This six volume set chronicling the entire singles output of Sun Records, their subsidiaries  Flip and Phillips International, run in strict chronological order. No alternate takes, no studio  chitchat, no second-guessing decades after the fact, just the simple history of some of the  greatest American music that ever came from one man's vision, label owner and production  genius Sam Phillips.

Each box features four Compact Disc's both A- and B-sides
Bear Family Records (BCD 15801-6)
For Biographies of Artists See: > The Sun Biographies <
Sun recordings can be heard on the playlists from 706 Union Avenue Sessions on  > YouTube <

- VOLUME 1 -

Even in the 1950s Sun Records was applauded as something special, both by fans and – more surprisingly –   by the music business. Sun was also recognised as one man's eccentric vision. Even then, Sam Phillips's role   as a man who had made a difference was acknowledged. At that time, the major labels employed grey   interchangeable men; the independent labels were in the hands of more flamboyant individuals, but it was   rare in record companies great or small to find someone of singular artistic vision. The music business had   always been, first and last, a business. The trend has been to follow trends.

Sun Records was Sam Phillips; Sam Phillips was Sun Records. Art and commerce came together. The earth   moved a little bit. The story has often been told of Sam Phillips's background in radio, and his desire to open   a recording studio that would bring his own talent to fruition, as well as that of the men and women who   entered his studio. It happened in Memphis, perhaps the only place in which Phillips could have realised his   vision. It happened in the 1950s, perhaps the only decade in which it could have happened. The Sun Records   story is the confluence of the right man, the right time, and the right place.

''Sam knew something different'', was how one-time Sun artist Ray Harris put it, and that – quite simply – is   the best explanation of what happened. The Sun singles are the ultimate documentation of the ''something   different'' that Sam Phillips knew. They tell the Sun Records story the way that it actually unfurled week-byweek   release-by-release. The records that reshaped popular music are here together with the blind alleys that   Sam Phillips went down in his quest for that something different. The million-sellers are cheek-by-jowl with   the records that only sold to family and friends. There are no alternate takes, no second-guessing Sam   Phillips. This is the way that Sun Records was meant to be experienced.

Talking to journalist David Halberstam, Sam Phillips explained his thinking. ''I have my faults, a lot of faults,   I guess'', he said, ''but I have one real gift and that gift is to look another person in the eye and be able to tell   if he has anything to contribute, and if he does, I have the additional gift to free him from whatever is   restraining him''. It's a self-description that would sound pompous and self-aggrandising were it not   demonstrably true. Sun 209 is evidence, of course, but so – in its way – Sun 175, the first record on the Sun single collection. On it, a teenage saxophonist with a raw, unmoulded style plays with the authority of a   Charlie Parker or an Earl Bostic. He is showcased in a dramatic way. You could probably find precedents for   the sound that Sam Phillips coaxed from his equipment for that recording, but the fact is that Sam Phillips   himself wasn't aware of them. He was making it up as he went along. The single boxed sets enable you to   trace the way that Phillips's ideas on production, songs and artists unfolded.

For the outset, Phillips was intent that he and his artists were to go their own way. As the sixties wore on,   Sun releases increasingly referenced what was happening around them, but at the beginning and for most of   the fifteen or so years that Sun operated under Sam Phillips's direction, the criterion for releasing a record   was whether it made Sam Phillips feel good. It was tantamount to commercial autism. You need to spend a   few years in the record business to recognise just how unusual it is for someone to deliberately strike their   own course and succeed, and how doubly unusual for someone to juggle the creative and business ends. John   Hammond, the legendary Columbia Records artist and repertoire man who signed Billie Holiday and Bob   Dylan and many others, wasn't running his own company with all the headaches that entails. Ahmet Ertegun   at Atlantic Records had partners, and then Time-Warner's money behind him; Sam Phillips was to all intents   and purpose a one man show, and no-one would lend him any money until he didn't need it. The Chess   brothers or King Records' Syd Nathan can't really be said to have had a commanding artistic vision in the   way that Sam Phillips did. That Sun Records was both artistically and commercially successful was truly an   extraordinary achievement.
Colin Escott, 1994
1994 Bear Family Records (CD) 500/200rpm BCD 15801 mono digital
Sun 175-228 & Flip 501-504
One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Yellow label, Have circle of musical notes and staff around the entire label, with excepted of the bar wherein "Memphis, Tennessee" appear.  The letters SUN with sun rays pressed in light brown at the top of the label.  On the front cover of the boxed set showing a photo of the pressing SUN "push-marks". On the back cover of he box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued between 1950 and 1968 on the Sun, Flip and Phillips International labels. Also included in the boxed sets, an 68-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by Hank Davis, and incredibly rare photos and memorabilia, label  shots of every record.

Disc 1 Contains
Flat Tire/ Drivin' Slow
(Johnny London) SUN 175 (April 1952)

Dreary Night/ Nuthin' But The Blues
(Walter Bradford) SUN 176 (April 1952) Copy Never Found

Got My Application, Baby/ Trouble
(Handy Jackson) SUN 177 (January 1953)

We All Gotta Go Sometime/She May Be Yours
(Joe Hill Louis) SUN 178 (1953)

Baker Shop Boogie/Seems Like A Million Years
(Willie Nix) SUN 179 (January 1953)
Easy/Before Long
(Jimmy & Walter) SUN 180 (March 1953)

Bear Cat/Walkin'In The Rain
(Rufus Thomas Jr) SUN 181 (March 1953)

Heaven Or Fire\Tears And Wine
(Dusty Brooks & His Tones) SUN 182 (March 1953)

Lonesome Old Jail\Greyhound Blues
(D.A. Hunt) SUN 183 (June 1953)

Call Me Anything, But Call Me/Baby, No, No!
(Big Memphis Marainey) SUN 184 (June 1953)

Take A Little Chance/Time Has Made A Change
(Jimmy DeBerry) SUN 185 (June 1953)

Baby Please/Just Walkin' In The Rain
(The Prisonaires) SUN 186 (July 1953)

Feelin' Good/Fussin' And Fightin' Blues
(Little Junior's Blue Flames) SUN 187 (July 8, 1953)

Tiger Man/Save That Money
(Rufus Thomas Jr) SUN 188 (July 8, 1953)

My God Is Real/Softly And Tenderly
(The Prisonaires) SUN 189 (July 8, 1953)

Original Sun Recordings
Disc 2 Contains
Blues Waltz/Silver Bells
(Ripley Cotton Choppers) SUN 190 (September 1953)

A Prisoner's Prayer/I Know
(The Prisonaires) SUN 191 (November 1, 1953)

Mystery Train/Love My Baby
(Little Junior's Blue Flames) SUN 192 (November 1, 1953)

Come Back Baby/Chicago Breakdown
(Doctor Ross) SUN 193 (December 24, 1953)

Beggin' My Baby/Somebodsy Told Me
(Little Milton) SUN 194 (December 24, 1953)

No Teasing Around/If Lovin' Is Believing
(Billy The Kid Emerson) SUN 195 (February 20, 1954)

Wolf Call Boogie/Harmonica Jam
(Hot Shot Love) SUN 196 (February 20, 1954)

Boogie Blues/In The Dark
(Earl Peterson) SUN 197 (February 20, 1954)

Troublesome Waters/I Must Be Saved
(Howard Seratt) SUN 198 (February 20, 1954)

My Baby/Straighten Up Baby
(James Cotton) SUN 199 (April 15, 1954)

If You Love Me/Alone And Blue
(Little Milton) SUN 200 (April 15, 1954)

Gonna Dance All Night/Fallen Angel
(Hardrock Gunter) SUN 201 (May 1, 1954)

Now She Cares No More/My Kind Carrying On
(Doug Poindexter) SUN 202 (May 1, 1954)

I'm Not Going Home/The Woodchuck
(Billy The Kid Emerson) SUN 203 (May 1, 1954)

