforts. Flip 501 was the first of these and, while it might not have jolted folks to attention many miles from Memphis, it reveals Perkins to be a talented artist with unmistakable leaning to wards ''hillbilly bop''.

The lyrics to ''Movie Magg'' are decidedly back country, although the title gives an early glimpse of Perkins' cleverness with language. Soda fountains in the early 1050s, even in Jackson, Tennessee, usually housed racks of ''movie mags'' geared to star struck kids with a few cents in their pockets. Perkins has managed to name a song, even a woman, after the genre. (CE) (HD) (MH)

 
Carl perkins
"TURN AROUND" - B.M.I. - 2:57
Composer: - Carl Perkins
Publisher: - Hi-Lo Music Incorporated
Matrix number: - F 19 - Take 2
Recorded: - October 1954
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - February 1955
First appearance: - Flip Records (S) 78/45rpm standard single Flip 501-B mono
TURN AROUND / MOVIE MAGG
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15802 DI-4-22 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Carl Perkins - Vocal and Guitar
James Buck Perkins - Rhythm Guitar
Lloyd Clayton Perkins - Bass
W.S. "Flut" Holland - Drums
Quinton Claunch - Electric Guitar
Stanley Kesler - Steel Guitar
William E. Cantrell - Fiddle

The flipside, ''Turn Around'', is a solid country outing that Jerry Lee Lewis recorded four years later, and Carl himself continues to feature on his personel appearances some forty years later. (HD)

 
Bill Taylor & Clyde Leoppard's Snearly Ranch Boys
"LONELY SWEETHEART" - B.M.I. - 3:01
Composer: - Stanley Kesler-Roy Rogers
Publisher: - Arsak Music
Matrix number: - F 16
Recorded: - Probably February 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: March 1955
First appearance: - Flip Records (S) 78/45rpm standard single Flip 502-A mono
LONELY SWEETHEART / SPLIT PERSONALITY
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15802 DI-4-23 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Bill Taylor - Vocal
Smokey Joe Baugh - Piano
Stanley Kesler - Steel Guitar
Clyde Leoppard - Drums
Buddy Holobaugh - Guitar
Marcus Van Story - Bass

Following Malcolm Yelvington's ''Just Rolling Along'', Clyde Leoppard's band made its recording debut with another throwback to the 1940s, this time a straightforward country weeper. Delivered in an almost crooning style by the band's songwriter and trumpeter, Bill Taylor, ''Lonely Sweetheart'' comes complete with a heartrending narration of the type popular in the early decades of country music and later brought to the wider world in songs like ''Old Shep'' which hit for Red Foley and then Elvis Presley. At least Bill's sweetheart appears to be a lady and not a hound dog. The Snearly Ranch Boys provide a minimal rhythmic backing on a song that gains in charm with a few plays, but it is clear that Bill Taylor (aka William Tell Taylor) is a more interesting songwriter than vocalist and that Clyde Leoppard had more likely vocal contenders in his band.  (CE) (HD) (MH)

 
Bill Taylor & Smokey Jo
with Clyde Leoppard's Snearly Ranch Boys
"SPLIT PERSONALITY" - B.M.I. - 2:19
Composer: - Stanley Kesler-Bill Taylor
Publisher: - Hi-Lo Music Incorporated - Knox Music Limited
Matrix number: - F 17
Recorded: - Probably February 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - March 1955
First appearance: - Flip Records (S) 78/45rpm standard single Flip 502-B mono
SPLIT PERSONALITY / LONELY SWEETHEART
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15802 DI-4-24 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
Bill Taylor - Vocal
Smokey Joe Baugh - Vocal and Piano
Stanley Kesler - Steel Guitar
Clyde Leoppard - Drums
Buddy Holobaugh - Guitar
Marcus Van Story - Bass

This charming piece of nonsense features Bill Taylor as Dr. Jekyll and Smokey Joe Baugh as Mr. Hyde. As a  novelty records, it has more enduring charms than most. The unison part may feature a third vocalist in place  of Smokey Joe unless Joe disguised his gravelly voice for the duet. Clyde Leoppard, the nominal leader of  the group contributes some rudimentary drumming and Buddy Holobaugh plays his usual aggressive guitar  part.

