CONTAINS -

- Charly Records Sun LP Series -
 
I'm Right Behind You Baby (Sun LP 1009) Ray Smith
Gonna Have Myself A Ball (Sun LP 1010) Malcolm Yelvington
Blue Suede Shoes (Sun LP 1014) Carl Perkins
Johnny Cash's Top Hits (Sun LP 1015) Johnny Cash & The Tennessee Two
Good Ole Memphis Country (Sun LP 1016) Various Artists
Rabbit Action (Sun LP 1018) Carl Perkins & Junior Thompson
Rock-A-Billy Blues (Sun LP 1019) Various Artists
We Wanna Boogie (Sun LP 1022) Sonny Burgess & The Pacers
Rock And Roll Pills (Sun LP 1023) Various Artists
Rockabilly Tunes (Sun LP 1026) Various Artists
Sunset Special (Sun LP 1035) Various Artists
More Sundown Rockers (Sun LP 1036) Various Artists
Whole Lotta Shakin' Goin' On (Sun LP 1042) Jerry Lee Lewis
Kickin' Up A Storm (Sun LP 1045) Jerry Lee Lewis
Put Your Cat Clothes On (Sun LP 1046) Carl Perkins
Rock Island Line (Sun LP 1047) Johnny Cash
Roy Orbison & The Teen Kings (Sun LP 1050) Roy Orbison
 
UNDER CONSTRUCTION
 

1988 Charly Records (LP) 33rpm Sun LP 1009 mono
RAY SMITH - I'M RIGHT BEHIND YOU BABY

Many artists failed to get on Sun Records, some were lucky enough to get a recording session and a release, however not many had the opportunity of having two stabs at the cherry.

One such was Ray Smith who came to Sun early in 1958 recorded a dozen sides or so went on the Judd label and had a national hit with "Rockin' Little Angel" and subsequently returned to Sun in 1961 to record a further couple of singles.

Born to seventh child of a seventh son, Raymond Eugene was destined to be one of the wild men of rock and roll. He was born in Melber, a suburb of Paducah, Kentucky on October 30, 1934, and by the age of 6 was standing up in front of his class to sing "You Are My Sunshine".

After a series of jobs, Ray enlisted in the US Air Force in 1952 and was stationed for 19 months in Metz, France. He served a four year stint from 1956 to 1960 did a further four years reserve duty. It was a period of his life that he looked back on fondly, for the Air Force was instrumental in developing his singing career. On the direct orders of a sergeant he performed at a base concert, and won the talent contest which encouraged him to pursue this singing business further. Whilst stationed at the forces with Lee Standerford and Slim Whitman's brother Armand who played steel.

Upon his discharge from active service in June 1956, Ray Smith returned home and formed the Rock And Roll Boys, (The band consisted of the following members, Henry Stevens, Raymond Jones, Dean Perkins, and James Webb), having been converted from country music to rock and roll through hearing Elvis Presley in France. Raymond Jones on lead guitar and James Wedd on bass, both hailed from Bardwell, Kentucky, whilst steel player Dean Perkins was from Mayfield, Kentucky. From slightly further afield came drummer Henry Stevens, namely Metropolis, Illinois. It was in that self same town that the boys made their radio debut on WMOK. Further radio engagements followed in Benton, Paducah, Mayfield, Louisville all in Kentucky and eventually Newport, Arkansas. The Ray Smith also took television under the sponsorship of Beardsley Chevrolet on WPSD Channel 6 out of Paducah, and all told the weekly show ran for two-and-a- half years, Charlie Terrell who had previously managed

Onie Wheeler, saw Ray's show and offered his services as manager, an offer that was initially turned down by Ray Smith, but eventually Terrell's persistence paid off and he took on the management role in Ray's career. Within three days of so doing he had a recording contract arranged for Ray Smith with Sun Records.