Original Sun Recordings

Disc 3 Contains
Bourbon Street Jump/The Suggle
(Raymond Hill) SUN 204 (May 1, 1954)

The Great Medical Menagerist/Rockin' Chair Daddy
(Harmonica Frank) SUN 205 (July 1, 1954)

Cotton Crop Blues/Hold Me In Your Arms
(James Cotton) SUN 206 (July 1, 1954)

There Is Love In You/What'll You Do Next
(The Prisonaires) SUN 207 (July 1, 1954)

Right Or Wrong/Why Do I Cry?
(Buddy Cunningham) SUN 208 (July 15, 1954)

That's All Right/Blue Moon Of Kentucky
(Elvis Presley) SUN 209 (July 19, 1954)

Good Rockin' Tonight/ I Don't Care If The Sun Don't Shine
(Elvis Presley) SUN 210 (September 1954)

Drinkin' Wine Spodee-O-Dee/Just Rolling Along
(Malcolm Yelvington) SUN 211 (November 1954)

The Boogie Disease/Juke Box Boogie
(Doctor Ross) SUN 212 (November 10, 1954)

Look To Jesus/Every Night
(The Jones Brothers) SUN 213 (January 8, 1955)

Move Baby Move/When It Rains It Pours
(Billy The Kid Emerson) SUN 214 (January 8, 1955)

Milkcow Blues Boogie/You're A Heartbreaker
(Elvis Presley) SUN 215 (January 8, 1955)

Don't Believe/Uncertain Love
(Slim Rhodes) SUN 216 (April 1, 1955)

I'm Left, You're Righgt, She's Gone/Baby Let's Play House
(Elvis Presley) SUN 217 (April 25, 1955)

I Feel So Worried/So Long Baby Goodbye
(Sammy Lewis) SUN 218 (April 25, 1955

Original Sun Recordings

Disc 4 Contains
Red Hot/No Greater Love
(Billy The Kid Emerson) SUN 219 (June 21, 1955)

Homesick For My Baby/ Lookin' For My Baby
(Little Milton) SUN 220 (June 21, 1955)

Cry! Cry! Cry!/Hey, Porter
(Johnny Cash) SUN 221 (June 21, 1955)

Don't Do That/Sitting By My Window
(The Five Tinos) SUN 222 (June 21, 1955)

Mystery Train/I Forgot To Remember To Forget
(Elvis Presley) SUN 223 (August 1, 1955)

Let The Jukebox Keep On Playing/Gone, Gone, Gone
(Carl Perkins) SUN 224 (August 1, 1955)

The House Of Sin/Are You Ashamed Of Me
(Slim Rhodes) SUN 225 (August 1, 1955)

Ain't That Right/Bring Your Love Back Home
(Eddie Snow) SUN 226 (August 1, 1955)

Just Love Me Baby/Weeping Blues
(Rosco Gordon) SUN 227 (September 1955)

The Signifying Monkey/Listen To Me Baby
(Smokey Joe Baugh) SUN 228 (September 15, 1955)

Movie Magg/Turn Around
(Carl Perkins) Flip 501 (February 1955)

Lonely Sweetheart/Split Personality
(Bill Taylor & Smokey Joe) Flip 502 (February 1955)

I've Been Deceived/Peepin' Eyes
(Charlie Feathers) Flip 503 (March 1955)

Someday You Will Pay/You Didn't Think I Would
(Miller Sisters) Flip 504 (April 1955)

Original Sun Recordings
- VOLUME 2 -

As 1956 dawned, Sun Records was no longer a fledgling label with unproven regional talent. Sam Phillips'  one man operation was beginning to experience unquestionable success. His critics might have claimed he  had simply been in the right place at the right time, but there was no denying the intensity of his vision and  the persistence of his efforts.

Phillips' idiosyncratic productions and distinctive artists were beginning to attract national attention. To its  credit, Sun Records did not follow musical trends; it set them. Phillips was achieving success on his own  terms. By any reckoning, the period covered by the second volume of the Sun Singles Collection chronicles  the label's golden era. Elvis Presley's Sun records were already history. In place of Presley, new artists like  Johnny cash and Carl Perkins were starting to stretch their artistic wring; both were perched on the brink of  unexpected national success. Behind them, an entire generation of secondary stars like Roy Orbison, Warren  Smith, Billy Riley and Sonny Burgess was about to be born. The discovery of Jerry Lee Lewis, perhaps the  consummate rock and roller, lay just around the corner.

In the clearest terms imaginable, Volume 2 chronicles the birth of rockabilly. Major labels and established  artists would struggle to come to terms with its swagger, but one thing was for certain: rockabilly was born  and nurtured at 706 Union Avenue in Memphis.

Perhaps the clearest difference between Volume 1 and 2 of the series is the role that black music played in  Sun's release schedule. What had once been the label's underpinning; indeed, what had paid the bills in the  years before and after Sun's birth in 1952, was rapidly being pushed out of sight. As Volume 2 begins, we  hear the sound of Memphis hillbilly music, circa 1955. There is hardly a black voice to be heard. Within  months, even the pure hillbilly sound was an anachronism as the first wave of rockabilly blew across the  scene like a tornado, laying waste to the blues and country music from which it grew.

By late 1956, Sam Phillips must have wondered if he or his now famous label could do any wrong. Records  were selling in Unprecedented numbers. Even those that fell short of commercial success received critical  acclaim. The trade papers extended the most fundamental compliment: they coined the term ''the Sun sound''.

In the brief period covered by Volume 2 of the series, there is no suggestion that the musical and economic  success enjoyed by Sun Records would ever end. Good songs and inventive artists seemed to exist in  inexhaustible supply. Sun did what it did best and the public raced to embrace it. Only a change in popular  culture could spell the end to Sun's well being. That change would come all too soon, but as far as this  collection is concerned, Sun's fortunes were at an all time high.

Colin Escott, 1995
1995 Bear Family Records (CD) 500/200rpm BCD 15802 mono digital
(Sun 229-278)

One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Yellow label, Have circle of musical notes and staff around the entire label, with excepted of the bar wherein "Memphis, Tennessee" appear.  The letters SUN with sun rays pressed in light brown at the top of the label.  On the front cover of the boxed set showing a photo of the pressing SUN "push-marks". On the back cover of the box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued between 1950 and 1968 on the Sun, Flip and Phillips International labels. Also included in the boxed sets, an 72-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by Hank Davis, and incredibly rare photos and memorabilia, label shots of every record.

Disc 1 Contains
Daydreams Come True/How Long
(Maggie Sue Wimberly) SUN 229 (December 1955)

There's No Right Way To Do Me Wrong/ You Can Tell Me
(Miller Sisters) SUN 230 (January 15, 1956)

Defrost Your Heart/A Wedding Gown Of White
(Charlie Feathers) SUN 231 (December 1955)

Folsom Prison Blues/So Doggone Lonesome
(Johnny Cash) SUN 232 (December 15, 1955)

Little Fine Healthy Thing/ Something For Nothing
(Billy The Kid Emerson) SUN 233 (January 15, 1956)

Blue Suede Shoes/Honey Don't
(Carl Perkins) SUN 234 (December 1955)

Sure To Fall/ Tennessee
(Carl Perkins) SUN 235 (Unissued)

No More, No More/They Call Our Love A Sin
(Jimmy Haggett) SUN 236 (December 1955)

The Chicken (Dance With You)/Love For You Baby
(Rosco Gordon) SUN 237 (December 1955)

Gonna Rump And Stomp/Bad Girl
(Slim Rhodes) SUN 238 (April 1956)

Rock 'N' Roll Ruby/I'd Rather Be Safe Than Sorry
(Warren Smith) SUN 239 (April 1956)

Slow Down/A Fool For Lovin' You
(Jack Earls) SUN 240 (April 1956)

Original Sun Recordings

Disc 2 Contains
Get Rhythm/I Walk The Line
(Johnny Cash) SUN 241 (April 1956)

Ooby Dooby/Go, Go, Go
(Roy Orbison) SUN 242 (May 1956)