In a later era, Bill Taylor went on to become part of Jerry Lee Lewis's touring group and he wrote a fair  number of filler songs on some of Jerry Lee's later albums, as well as some hits like ''There Must Be More To  Love Than This''. Taylor went to Texas from Memphis, working with R.D. Hendon and Jimmy Heap, before  returning to work with Jerry Lee Lewis. Smokey Joe Baugh and Buddy Holobaugh also went to Texas, but  lapsed into obscurity. Clyde Leoppard was last seen serving 99 cents lunches at a greasy spoon behind the  Greyhound terminal in Memphis before his little operation fell a victim to urban renewal and he retired to  Mississippi. C-composer and steel guitar player Stan Kesler went on to run his own studio and record labels  after working for Sam Phillips as resident engineer/producer at the Phillips Recording Studio in Memphis,  and for a time he took his studio career to Nashville, where he too worked with Jerry Lee Lewis. As a  producer, his hits included Sam the Sham's ''Woolly Bully''.  (CE) (HD) (MH)

 
Charlie Feathers
"I'VE BEEN DECEIVED" - B.M.I. - 2:41
Composer: - Quinton Claunch-Bill Cantrell
Publisher: - Hi-Lo Music Incorporated
Matrix number: - F 20 - Master
Recorded: - March 2, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 30, 1955
First appearance: - Flip Records (S) 78rpm standard single Flip 503-A mono
I'VE BEEN DECEIVED / PEEPIN' EYES
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15802 DI-4-25 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
Charlie Feathers - Vocal and Guitar
Bill Cantrell - Fiddle
Stanley Kesler - Steel Guitar
Quinton Claunch - Guitar
William Diehl - Bass

Perhaps more than anything, this song is a vehicle for Feathers' wonderful phrasing. He would add any number of little filigrees and embroider the lyrics in ways that still hold the sound of surprise. There is not a level on which this song does not succeed. The lyrics have it all from the depths of self-pity to divine retribution, and Feathers sells every word. Once again, Stan Kesler is outstanding. The bassist on this occasion was William Diehl, a friend of Sam Phillips who had even considered buying a stake in Sun Records but lacked the upfront cash that Phillips needed.  (CE) (HD) (MH)

 
Charlie Feathers
"I'VE BEEN DECEIVED" - B.M.I. - 2:41
Composer: - Quinton Claunch-Bill Cantrell
Publisher: - Hi-Lo Music Incorporated
Matrix number: - F 20 - Master
Recorded: - March 2, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 30, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 503-A mono
I'VE BEEN DECEIVED / PEEPIN' EYES
 
Flip 503 also issued as SUN 503 after legal action from the Flip label in Los Angeles.
 
Name (Or. No. Of Instruments)
Charlie Feathers - Vocal and Guitar
Bill Cantrell - Fiddle
Stanley Kesler - Steel Guitar
Quinton Claunch - Guitar
William Diehl - Bass

Perhaps more than anything, this song is a vehicle for Feathers' wonderful phrasing. He would add any number of little filigrees and embroider the lyrics in ways that still hold the sound of surprise. There is not a level on which this song does not succeed. The lyrics have it all from the depths of self-pity to divine retribution, and Feathers sells every word. Once again, Stan Kesler is outstanding. The bassist on this occasion was William Diehl, a friend of Sam Phillips who had even considered buying a stake in Sun Records but lacked the upfront cash that Phillips needed.  (CE) (HD) (MH)

 
Charlie Feathers
"PEEPIN EYES" - B.M.I. - 2:11
Composer: - Charlie Arthur Feathers
Publisher: - Hi-Lo Music Incorporated
Matrix number: - F 21
Recorded: - February 17, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 30, 1955
First appearance: - Flip Records (S) 78rpm standard single Flip 503-B mono
PEEPIN' EYES / I'VE BEEN DECEIVED
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15802 DI-4-26 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
Charlie Feathers - Vocal and Guitar
Bill Cantrell - Fiddle
Marcus Van Story or William Diehl - Bass
Stanley Kesler - Steel Guitar
Quinton Claunch - Guitar