After three singles for Sun without a hit, Ray switched allegiances to Sam's brother Judd who took him to Nashville and backed by the likes of Hank Garland he recorded a Jimmie Rogers song entitled "Rockin' Little Baby" changing the 'baby' to 'angel'. Not much happened at first but after some dive months it fairly flew up the national charts opening up new and exciting doors all over the place; American Bandstand, Dick Clark Caravan, headline tours nationwide, the fulfillment of Ray's wildest dreams. However, fame is a fickle mistress, and her favours are only bestowed on those who can continue producing the hits. In Ray's case the well ran dry fairly quickly with "Put Your Arms Around Me Honey" giving him his second top 100 hit ( a modest number 91) and also the last.

For a while he was able to bask in the glory of being a national star. He toured in his own customised coach complete with 'running maids and hot water', rubbing shoulders with the likes of Jack Scott, Brenda Lee, Jerry Lee Lewis, Johnny Cash, Robin Luke and Bobby Day.

He returned to Sun in 1961, recording four sides in Nashville which were not enhanced by having a female chorus overdubbed on them, but they were much better than some of the material that was appearing on the label by this time. Thereafter Ray label-hopped extensively recording on infinity, Vee-Jay, Warner Bros, BC, Tollie, Celebrity Circle and Diamond. Sadly the hits failed to materialise, a crushing blow to a man who sought and lusted for fame as avidly as Ray Smith.

Around 1966 disillusioned by his failure to maintain star status and tired of all the extensive touring, he headed north to Detroit, turned left and settled in Burlington, Ontario. He continued performing in Canada until 1972 when he returned to Nashville to cut some country material for the Cinamon label and scored in the country charts with "A Tilted Cup Of Love". The resurgence of interest in the Sun label and rockabilly in general in the mid to late 1970s resulted in Ray Smiths coming over to perform in England and Europe, and in some small way reliving the star status that once had been his. That this was only a microcosmic reflection of what once had been may possibly have contributed to his untimely demise, for on November 29, 1979, in circumstances that retain an element of mystery, Ray Smith shot himself at his home.

Compiled and annotated, liner notes by Colin Escott. Licensed from Charly Records International APS. This compilation ℗ © 1988 Charly Records Ltd. Manufactured through Movieplay Portuguesa S.A.R.L. Made in the EEC.

Side 1 Contains
Break-Up
So Young
Right Behind You Baby
Life Is The Flower
You Made A Hit
Forever Yours
Little Girl
Original Sun Recordings

Side 2 Contains
Shake Around
Why, Why, Why
Willing And Ready
I Want To Be Free
Sail Away
Two Pennies And A String
Rockin' Bandit
Original Sun Recordings


 

1988 Charly Records (LP) 33rpm Sun LP 1010 mono
MALCOLM YELVINGTON – GONNA HAVE MYSELF A BALL

This album contains every song Malcolm Yelvington recorded in Memphis, Tennessee during the 1950s. It is a stunning collection of supercharged hillbilly boogie music merging into rockabilly. It has roots in country-swing but it should certainly on filed under rock and roll.

Malcolm Yelvington, born September 14, 1918 to Frank Yelvington and Sarah Edwards, in Covington, Tennessee, and growing up with the hit sounds of Ernest Tubb and Hank Williams, started singing in the late 1930s, Malcolm was able to move his band through hillbilly to honky tonk to a kind of laid-back rockabilly.

Yelvinton's songwriting partner and chief collaborator was singer, guitarist and pianist, Reece Fleming, the only man who recorded for Sun Records who had a genuine Memphis-based recording pedigree.

As half of the duo Fleming and Townsend, Reece had first recorded with Raspers Townsend for Victor in May 1930 and went on to see releases on Victor, Bluebird, ARC and Decca. Mostly they made vocal and yodelling duets with Fleming on guitar and Townsend on harmonica.

Drawing on blues and hillbilly traditions, they often used a salacious approach - "I'll Tell You About Woman" and "Bad Reputations" - but were capable of good, original country music like "She's Just That Kind" and "Blue And Lonesome".