Boppin' The Blues/ll Mama's Children
(Carl Perkins) SUN 243 (May 1956)

Welcome To The Club/W on't Be Rockin' Tonight
(Jean Chapel) SUN 244 (June 1956)

Trouble Bound/Rock With Me Baby
(Billy Riley) SUN 245 (May 1956)

Rockin' With My Baby/It's Me Baby
(Malcolm Yelvington) SUN 246 (August 3, 1956)

Red Headed Woman/We Wanna Boogie
(Sonny Burgess) SUN 247 (August 3, 1956)

Fiddle Bop/ Juke Box, Help Me Find My Baby
(Rhythm Rockers) SUN 248 (August 3, 1956)

I'm Sorry, I'm Not Sorry/Dixie Fried
(Carl Perkins) SUN 249 (August 3, 1956)

Black Jack David/Ubangi Stomp
(Warren Smith) SUN 250 (September 24, 1956)

You're My Baby/Rockhouse
(Roy Orbison) SUN 251 (September 24, 1956)

Love Crazy Baby/I Feel Like Rockin'
(Kenny Parchman) SUN 252 (1956)  (Unissued)

I Need Man/No Matter Who's To Blame
(Barbara Pittman) SUN 253 (September 24, 1956)

Original Sun Recordings

Disc 3 Contains
Come On Little Mama/Where'd You Stay Last Nite
(Ray Harris) SUN 254   (September 24, 1956)

Ten Cats Down/Finders Keepers
(Miller Sisters) SUN 255 (August 3, 1956)

Take And Give/Do What I Do
(Slim Rhodes & Sandy Brooks) SUN 256 (November 21, 1956)

Shoobie Oobie/Cheese And Crackers
(Rosco Gordon) SUN 257 (November 21, 1956)

There You Go/Train Of Love
(Johnny Cash) SUN 258 (November 21, 1956)

Crazy Arms/End Of The Road
(Jerry Lee Lewis) SUN 259 (December 1, 1956)

Flyin' Saucers Rock And Roll/I Want You Baby
(Billy Riley) SUN 260 (January 23, 1957)

Matchbox/Your True Love
(Carl Perkins) SUN 261 (January 23, 1957)

Feelin' Low/Lonesome For My Baby 
(Ernie Chaffin) SUN 262 (January 23, 1957)

Restless/Ain't Got A Thing
(Sonny Burgess) SUN 263 (January 24, 1957)

I'll Be Around/I'll Wait Forever
(Glenn Honeycutt) SUN 264 (January 24, 1957)

Sweet And Easy/Devil Doll
(Roy Orbison) SUN 265 (January 24, 1957)

Original Sun Recordings

Disc 4 Contains
Don't Make Me Go/Next In Line
(Johnny Cash) SUN 266 (March 15, 1957)

It'll Be Me/Whole Lotta Shakin' Goin' On
(Jerry Lee Lewis) SUN 267 (March 15, 1957)

So Long I'm Gone/Miss Froggie
(Warren Smith) SUN 268 (April 15, 1957)

Bop Bop Baby/Don't Need Your Lovin' Baby
(Wade & Dick) SUN 269 (April 15, 1957)

Please Don't Cry Over Me/That Depends On You
Jim Williams) SUN 270 (September 14, 1957)

Fools Hall Of Fame/Why Should I Cry
(Rudi Richardson) SUN 271 (April 15, 1957)

Greenback Dollar, Watch And Chain/Foolish Heart
(Ray Harris) SUN 272 (June 1957)
Forever Yours/That's Right
(Carl Perkins) SUN 274 (August 15, 1957)

I'm Lonesome/Laughin' And Jokin'
(Ernie Chaffin) SUN 275 (August 15, 1957)

More Than Yesterday/Rock Boppin' Baby
(Edwin Bruce) SUN 276 (August 15, 1957

Red Hot/Pearly Lee
(Billy Riley) SUN 277 (September 14, 1957)

Flast Foot Sam/ Lordy Hoody
(Tommy Blake) SUN 278 (September 14, 1957)

Original Sun Recordings
- VOLUME 3 -

The stylistic pendulum was beginning to swing back by the time the first singles in this collection were  issued in the fall of 1957. Bog changes in the face and sound of popular music were on the horizon.  Ironically, many of these changes had been spawned almost directly by Sun itself. If it hadn't been for Elvis  and a whole generation of Presley wannabees, there might have been less hysteria over music-induced  juvenile delinquency; fewer fears of untamed southern rockers corrupting the girl next door with the swivel  of a hip or a well-aimed sneer.

It was inevitable that the backlash against Sun records, indeed against the raw music of America's regional  labels, would begin to affect the music they made. Like it or not, Sun depended upon the marketplace to pay  its bills. Memories of looming economic failure were hardly distant to Sam Phillips in 1958. Although Sun's  best music often seems timeless, the record company did not exist in a time warp.

Sun's position in the marketplace was, by 1958, clearly established. Program directors listened to Sun  Records without being asked (or paid), and competing artists imitated what they heard. But Sun, too, was  listening and, of necessity, watching the balance sheet.

What you will hear on Volume 3 is the gradual taming of the rockabilly, the sweetening of the hillbilly, and  the emergence of the pop artist. It isn't always an inspiring sight – or sound – but compared to many, Sun  Records maintained its integrity well. True, choruses were brought in and the tenor sax was becoming a  frequent visitor to 706 Union. But behind the surface concessions to style, Sun's releases were, by and large,  resolutely southern music.

There is a lot of good music on this third volume of the Sun singles series. By by the time this installment  ends in the summer of 1959, most Sun records sounded unlike their predecessors from barely three years  ago.

Hank Davis, 1996
1996 Bear Family Records (CD) 500/200rpm BCD 15803 mono digital
Sun 279-328

One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Yellow label, Have circle of musical notes and staff around the entire label, with excepted of the bar wherein "Memphis, Tennessee" appear.  The letters SUN with sun rays pressed in light brown at the top of the label.  On the front cover of the boxed set showing a photo of the pressing SUN "push-marks". On the back cover of the box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued between 1950 and 1968 on the Sun, Flip and Phillips International labels. Also included in the boxed sets, an 68-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by Hank Davis, and incredibly rare photos and memorabilia, label  shots of every record.

Disc 1 Contains
Home Of The Blues/Give My Love To Rose
(Johnny Cash) SUN 279 (September 14, 1957)

Good Lovin'/Memories Never Grown Old
(Dickey Lee) SUN 280 (October 12, 1957)

Great Balls Of Fire/You Win Again
(Jerry Lee Lewis) SUN 281 (November 3, 1957)

Cindy Lou/Your Honey Love
(Dick Penner) SUN 282 (November 3, 1957)

Ballad Of A Teenage Queen/Big River
(Johnny Cash) SUN 283 (December 1957)

Chicken Hearted/I Like Love
(Roy Orbison) SUN 284 (December 1957)

My Bucket's Got A Hole In It/Sweet Misery
(Sonny Burgess) SUN 285 (December 1957)

I've Got Love If You Want It/I Fell In Love
(Warren Smith) SUN 286 (December 1957)

Lend Me Your Comb/Glad All Over
(Carl Perkins) SUN 287 (December 1957)

Breathless/Down The Line
(Jerry Lee Lewis) SUN 288 (February 1958)

Baby Please Don't Go/Wouldn't You Know
(Billy Riley) SUN 289 (February 1958)

Judy/I Think Of You
(Rudy Grayzell SUN 290 (April 9, 1958)

Original Sun Recording
Disc 2 Contains
Ten Years/Your Lover Boy
(Jack Clement) SUN 291 (April 9, 1958)

Sweet Woman/Part Of My Life
(Edwin Bruce) SUN 292 (April 9, 1958)

Love Is A Stranger/he Lonely Hours
(The Sunrays) SUN 293 (April 9, 1958)

I Feel So Blue/Memories Of You
(Magel Priesman) SUN 294 (April 9, 1958)