Within a year, the style of music heard on Feathers' first record would be an anachronism. but its last blooms were the strongest and loveliest. This was music of brilliant economy. ''Peepin' Eyes'' also reminds us that guys like Bill Monroe, Hank Williams, and Elvis Presley had an understanding of rhythm that came first-hand from African American musicians. Others could play fast, but Hank, Monroe, and Elvis swung. Feathers shared that innate understanding. Either Phillips and Claunch and Cantrell mixed the rhythm track way upfront, hurtling the song forward. ''Peepin' Eyes'' was Charlie's composition, but, for all its bounciness, it's s sinister piece, hinting at voyeurism and guilty little secrets. Reviewing it on April 30, 1955, Billboard was surprisingly prescient, saying, ''Indie Flip label has found itself a major piece of talent in Feathers. This is one of the few distinctive voices to emerge in a field that has long suffered from stereotypes. He's fresh, sincere, and most effective in handing a lyric''. Amen to that, in August 1956 Sam Phillips sent out royalty statement showing that ''Peepin' Eyes'' had sold 2585 copies. Its importance stemmed from the fact that it became a totemic item among rockabilly collectors, first in Europe and then worldwide, even if it's not rockabilly.  (CE) (HD) (MH)

 
Charlie Feathers
"PEEPIN EYES" - B.M.I. - 2:11
Composer: - Charlie Feathers
Publisher: - Hi-Lo Music Incorporated
Matrix number: - F 21
Recorded: - February 17, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 30, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 503-B mono
PEEPIN' EYES / I'VE BEEN DECEIVED
 
Flip 503 also issued as SUN 503 after legal action from the Flip label in Los Angeles.
 
Name (Or. No. Of Instruments)
Charlie Feathers - Vocal and Guitar
Bill Cantrell - Fiddle
Marcus Van Story or William Diehl - Bass
Stanley Kesler - Steel Guitar
Quinton Claunch - Guitar

Within a year, the style of music heard on Feathers' first record would be an anachronism. but its last blooms were the strongest and loveliest. This was music of brilliant economy. ''Peepin' Eyes'' also reminds us that guys like Bill Monroe, Hank Williams, and Elvis Presley had an understanding of rhythm that came first-hand from African American musicians. Others could play fast, but Hank, Monroe, and Elvis swung. Feathers shared that innate understanding. Either Phillips and Claunch and Cantrell mixed the rhythm track way upfront, hurtling the song forward. ''Peepin' Eyes'' was Charlie's composition, but, for all its bounciness, it's s sinister piece, hinting at voyeurism and guilty little secrets. Reviewing it on April 30, 1955, Billboard was surprisingly prescient, saying, ''Indie Flip label has found itself a major piece of talent in Feathers. This is one of the few distinctive voices to emerge in a field that has long suffered from stereotypes. He's fresh, sincere, and most effective in handing a lyric''. Amen to that, in August 1956 Sam Phillips sent out royalty statement showing that ''Peepin' Eyes'' had sold 2585 copies. Its importance stemmed from the fact that it became a totemic item among rockabilly collectors, first in Europe and then worldwide, even if it's not rockabilly.   (CE) (HD) (MH)

 
The Miller Sisters
"SOMEDAY YOU WILL PAY" - B.M.I. - 2:20
Composer: - Roy Estes Miller
Publisher: - Hi-Lo Music Incorporated - Knox Music Ltd
Matrix number: - F 22
Recorded: - March 14, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 30, 1955
First appearance: - Flip Records (S) 78/45rpm standard single Flip 504-A mono
SOMEDAY YOU WILL PAY / YOU DIDN'T THINK I WOULD
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15802 DI-4-27 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
Elsie Jo Miller - Duet Vocal
Mildred Wages - Duet Vocal
Roy Estes Miller - Guitar
Quinton Claunch - Guitar
Bill Cantrell - Fiddle
Stanley Kesler - Steel Guitar
Marcus Van Story - Bass
Charlie Feathers - Spoons

The top side of the Miller Sisters' debut single is a total delight. It is simple, honest, spirited and rural, attributes that have all but disappeared from country music. The entire proceedings have the sound and feel of a back country dance. Unquestionably part of the side's flair and drive come from Charlie Feathers who just happened to be hanging around the studio (wasn't he always in 1954?) with a couple of spoons he didn't mind playing. Ironically, uptempo material like this, while winning in its own right, is not the ideal showcase for the girls' harmonies. Nevertheless, this song was chosen as the top side of the Millers' first release.  (CE) (HD) (MH)