After the war he joined Reece Fleming's Tennesseans, playing schoolhouse dates around Covington. One of the key figures in the Memphis music scene in 1952 through 1955. Yelvington's Star Rhythm Boys employed a growling rockabilly sound and secured a daily gig on a local radio station. With a honky-tonk piano (Frank Tolley), electric guitars (Gordon Mashburn and Jake Ryles), steel guitar (Reece Fleming), and acoustic bass guitar (Miles Wimm), the Star Rhythm Boys were Memphis most innovative sound.

Yelvington's musical direction on "Gonna Have Myself A Ball", "Drinkin' Wine Spidee-O-Dee" (SUN 211), was an old rhythm and blues tune made famous by Sticks McGhee in 1949. At some point in the winter of 1953-54, the Star Rhythm Boys guitarist, Gordon Mashburn learned that there was a record company in Memphis that had just issued a disc by another local group, the Ripley Cotton Choppers. "We went down to see Sam", recalls Yelvington. "He asked us what type of music we played and we said, 'Country'. He said he wasn't interest, so I asked him what he wanted. He said, 'I don't know, but I'll know when I hear it'. Gordon said, 'Mr. Phillips, that means you'll have to listen to every single person who comes in off the street'. Sam said, 'I intent to'".

Yelvington and his group eventually persuaded Phillips to take a listen. "We couldn't come up with anything that Sam wanted", recalled Yelvington. "I wanted something like Hank Williams or Moon Mullican, but Sam kept saying no. Then I decided to try "Drinkin' Wine Spo-Dee-O-Dee". Sam poked his head around the door and said, 'Where did you get that from?'. I said, 'Man, we've been playing that every week for a long time".

In 1955 Yelvington sidestepped his Sun contract and recorded pseudonymously as Mac Sales and Jack for Meteor Records in Memphis "A Gal Named Joe", with equally poor response. The following year, Yelvington returned to Sun Records with a rockabilly novelty, "Rockin' With My Baby" (SUN 246). Sounding a little uncomfortable with the brisk tempo - and slurring the lyrics because he had removed his dentures - Yelvington nevertheless turned out a very creditable piece of the new music. Other cuts on Sun and Meteor are, "Trumpet", "Mr. Blues", "First And Last Love", "Goodby Marie", "It's Me Baby" and "Yakety Yak" provided some of the most interesting moments in Memphis rockabilly history.
Yelvington's sides on Sun and Meteor are some of the finest cuts in rockabilly history.

Talking about his Sun days, Malcolm's recollections in August 1971 to Martin Hawkins and Colin Escott were as follow: "I guess I can say I started in recording at the same time as Elvis. That's something isn't it! He got his first record out in the summer of 1954 and I got mine in the fall. The problem was that when I got mine out rock and roll was getting going pretty good and mine were mostly country and western, but we picked an rhythm and blues song to do, though we did it more warless country style. It sold a few - I can't remember exactly - around Memphis. If you got one of 'em you got more'n I got. That one was "Drinkin' Wine".

"Drinkin' Wine" was a song that we had done for dances years before I ever recorded it. I could sing it in my sleep. The way we got onto doing it, we were down in the studio one day and we were going through some material that we had, and we couldn't come up with anything that Sam would like. He was after rhythm and blues or something with a solid beat to it, and I said to the boys 'let's try "Drinkin' Wine" we don't even have to rehearse that', we were playing it at dances every week anyhow. So he was sitting back in the control room there and my lead man he took off on it. We had lead, piano and steel and I started singing, and Sam poked his head round the door and said, 'where'd you get that?', and I told him, 'Man, we been doing that thing for a long time'. It was first done by a feller the name of Sticks McGhee, and then I think I was the first white artist ever to record it. And then Sam said, 'let's cut that, it sounds good'. So we cut it and it took about six or seven hours to get it like he wanted. He was most particular. He went out and got some boys to sing in the background. And the group was Reece Fleming, he's dead now, he played piano on et and Myles Winn, we called him "Red", played steel, and Jack Ryles on bass, Gordon Mashburn on lead and me on rhythm. We didn't have drums on.