Guess Things Happen That Way/Come In Stranger
(Johnny Cash) SUN 295 (April 1958)

High School Confidential/Fools Like Me
(Jerry Lee Lewis) SUN 296 (April 9, 1958)

Dreamy Nights/Fool, Fool, Fool
(Dickey Lee) SUN 297 (April 9, 1958)

Right Behind You Baby/So Young
(Ray Smith) SUN 298 (April 9, 1958)

Drinkin' Wine/I Done Told You
(Gene Simmons) SUN 299 (April 9, 1958)

I Dig You Baby/Sweetie Pie
(Tommy Blake) SUN 300 (June 1958)

The Return Of Jerry Lee/Lewis Boogie
(George & Lewis)(Jerry Lee Lewis) SUN 301 (June 1958)

The Ways Of A Woman In Love/ You're The Nearest Thing To Heaven
(Johnny Cash) SUN 302 (May 1958)

Break-Up/I'll Make It All Up To You
(Jerry Lee Lewis) SUN 303 (August 10, 1958)

Jerry Lee Lewis Talks About High School Confidential (1996)

Original Sun Recordings

Disc 3 Contains
(Sonny Burgess) SUN 304 (August 10, 1958)

Sally Jo/Torro
(Rosco Gordon) SUN 305 (September 20, 1958)

Diamond Ring/I've Been Waiting
(Jimmy Isle) SUN 306 (October 25, 1958)

Born To Lose/My Love For You
(Ernie Chaffin) SUN 307 (October 15, 1958)

You Made A Hit/Why, Why, Why
(Ray Smith) SUN 308 (October 25, 1958)

It's Just About Time/ I Just Though You'd Like To Know
(Johnny Cash) SUN 309 (November 12, 1958)

Breeze/Today Is A Blue Day
(Vernon Taylor) SUN 310 (November 12, 1958)

The Black Haired Man/Wrong
(Jack Clement) SUN 311 (November 20, 1958)

I'll Sail My Ship Alone/It Hurt Me So
(Jerry Lee Lewis) SUN 312 (November 20, 1958)

Down By The Riverside/No Name Girl
(Billy Riley) SUN 313 (February 1, 1959)

Sweet, Sweet Girl/ Goodbye Mr.Love
(Warren Smith) SUN 314 (February 15, 1958)

Jump Right Out Of This Juke Box/Tell 'Em Off
(Onie Wheeler) SUN 315 (February 15, 1958)

Thanks A Lot/ Luther Played The Boogie
(Johnny Cash) SUN 316 (February 15, 1959)

Original Sun Recordings

Disc 4 Contains
Lovin' Up A Storm/Big Blon' Baby
(Jerry Lee Lewis) SUN 317 (February 15, 1959)

Without A Love/Time Will Tell
(Jimmy Isle) SUN 318 (March 23, 1959)

Rockin' Bandit/Sail Away
(Ray Smith) SUN 319 (March 23, 1959)

Don't Ever Leave Me/Miracle Of You
(Ernie Chaffin) SUN 320 (April 27, 1959)

Katy Too/I Forgot To Remember To Forget
(Johnny Cash) SUN 321 (June 2, 1959)

Got The Water Boiling/One More Time
(Billy Riley) SUN 322 (June 2, 1959)

No More Crying The Blues/Have Faith In My Love
(Alton & Jimmy) SUN 323 (June 2, 1959)

Let's Talk About Us/The Ballad Of Billy
Joe (Jerry Lee Lewis) SUN 324 (June 15, 1959)
Mystery Train/Sweet And Easy To Love
(Vernon Taylor) SUN 325 (July 16, 1959)

Lovestruck/I Wanna Make Sweet Love
(Jerry McGill) SUN 326 (August 11, 1959)

With Your Love, With Your Kiss/ Be Mine, All Mine
(Johnny Powers) SUN 327 (September 15, 1959)

Winnie The Parakeet/Willie Willie
(Sherry Crane) SUN 328 (August 11, 1958)

Original Sun Recordings
- VOLUME 4 -

Between September, 1959 and July, 1962, the period covered by Volume 4 of this series, there were many  fundamental changes in the style of popular music. Like most independent record companies, the Sun label  struggled to keep up with shifting musical trends.

One thing was clear; the marketplace would no longer tolerate the wildman rockabilly antics of Sun's Golden  Era. In truth, given its enormous impact on the careers and lives of many artists and fans alike, the  commercial heyday of rockabilly lasted a very short time. Even further relegated to the past were the raw  blues of the label's earliest days. It seems hard to imagine that the primitive energy of Sun 193 and the  swirling strings and teen angst of Sun 351 were recorded in the same millennium, much less on the same  planet.

Perhaps the saddest change was the unmistakable fact that Sun was no longer an innovator or leader in the  music business. Rather, there were signs that the label was scrambling, often awkwardly, to follow popular  trends. Only the the case Johnny cash, whose recordings continued to appear on Sun despite his departure  from the label, could one hear a regular glimmer of originality. Sun's other artist capable of true innovation,  Jerry Lee Lewis, was adrift during this period, in search of something to regain the public favor he had so  abruptly lost. In retrospect, his work was driven by two forces: the idiosyncratic country style that would  eventually resurrect his career in the mid-1960s, and the rhythm and blues sound of Ray Charles, whose  churchy stylings cast an enormous shadow, not just over Lewis, but over pop. Rhythm and blues and even  country music.

Although the handwriting had been on the wall for several years, Sun's move out of 706 Union became a  reality during this period. There is much truth to the romantic vision of Phillips' tiny studio on Union  Avenue, but it was also true that its cramped conditions and primitive technology were ill suited to the  evolution of contemporary multy-track music. By the summer of 1960, the changeover to the new studio at  639 Madison was complete.. The old studio floor at 706 Union, rich with the ghosts of Presley, the Miller  Sisters, and Howlin' Wolf, was now cluttered with boxed returns of unsold 45s. A year after the move, the  office chalk board still bore the latest sales figures from Sun 319.

By the time the doors to 639 Madison were officially opened, the demons had already arrived. Despite its  space age décor, the building itself seemed to conspire against Sam Phillips. The atmosphere was sterile and  inhospitable. The roof leaked. Worst yet, the studio had impossibly bad acoustic. It was, initially at least,  everything that 706 Union was not. Gone was the tight, intimate sound that permeated even the worst  recordings from 706 Union Avenue. In its place was an unfocussed, cavernous echo that jumbled vocals,  guitars and percussion together into a meaningless haze of confusion.

For a while, Sam Phillips tried to bluff his way through. ''Woodshed recordings have had it'', he told the  Memphis Press Scimitar. ''You've got to have... all the electronic devices... on everything today''. But  eventually the architects and engineers had to be called in to perform radical surgery. The operation was a  success and the studio was saved, but not quickly enough. None of the most successful recordings  subsequently cut at 639 Madison, including some by Sam The Sam and soul legend James Carr, appeared on  the Sun label.

By the early 1960s, the focus of the music business in Tennessee had clearly shifted away from Memphis.  Sam Phillips attempted to keep pace and bought a studio in Nashville on 7th Avenue North. It had been Billy  Sherrill's studio, and Phillips hired Sherrill as resident producer. Phillips almost certainly had his sights on  the custom recording business in Nashville, then almost the sole preserve of Owen Bradley and RCA, but he  also brought in his own artists. In February, 1961, Charlie Rich and Jerry Lee Lewis were motoring three  hours east to record in the new Phillips studio. Another body blow to the image of Sun as a hole-in-the-wall  Memphis label had been struck.

It is in this climate that Volume 4 of the Complete Sun Singles takes place. Fortunately, despite changing  times and considerable challenges, Sun continued to issue some credible and highly enjoyable music.