 
The Miller Sisters
"SOMEDAY YOU WILL PAY" - B.M.I. - 2:20
Composer: - Roy Estes Miller
Publisher: - Hi-Lo Music Incorporated - Knox Music Ltd
Matrix number: - F 22
Recorded: - March 14, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 30, 1955
First appearance: - Sun Records (S) 78/45rpm standard single Sun 504-A mono
SOMEDAY YOU WILL PAY / YOU DIDN'T THINK I WOULD
 
Flip 504 also issued as SUN 504 after legal action from the Flip label in Los Angeles.

Name (Or. No. Of Instruments)
Elsie Jo Miller - Duet Vocal
Mildred Wages - Duet Vocal
Roy Estes Miller - Guitar
Quinton Claunch - Guitar
Bill Cantrell - Fiddle
Stanley Kesler - Steel Guitar
Marcus Van Story - Bass
Charlie Feathers - Spoons

The top side of the Miller Sisters' debut single is a total delight. It is simple, honest, spirited and rural, attributes that have all but disappeared from country music. The entire proceedings have the sound and feel of a back country dance. Unquestionably part of the side's flair and drive come from Charlie Feathers who just happened to be hanging around the studio (wasn't he always in 1954?) with a couple of spoons he didn't mind playing. Ironically, uptempo material like this, while winning in its own right, is not the ideal showcase for the girls' harmonies. Nevertheless, this song was chosen as the top side of the Millers' first release.   (CE) (HD) (MH)

 
The Miller Sisters
"YOU DIDN'T THINK I WOULD" - B.M.I. - 2:50
Composer: - Jo Miller-Mildred Miller
Publisher: - Hi-Lo Music Incorporated
Matrix number: - F 23
Recorded: - March 14, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 30, 1955
First appearance: - Flip Records (S) 78/45rpm standard single Flip 504-B mono
YOU DIDN'T THINK I WOULD / SOMEDAY YOU WILL PAY
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15802 DI-4-28 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Elsie Jo Miller - Duet Vocal
Mildred Wages - Duet Vocal
Roy Estes Miller - Guitar
Quinton Claunch - Guitar
Bill Cantrell - Fiddle
Stanley Kesler - Steel Guitar
Marcus Van Story - Bass

Although credited to Roy Miller, "You Didn't Think I Would" was written by Jo and Millie in Roy's car on the way back from a local gig. Its a family conventional country weeper with some nascent feminist sentiments. The surprise is that potent material like this could have come from the heart and mind of sweet, 17 year old Millie Miller. Despite its origins, the sisters-in-law perform it convincingly to the sound of Claunch/Cantrell Sun hillbilly backing. (HD)

 
The Miller Sisters
"YOU DIDN'T THINK I WOULD" - B.M.I. - 2:50
Composer: - Jo Miller-Mildred Miller
Publisher: - Hi-Lo Music Incorporated
Matrix number: - F 23
Recorded: - March 14, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 30, 1955
First appearance: - Sun Records (S) 78/45rpm standard single Sun 504-B mono
YOU DIDN'T THINK I WOULD / SOMEDAY YOU WILL PAY
 
 
Flip 504 also issued as SUN 504 after legal action from the Flip label in Los Angeles.

Name (Or. No. Of Instruments)
Elsie Jo Miller - Duet Vocal
Mildred Wages - Duet Vocal
Roy Estes Miller - Guitar
Quinton Claunch - Guitar
Bill Cantrell - Fiddle
Stanley Kesler - Steel Guitar
Marcus Van Story - Bass

Although credited to Roy Miller, "You Didn't Think I Would" was written by Jo and Millie in Roy's car on the way back from a local gig. Its a family conventional country weeper with some nascent feminist sentiments. The surprise is that potent material like this could have come from the heart and mind of sweet, 17 year old Millie Miller. Despite its origins, the sisters-in-law perform it convincingly to the sound of Claunch/Cantrell Sun hillbilly backing. (HD)

 


 

© - 706 UNION AVENUE SESSIONS - ©