In 1961 Yelvington finally gave up his club dates to concentrate on his day job, his bowling, and family life. In 1988, Malcolm Yelvington toured to England and Holland, where several thousand fans gathered to hear him play the old songs. Yelvington was one of a very few musicians to encourage Elvis Presley to continue his guest for a musical career. Many times Yelvington urged the roughs and the less-talented musicians to leave Elvis Presley to his music. This was partially due to Malcolm Yelvington's respect for Elvis Presley, but the lanky rockabilly artist also performed a similar type of music.

Yelvington recorded his signature song after Elvis Presley finished cutting Sun Record number 210, "I Don't Care If The Sun Don't Shine". The previous year, Elvis Presley listened to "Drinkin' Wine Spo-Dee-O-Dee" many times in local clubs. "Elvis stood out in the crowd, but he never talked to me", Yelvington recalled. "He was a fine singer. The boy was always looking for a piano player. He liked our man and that's why he hung out around us". Yelvington also re-emphasized that he had never played with Elvis Presley. "I understand there's a book that says that, but it's not true".

During his last years, Malcolm Yelvington lead tours at the re-born Sun studio in Memphis, most Saturdays and greet the tourists. He'd tell his stories, and they were good ones because he really had been there. In 1997, aged 79, he released his first full-length album. Malcolm Yelvington died at Memphis Baptist Hospital on February 21, 2001, press reports variously blaming cancer, heart failure, or pneumonia but in truth it was all three. His funeral service in Bartlett, Tennessee, included recordings of Malcolm's Christian songs, and was attended by his five children, eleven grandchildren as well as friends and fellow musicians.

Compiled, annotated, liner notes with session information by Martin Hawkins. Licensed from Charly Records International APS. This compilation ℗ © 1988 Charly Records Ltd. Manufactured through Movieplay Portuguesa S.A.R.L.
Made in the EEC.

Side 1 Contains
Drinkin' Wine Spo-Dee-O-Dee
Just Rollin' Along
Yakety Yak
Blues In The Bottom Of My Shoes
Yakety Yak *
A Gal Named Jo*
It's Me Baby (Demo)*
Original Sun Recordings except *

Side 2 Contains
Rockin' With My Baby*
It's Me Baby
Goodbye Marie
First And Last Love
Did I Ask You To Stay
Trumpet
Ocean
Let The Moon Say Goodnight
Original Sun Recordings except *


 

1988 Charly Records (LP) 33rpm Sun LP 1014 mono
CARL PERKINS – BLUE SUEDE SHOES

Rock and Roll, Rockabilly Pioneer. Although Carl Perkins is closely associated with his current hometown of Jackson, Tennessee, he was born in the far northwest corner of the state, close to the banks of the Mississippi. His birth certificate gives his parents address as Route 1, Ridgely County, Tiptonville, Tennessee, and their names as Fonie "Buck" Perkins and Louise Brantley. Their second child, born on April 9, 1932, was christened Carl Lee Perkins. The misspelling of the family name suggest that the literacy of government employees was barely a notch higher than that of the people they were cataloging.

It was the height of the Depression, and Buck Perkins was a sharecropper without a market. The family lived first in a three-room shack and then in a one-room storehouse. The kids in the neighbourhood brought castoff clothes for the Perkins brothers, and Carl has often told the story of how kid asked for his pants back after Carl had tackled him in a football game.

Music entered Carl Perkins life from two directions: the Grand Ole Opry from Nashville, and a black sharecropper from across the field. The black sharecropper was named John Weststrook (or Westbrooks), and Perkins called him Uncle John. "He used to sit out on the front porch at night", Perkins told Lenny Kaye, "with a gallon bucket full of coal oil rags that he'd burn to keep the mosquitoes off him, and I'd ask my daddy if I could go to Uncle John's and hear him pick some".