Hank Davis, 1997
1997 Bear Family Records (CD) 500/200rpm BCD 15804 mono digital
Sun 329-379

One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Yellow label, Have circle of musical notes and staff around the entire label, with excepted of the bar wherein "Memphis, Tennessee" appear.  The letters SUN with sun rays pressed in light brown at the top of the label.  On the front cover of the boxed set showing a photo of the pressing SUN "push-marks". On the back cover of the box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued between 1950 and 1968 on the Sun, Flip and Phillips International labels. Also included in the boxed sets, an 68-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by Hank Davis, and incredibly rare photos and memorabilia, label shots of every record.

Disc 1 Contains
You're Just My Mind/Ballad Of St. Marks
(Will Mercer) SUN 329 (September 15, 1959)

Little Queenie/ I Could Never Be Ashamed Of You
(Jerry Lee Lewis) SUN 330 (September 15, 1959)

You Tell Me/Goodbye Little Darlin'
(Johnny Cash) SUN 331 (September 15, 1959)

What A Life/Together
(Jimmy Isle) SUN 332 (September 15, 1959)

Alice Blue Gown/St. Louis Blues
(Rayburn Anthony) SUN 333 (October 25, 1959)

Straight As In Love/I Love You Because
(Johnny Cash) SUN 334 (December 31, 1959)

A Thousand Guitars/ Is It Too Late
(Tracy Pendarvis) SUN 335 (January 1960)

Walkin' And Talkin'/Somebody Just Like You
(Mack Owen) SUN 336 (January 1960)

Old Black Joe/Baby Baby Bye Bye
(Jerry Lee Lewis) SUN 337 (March 1960)

The Legend Of The Big Steeple/Broken Hearted  Willie
(Paul Richey) SUN 338 (March 8, 1960)

Whose Gonna Shoe Your Pretty Little Feet/ There's No Tomorrow
(Rayburn Anthony) SUN 339 (March 30, 1960)

Bobaloo/Bad Times Ahead
(Bill Johnson) SUN 340 (March 30, 1960)

The Great Pretender/I'm Gonna Take A Walk
(Sonny Wilson) SUN 341 (August 1, 1960)

Original Sun Recordings

Disc 2 Contains
You Burned The Bridges/Cheaters Never Win
(Bobbie Jean) SUN 342 (July 7, 1960)

The Story Of A Broken Heart/Down The Street To 301
(Johnny Cash) SUN 343 (July 14, 1960)

John Henry/Hang Up My Rock And Roll Shoes
(Jerry Lee Lewis) SUN 344 (August 1, 1960)

South Bound Line/Is It Me
(Tracy Pendarvis) SUN 345 (August 15, 1960)

Senorita/Guess I'd Better Go
(Bill Strenght) SUN 346 (September 12, 1960)

Port Of Lonely Hearts/Mean Eyed Cat
(Johnny Cash) SUN 347 (October 1960)

The Good Guy Always Win/The Time Is Right
(Lance Roberts) SUN 348 (October 1960)

I Gotta Know/Is It Too Late
(Tony Rossini) SUN 349 (November 14, 1960)

Yulevilly U.S.A./Rockin' Lang Syne
(The Rockin' Stockin') SUN 350 (November 14, 1960)

You Don't Love Me Anymore/More That Anything
(Ira Jay II) SUN 351 (November 14, 1960)

When I Get Paid/Love Made A Fool Of Me
(Jerry Lee Lewis) SUN 352 (November 14, 1960)

Sweet And Easy To Love/Devil Doll
(Roy Orbison) SUN 353 (November 25, 1960)
Reissue of SUN 265

Original Sun Recordings

Disc 3 Contains
Red Man/Sad News
(Bobby Sheridan) SUN 354 (December 10, 1960)

Oh Lonesome Me/ Life Goes On
(Johnny Cash) SUN 355 (December 10, 1960)

What'd I Say/Livin' Lovin' Wreck
(Jerry Lee Lewis) SUN 356 (February 27, 1961)

SUN 357 Unissued

U.T. Party Part 1/U.T. Party Part 2
(George Klein) SUN 358 (March 10, 1961)

Belle Of The Suwannee/Eternally 
(Tracy Pendarvis) SUN 359 (April 25, 1961)

Groovy Train/Highland Rock
(Wade Cagle) SUN 360 (April 25, 1961)

I Can't Show How I Feel/I'll Wait Forever
(Anita Wood) SUN 361 (June 25, 1961)

I'll Stick By You/ There They Go
(Harold Dorman) SUN 362 (May 21, 1961)

Sugartime/ My Treasure
(Johnny Cash) SUN 363 (May 21, 1961)

It Won't Happen With Me/Cold Cold Heart
(Jerry Lee Lewis) SUN 364 (May 26, 1961)

I Forgot To Remember To Forget/Other Side
(Shirley Sisk) SUN 365 (August 1961)

Well I Ask Ya/ Darlena
(Tony Rossini) SUN 366 (August 1961)

Original Sun Recordings

Disc 4 Contains
Save The Last Dance For Me/As Long As I Live
(Jerry Lee Lewis) SUN 367 (September 1, 1961)

Since I Met You/Uh Huh Huh 
(Don Hosea) SUN 368 (October 9, 1961)

Human Emotions/Everybody's Searching
(Bobby Wood) SUN 369 (October 9, 1961)  Probably Unissued

Uncle Jonah's Place/Just One Step
(Harold Dorman) SUN 370 (November 7, 1961)

Money/Bonnie B
(Jerry Lee Lewis) SUN 371 (November 21, 1961)

Travlin' Salesman/I Won't Miss You (Till You Go)
(Ray Smith) SUN 372 (November 21, 1961)

How Well I Know/Big Dream
(Rayburn Anthony) SUN 373 (January 19, 1962)

I've Been Twistin'/Ramblin' Rose
(Jerry Lee Lewis) SUN 374 (January 19, 1962)

Candy Doll/Hey, Boss Man
(Ray Smith) SUN 375 (February 9, 1962)

Blue Train/Born To Lose
(Johnny Cash) SUN 376 (April 27, 1962)

In The Beginning/Wait 'Til Saturday Night
(Harold Dorman) SUN 377 (Aptil 4, 1962)

(Meet Me) After School/Just Around The Corner
(Tony Rossini) SUN 378 (April 4, 1962)

Sweet Little Sixteen/How's My Ex Treating You
(Jerry Lee Lewis) SUN 379 (July 7, 1962)

Original Sun Recordings
- VOLUME 5 -

The fifth volume of the Complete Sun Singles chronicles two landmarks: the birth of the Phillips  International label and the death of Sun Records. Approximately ten years separated these two events. By the  time the original Sun label was shuttered in January 1968, it had ceased to be a national label in any  meaningful sense, and had lost its status as an important or trend-setting force in the industry. In essence, it  departed as it had entered”a regional label sporadically releasing music that interested its owner.

The final 27 Sun releases in this volume represent an inconsistent musical vision and a surprising array of  styles. The origin of the Sun label lay in the black music that surrounded its storefront Memphis location.  Notably, some of Sun's final releases reflect a return to those roots by Sam Phillips, as well as his sons Knox  and Jerry.

In Sun's earlier days, bot with and black musicians were recorded, but rarely if ever at the same time. Ten  years later, integration had come to Memphis: at least on the studio floor. Taking their lead from Hi and Stax,  Sun became another Memphis label to run integrated sessions. Interestingly, there was as much rhythm and  blues being played and recorded in Memphis by white artists as by blacks, but again, compared to ten years  earlier, the difference was striking. White musicians in Memphis during the mid 1960s were no longer  imitating (i.e. covering) black music for the pop marketplace. Gone were the sanitized versions of black  music for lillywhite sensibilities. By the time of the later Sun releases, white artists like Billy Adams, Bill  Yates and the Jesters were performing rhythm and blues with no attempt whatsoever to soften its rougher  edges.

Nevertheless, it is surprising that Sun Records, whose roots extend so deeply into black music, recorded so  little of it during the 1960s. This is doubly curious given that Memphis played a central role in the emergence  of soul music. It literally surrounded the Sun studios. It blared from juke boxes and car radios outside the  studio walls. Yet, with the exception of one single by the Climates, none of it was issued on Sun.

There were only 13 records released during the final three years of Sun's existence. Even these few records  reflect a scattershot approach: country, white rhythm and blues, rock and roll, black gospel. Promotion man  Cecil Scaife reflected, ''It was demoralizing to work there toward the end. It was an uphill battle. I had no  budget to promote. Sam's attitude was, 'If they happen, fine. If they don't, fine''. If that kind of fatalistic  approach to marketing had ever been successful in the record business, it certainly wasn't in the early 1960s.

Knox Phillips agrees with Scaife's assessment of Sun's demise. ''The basic reason was that Sam wasn't going  to gamble his money promoting records any more. He had seen some of his friends go broke, such as the  people who ran Vee-Jay, and he became just a little too conservative just as the industry really took off in the  midsixties. That's a pity''. Knox believed that Sun could have competed successfully as a national label.  Perhaps it could, but history seems to bear out Sam Phillips' jaded attitude. Two of his most successful local  competitors, Stax and Goldwax, went bankrupt, and Hi Records was ultimately sold for a fraction of its  worth.

Arguably, the beginning of the Sun end was written even earlier when Sam Phillips began to turn over the  daily running of the label to other people like Jack Clement and Bill Justis. A successful of employees and  surrogates – many of them highly talented people – took over most of the operations, from recording  sessions to managing the studio. Even legendary guitarist Scotty Moore sat behind the glass at 639 Madison  Avenue and at Phillips' Nashville studio, engineering sessions for artists who were barely aware of his classic  work with Elvis. Perhaps of all these replacements, the greatest enthusiasm and consistency came from  Sam's son Knox. But even Knox recognized the lack of what he called a ''commitment of spirit'' from his  father. Had things evolved differently, Knox might well have tried to emulate in the 1960s what his father  had done a decade earlier. Ultimately, though, even Knox saw the handwriting on the wall and encouraged  the sale of Sun Records to outside interests.

Knox Phillips recalls, ''There wasn't a moment when we said, 'Okay, that's the last record we put out on Sun''.  Yet, when a deal came along to produce records for the fledgling Holiday Inn label, both Knox and Sam  welcomed the infusion of the outside money and seized the opportunity to produce music for someone else's  venture. In Knox's view, the start of the short-lived Holiday Inn label was the ''tacit end of Sun''. How ironic  that Sam Phillips' involvement in the record business ended exactly as it began: by producing music, and  black music at that, for somebody else's label.

When the first Phillips International record appeared in the Fall of 1957, Sun fans faced a dilemma. Were  these in fact to be treated as Sun records? Should they be approached with the same passionate interest and  obsessive enthusiasm as their counterparts bearing the famous yellow label? To some extent, that dilemma  for collector remains today.

Certainly, Phillips International releases were being recorded in the same tiny magic studio at 706 Union  Avenue. And even if some of the artist names were initially unfamiliar, weren't those the same backing  musicians playing on Phillips International as on Sun? But what about the label itself? Gone were the bright  yellow sunrays, not to mention the rooster of 78rpm days. In their place was a subdued blue map of the  world (with most of Europe and all of Asia conspicuously missing). Even with these geographic distortions,  there were plainly bigger aspirations here. This was an international corporation, or so the label suggested.  Actually, the fine print on the bottom of the label restricted its reach to New York, Memphis and Hollywood.  Hardly international, but still bigger than just Memphis.

That was the problem. Who needed another record company from New York or California? There were  plenty of those large characterless corporations. We wanted a small, regional label that exuded irreverent  energy and marched to its own drummer (preferably J.M. Van Eaton). In essence, we wanted Sun Records! If  Phillips International was willing to provide more of those, then fine. We'd make allowances for the tepid  looking label. But if this was going to be a way of selling out using a Memphis address, then we wanted no  part of Phillips International. And so Sun fans took a wait-and-see attitude in the Fall of 1957.

In truth, if there was a corporate philosophy or musical direction in that first batch of five Phillips  International releases, it was hard to detect. They were, to put it bluntly, all over the map. Two of them might  have fit in with what Sun was leasing in 1957. Two of them were plainly mellow poppish affairs that any true  Sun fan would disdain, and one, an instrumental, was hard to figure. Was it big band rockabilly? Needless to  say, we now that the unclassifiable instrumental by Bill Justis was the one to take the nation by storm and  provide Phillips International with a massive hit almost as soon as it came into being.

As for whether a particular corporate philosophy ever guided the Phillips International label, it's really  anybody's guess. One more than one occasion Sam Phillips expressed a concern that disc jockeys and  distributors would only give a certain amount of attention to each label. If a package of six Sun 45s came  into a radio station, maybe only three or four of them would get a serious listen before the dee-jay or  program-director moved on to be packages from Atlantic, Chess, Liberty and RCA. If two or three of those  singles happened to be by Johnny Cash or Jerry Lee Lewis, that made it even harder for a new or second tier  Sun artist to get a break or some airplay. By splitting releases between Sun and Phillips International, Phillips  believed he was giving his artist (not to mention, his copyrights) a better shot at fame and fortune. Whether  or not Phillips International was to represent a ''softer'', more commercial sound (as opposed to the backporch  rockabilly increasingly associated with Sun) is – with 40 years hindsight – still unclear. Certainly, there was  more pop music issued on Phillips International than Sun. But, then, just as you were ready to write off the  Phillips International label as an uptown sellout, they would issue something to turn head around and drag  you back into the fold.

Hank Davis, 1997
1997 Bear Family Records (CD) 500/200rpm BCD 15805 mono digital
Sun 380-407 & Phillips International 3516-3538

One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Disc 1 and 2. Yellow label. Have circle of musical notes and staff around the entire label, with excepted of the bar wherein "Memphis, Tennessee" appear. The letters SUN with sun rays pressed in light brown at the top of the label.  Disc 3 and 4. Blue label with geographic distortions, a subdued blue map of the world (with most of Europe and all of Asia conspicuously missing). Phillips International logo on top of the label that reads: Sam C. Phillips International Corp. and is printed between the red-white-blue pennant. The fine print on the bottom of the label restricted its reach to New York, Memphis and Hollywood. On the front cover of the boxed set showing a photo of the pressing SUN "push-marks". On the back cover of the box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued between 1950 and 1968 on the Sun, Flip and Phillips International labels. Also included in the boxed sets, an 68-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by Hank Davis, and incredibly rare photos and memorabilia, label shots of every record.

Disc 1 Contains
You Make It Sound So Easy/ New Girls In Town
(Tony Rossini & The Chippers) SUN 380 (July 10, 1962)

Midnight Soiree/Crazy Arms
(The Four Upsetters) SUN 381 (November 5, 1962)

Miss Molly/ I Can't Trust Me (In Your Arms Anymore) 
(Jerry Lee Lewis) SUN 382 (November 5, 1962)

SUN 383 Assigned to Johnny Cash but Unissued

Seasons Of My Heart/Tennage Letter
(Jerry Lee Lewis & Linda Gail Lewis) SUN 384 (April 1963)

Nothin' Shakin' (But The Leaves)/Sittin' And Thinkin'
(Linda Gail Lewis) SUN 385 (Unissued)

Surfin' Calliope/Wabash Cannon Ball
(The Four Upsetters) SUN 386 (July 15, 1963)

Moyed To Kansas City/Nobody
(Tony Rossini) SUN 387 (July 15, 1963)

Ain't Gonna Let You (Break My Heart)/ Tell Me My Love
(The Teenangels) SUN 388 (Only Issued as Promo)

Betty And Dupree/Got My Mojo Workin'
(Billy Adams) SUN 389 (January 1, 1964)

Don't Step On My Dog/ Stop, Wait And Listen
(Bill Yates & His T-Birds) SUN 390 (May 1, 1964)

Lookin'For My Mary Ann/Trouble In Mind
(Billy Adams & Jesse Carter) SUN 391 (May 1, 1964)

Wide Open Road/Belshazah
(Johnny Cash & The Tennessee Two) SUN 392 (May 1, 1964)

Signifying Monkey/Listen To Me Baby
(Smokey Joe) SUN 393 (May 1, 1964)

Reconsider Baby/Ruby Jane
(Billy Adams) SUN 394 (September 1964)

Original Sun Recordings

Disc 2 Contains
Mountain High/Peek-A-Boo
(Randy & The Radiants) SUN 395 (January 1965)

Carry Me Back To Old Virginia/I Know What It Means
(Jerry Lee Lewis) SUN 396 (March 15, 1965)

Too Late To Right My Wrong/Carleen
(Gorgeous Bill) SUN 397 (March 15, 1965)

My Way Of Thinking/Truth From My Eyes
(Randy & The Radiants) SUN 398 (November 25, 1965)

Big Big World/I Dropped My M & M
(Bill Yates) SUN 399 (February 1, 1966)

My Babe/Cadillac Man
(The Jesters) SUN 400 (February 1, 1966)

Open The Door Richard/Rock Me Baby
(Billy Adams) SUN 401 (February 1, 1965)

Don't Knock What You Don't Understand/Always On The Go
(Dane Stinit) SUN 402 (May 1966)

Sherry's Lips/Miss Brown
(David Houston) SUN 403 (October 10, 1966) Reissue of PI 3583

No You For Me/Breaking Up Again
(The Climates) SUN 404 (February 1967)

Sweet Country Girl/The Muddy Ole River (Near Memphis, Tennessee)
(Dane Stinit) SUN 405 (February 1967)

I'm Gonna Move In The Room With The Lord/ My Soul Needs Resting
(Brother James Anderson) SUN 406 (February 1967)
Issued as Gospel Series

I'm A Lover/Back In My Arms Again
(Load Of Mischief) SUN 407 (January 1968)

Original Sun Recordings

Disc 3 Contains
You Pass By/Please Convince Me
(Buddy Blake) PI 3516 (September 1957)

Love My Baby/One Broken Heart
(Hayden Thompson) PI 3517 (September 1957)

Two Young Fools In Love/I'm Getting Better All The Time 
(Barbara Pittman) PI 3518 (September 1957)

Raunchy/The Midnite Man
(Bill Justis & His Orchestra) PI 3519 (September 1957)

That's The Way I Love/I'll Wait
(Johnny Carroll) PI 3520 (September 1957)

Treat Me Right/I'm On My Way Home
(Cliff Thomas, Ed & Barbara) PI 3521 (January 1958)

College Man/The Stranger
(Bill Justis & His Orchestra) PI 3522 (February 1958)

Point Of View/My Love Song
(Wayne Powers) PI 3523 (March 1958)

After The Hop/Sally's Got A Sister
(Bill Pinky & The Turks) PI 3524 (March 1958)

Wild Rice/Scroungie
(Bill Justis & His Orchestra) PI 3525 (March 1958)

You Are My Sunshine/Tootsie
(Carl McVoy) PI 3526 (June 1958)

Original Sun Recordings

Disc 4 Contains
Everlasting Love/Cold Cold Heart
(Barbara Pittman) PI 3527 (June 1958)

Stairway To Nowhere/Raining The Blues
(Ernie Barton) PI 3528 (June 1958)

CattyWampus/Summer Holiday
(Bill Justis & His Orchestra) PI 3529 (June 1958)

The From/A Little Blue Bird Told Me 
(Lee Mitchell & The Curley Money Combo) PI 3530 (June 1958)

Sorry I Lied/Leave It To Me
(Cliff Thomas, Ed & Barbara) PI 3531 (September 1958)

Whirlwind/Philadelphia Baby
(Charlie Rich) PI 3532 (October 1958)

Somehow Without You/The Picture 
(Mickey Milan & The Montclairs) PI 3533 (September 1958)

Crazy Baby/I Was A Fool
(Ken Cook) PI 3534 (October 1958)

Bop Train/Cha Hot Cha
(Bill Justis & His Orchestra: String Of Pearls) PI 3535 (October 1958)

The Minstrel Show/Three Little Guitars
(The Clement Travelers) PI 3536 (February 1959)

Hopeless Love/If I Had My Way
(Jimmy Demopoulos) PI 3537 (February 1959)

I'm The Only One/Tidewind
(Cliff Thomas, Ed & Barbara) PI 3538 (March 1959)

Original Sun Recordings
- VOLUME 6 -

This sixth and final boxed set in the Complete Sun Singles series documents a period of approximately four  years beginning in March 1959, during which the final 48 singles were issued on the Phillips International  label.

Unlike Sun Records, Phillips International did not simply run out of steam and cease to exist. Rather, Sam  Phillips closed the label that bore his name as part of a legal arrangement with Philips Electric of the  Netherlands, which had recently bought Mercury Records and wished to establish a presence in the North  American market. The similarity between ''Philips'' and ''Sam C. Phillips International'' was simply too close  for comfort. The last Phillips International single was issued at some point in 1963; thereafter all remaining  releases appeared on the Sun label until its demise in 1966.

From the first, the Phillips International label had a slightly different mandate than Sun. The music  occasionally veered more closely to pop than releases on Sun and, in truth, while occasional records stood  out in quality, the label never established a clear identity in any musical genre. Moreover, Sam Phillips used  his namesake label to take some reluctant steps in the direction of long playing records. Never comfortable  with LPs, Phillips ultimately issued a dozen of them on Sun, ten by Cash, Perkins and Lewis (only the  unexpected popularity of Roy Orbison's releases on Monument inspired Phillips to cobble together a crudely  overdubbed series of Sun performances for LP release in 1960). Phillips International was another matter.

There were eight LPs released – a small number by industry standards, but a large commitment in Phillips'  eyes. More tellingly, half of them featured artists who had never seen their names on a Phillips International  single. Graham Forbes and Chuck Foster played the kind of jazz that appeared in local hotels; Frank Ballard  offered a version of uptown rhythm and blues, and Eddie Bond (who had auditioned in vain for Sun years  earlier) appeared with an album of country gospel.  There is much variability in the music on this boxed set. Part of that stems from changes in the marketplace  between 1959 and 1963, but there is another reason that has more to do with internal factors than outside  trends. These singles were recorded in very different places. The earliest are from 706 Union Avenue, the  original location of Phillips' studio. These are arguably the best recordings, or at least the most familiar to  Sun fans. The next batch come from 639 Madison Avenue, and they are arguably the worst, especially the  initial ones made when the new studio was, by any reckoning, acoustically out of control. Some of the last  singles were recorded in Phillips' newest acquisition: a studio on Seventh Avenue North in Nashville. By and  large, these are good, clean recordings, untroubled by the problems plaguing Madison Avenue, but lacking  the distinctive qualities found at 706 Union. But there is a fourth source, or source, for Phillips International  releases. As Phillips made increasing contact with Nashville, the town also reached out to him. The latter day  Phillips International release schedule includes a sizable amount of leased product – masters made  independently which were brought to Phillips as finished product, available for release on his label.  Technically speaking, this was nothing new. Even in its heyday, Sun had occasionally bought outside masters  for release, but never before had so many sides been imported as during the last three years of the Phillips  International label. Of the final 22 releases, approximately a third were leased.

To be sure, there are musical highlights on this series. Charlie Rich's record maintained an impressively high  standard. Carl Mann, along with his superb guitarist Eddie Bush, had their moments of transcendence when  they weren't being sabotaged by gratuitous overdubs. Frank Frost came from out of nowhere to offer one of  the finest blues recordings ever to appear on a Sam Phillips label, and occasional surprises by old Sun  veterans like Mack Self and Sonny Burgess brought a smile to collectors. But there are other surprises here,  too. Some of these lesser known singles, while not the fare that drew collectors to Sun, were nonetheless well  crafted and enjoyable records that stood some chance in the marketplace. Nearly 50 years later, these records  can be appreciated on their own terms. Most of them suffered from Sam Phillips' increasingly apathetic  approach to promotion. Just mail them out. If they turn into hits, great. If they don't that's fine too.

In the main, 1959-1963 was not a peak period in the evolution of popular music. Putting it simply, rock and  roll was no longer inventing itself – a process to which Sun had contributed mighty. In the time period  covered by this series, rock music had already begun to feed on itself. Cliches had been born and riffs were  frequently borrowed and reworked. When it came time for Martin Willis to take a sax break, he might just  likely honk out four bars of the Del Vikins' ''Whispering Bells'' as invent a new melody. It wasn't necessarily  conscious plagiarism; rock had simply established its own culture and it was becoming harder and harder to  be original.

This was also an era when rock needed to be sanitized to be played on the radio. An era in which Bobby's  (Vinton, Vee, Rydell) have hits is an era that demands sweetening with strings and voices. Perhaps Sun (and  Phillips International) could have kept blazing new trails, but in all likelihood they would have sold even  fewer records than they did. Mind you, Phillips International did have hits during the period covered here,  and several of the songs are as well known as any from the era.

We have thus gathered together the final 48 singles issued on the Phillips International label – the wonderful,  along with the good, the bad, and the ugly. This music, along with the previous series, offers the fullest  documentation of the history of Sam Phillips' record labels. We have done everything possible to document  the music in its original form, and fill in as many blanks as possible about the artists who recorded it.  Undoubtedly, more information will come to light over the years, and, hopefully, future collectors will find  we have committed more sins of omission than commission.

Perhaps the biggest legacy of this series will lie beyond entertaining the present generation of collectors. We  hope that in making this music available in such systematic fashion, we will succeed in reaching a new  audience: listeners who will intuitively turn away from whatever brand of musical pabulum their generation  is being force-fed and discover that same electricity and emotional honestly that led each of us to the corner  of Union and Marshall Avenues, and those little yellow labels that contained more musical excitement than  we had ever known before.

Hank Davis, 1998
1998 Bear Family Records (CD) 500/200rpm BCD 15806 mono digital
Phillips International 3539-3586

One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Blue label with geographic distortions, a subdued blue map of the world (with most of Europe and all of Asia conspicuously missing). Phillips International logo on top of the label that reads: Sam C. Phillips International Corp. and is printed between the red-white-blue pennant. The fine print on the bottom of the label restricted its reach to New York, Memphis and Hollywood. On the front cover of the boxed set showing a photo of the pressing SUN "push-marks". On the back cover of the box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued between 1950 and 1968 on the Sun, Flip and Phillips International labels. Also included in the boxed sets, an 68-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by Hank Davis, and incredibly rare photos and memorabilia, label shots of every record.

Disc 1 Contains
Mona Lisa/Foolish One
(Carl Mann) PI 3539 (March 1959)

Pretty Girls Than One/Leven Times
(Edwin Howard) PI 3540 (April 1959)

Open The Door Richard/Shut Your Mouth
(Ernie Barton) (1998)
An Ernie Barton release was scheduled for this number, but nobody has seen it.

Rebound/Big Man
(Charlie Rich) PI 3542 (June 1959)

These Silly Blues/To Tell The Truth
(Bobbie And The Boys) PI 3543 (June 1959)

Cloud Nine/Flea Circus
(Bill Justis & His Orchestra) PI 3544 (July 1959)

706 Union/Low Outside
(Brad Suggs) PI 3545 (September 1959)

Rockin' Love/Pretend
(Carl Mann) PI 3546 (September 1959)

Snow Job/The Midnite Whistle
(The Memphis Bells) PI 3547 (October 1959)

Willie Brown/Mad At You
(Mack Self) PI 3548 (October 1959)

Ohh Wee/I Walk The Line
(Brad Suggs) PI 3549 (October 1959)
Original Sun Recordings

Disc 2 Contains
Some Enchanted Evening/I Can't Forget
(Carl Mann) PI 3550 (January 1960)

Sadie's Back In Town/A Kiss Goddnite
(Sonny Burgess) PI 3551 (January 1960)

Lonely Weekends/Everything I Do Is Wrong 
(Charlie Rich & The Gene Lowery Singers)  PI 3552 (January 1960)

Hansome Man/The Eleventh Commandment
(Barbara Pittman & The Gene Lowery Singers)  PI 3553 (April 1960)

Cloudy/Partly Cloudy
(Brad Suggs & The Gene Lowery Singers) PI 3554 (April 1960)

I'm Comin' Home/South Of The Border
(Carl Mann & The Gene Lowery Singers) PI 3555 (May 1960)

Honey Bee/Jo Ann
(Don Hinton & The Gene Lowery Singers) PI 3556 (May 1960)

Sunny Side Of The Street/Take A Chance 
(Jeb Stuart & The Gene Lowery Singers) PI 3557 (June 1960)

Baby I Don't Care/Vanished
(Eddie Bush & The Gene Lowery Singers) PI 3558 (June 1960)

I Get The Blues When It Rains/In The Mood
(The Hawk) PI 3559 (August 1960)

Gonna Be Waitin'/School Days
(Charlie Rich & The Gene Lowery Singers) PI 3560 (May 1960)

Somewhere Along The Line/I'll Change My Ways
(Danny Stewart) PI 3561 (August 1960)
Original Sun Recordings

Disc 3 Contains
Stay/On My Knees
(Charlie Rich) PI 3562 (September 1960)

Sam's Tune/My Gypsy
(Brad Suggs) PI 3563 (October 13, 1960)

Wayward Wind/Born To Be Bad
(Carl Mann) PI 3564 (March 11, 1960)

Gone And Left The Blues/Your Fool
(Jimmy Louis) PI3565 (November 11, 1960)

Who Will The Next Fool Be/Caught In The Middle
(Charlie Rich) PI 3566 (February 24, 1961)

Coming Down With The Blues/Dream
(Jeb Stuart) PI 3567 (April 28, 1961)

You're Everything/You've Come Home
(Nelson Ray) PI 3568 (April 28, 1961)

I Ain't Got No Home/If I Could Change You
(Carl Mann) PI 3569 (July 1961)

Nothing Down (99 Years To Pay)/My Greatest Hurt
(Jean Dee) PI 3570 (July 1961)

Elephant Walk/Like Catchin' Up
(Brad Suggs) PI 3571 (November 1961)

It's Too Late/Just A Little Bit Sweet
(Charlie Rich) PI 3572 (September 1961)

I Know What It Means/Willing And Waiting
(Mikki Wilcox) PI 3573 (September 1961)

Original Sun Recordings

Disc 4 Contains
Someday She'll Come Along/Don't Make Me Cry
(Freddie North) PI 3574 (October 1961)

I Betcha Gonna Like It/Little Miss Love
(Jeb Stuart) PI 3575 (February 1962)

Midnite Blues/Easy Money
(Charlie Rich) PI 3576 (April 1962)

I've Got It Made/The Quiet Look
(Thomas Wayne) PI 3577 (April 1962)

Jelly Roll King/Vrawlback
(Frank Frost) PI 3578 (June 1962)

Mountain Dew/When I Grow Too Old To Dream
(Carl Mann) PI 3579 (June 1962)

I Ain't Never/In Love Again
(Jeb Stuart & The Chippers) PI 3580 (June 1962)

Thanks A Lot/There's Something About You
(Davis Wilkins) PI 3581 (June 1962)

Finally Found Out/ Sittin' And Thinkin'
(Charlie Rich) PI 3582 (October 1962)

Miss Brown/Sherry's Lips'
(Davis Houston) PI 3583 (1963)

There's Another Place I Can't Go\I Need You Love
(Charlie Rich) PI 3584 (1963)

Thanks A Lot/The Boy I Met Today
(Jeannie Newman) PI 3585 (1963)

Times Sho' Getting' Ruff/Softie
(The Quintones) PI 3586 (1963)

Original Sun Recordings

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