In the same way that Perkins rarely sings a song the way twice, he never seems to tell a story exactly the same way. In some versions, Uncle John gives Carl his guitar on a Saturday and dies the following Wednesday. Shortly after the end of World War II, Buck Perkins moved his family to Bemis, Tennessee, where his brothers worked in the cotton mills. Buck was refused a job in the mills because of his deteriorating lungs, and the Perkins family went back to sharecroppin, although by this time they had a house with electricity and a refrigerator. Perkins soon found a use for the electricity when he bought a cheap Harmony electric guitar and plugged it in.

Although he will generally claim to have no direct influences, Carl Perkins' style was obviously formed by listening to the guitarists who worked on the Opry. In particular, he remembers "Butterball" Page, who played single-strings leads with Ernest Tubb for a few years in the late 1940s. Another important influence was probably Arthur Smith, whose 1946 hit "Guitar Boogie" influenced a generation of pickers and set a new standard for sheer technique.

And then there was the blues. It's unlikely that Perkins was allowed to listen to the rhythm and blues stations, but he never forgot the lessons that Uncle John had taught him.

The choices of venues available to the brothers was limited, virtually confined to church socials and honky-tonks; the Perkins Brothers Band gravitated naturally toward the latter. Jay Perkins handled some of the vocals, singing in a rough-hewn voice modeled on Ernest Tubb. But it was Carl who was both principal vocalist and lead guitarist.

By 1954 their repertoire included a fair sampling of hillbilly standards, "Always Late (With Your Kisses", "Jealous Heart", "Honky-Tonk Blues", and the inevitable "Lovesick Blues"; there was also a little pop music, in the shape of "I'll Walk Alone".

The reason revolves around Carl Perkins and the nature of his music. By 1954 Perkins had evolved a unique style. It was not pure honky tonk music but a hybrid that borrowed much in terms of feeling, phrasing and rhythm from black music. "I just speeded up some of the slow blues licks", said Carl. "I put a little speed and rhythm to what Uncle John had slowed down. That's all. That's what rockabilly music or rock and roll was to begin with; a country man's song with a black man's rhythm. Someone once said that everything's been done before, and it has. It's just a question of figuring out a good mixture of it to sound original".

One of his first moves was to bring in a drummer. Drums, of course, were forbidden on the Grand Ole Opry but Perkins decided that he needed them to reinforce the rhythm and keep it danceable. His first drummer was Tony Austin, who would later record at Sun but lasted no more than a few gigs in 1953. He was replaced by W.S. "Fluke" Holland who was originally from Saltillo, Mississippi but had gone to school in Jackson with Clayton Perkins. He bought a set of Brecht drums and habituated many of the black bars in town because, as a drummer working in country music, he had few role models.

Between 1953 and 1955 music provided nothing more than a small addition to Perkins' income from the Colonial Bakery in Jackson. The honky tonks paid $2.00-3.00 a night but enabled the Perkins brothers to hone their music and cultivate their drinking habits at minimal cost.

On January 24, 1953 Carl Perkins married Valda Crider from Corinth, Mississippi. They moved to a government housing project in Jackson as the children started appearing. However, Valda encouraged Carl to work on his music and try for a career in entertainment. As Perkins observed, there were many country boys who were playing with a blues feel and working on the hybrid that later became known as rockabilly music. One of those who had independently worked up a similar style of course, was Elvis Presley. "The first time I heard Elvis was when my wife was in the kitchen", recalled Perkins to Dave Booth, "and she said, 'Carl, that sounds just like y'all. Hearing him do "Blue Moon Of Kentucky" set a flame afire in me and oddly enough I'd been doing that song too".

A few weeks later, the Perkins Brothers Band headed for Memphis. The office manager, Marion Keisker, apparently told them to go away but they met Sam Phillips on the street outside the studio. Carl Perkins first recorded for Flip Records, a nonunion subsidiary label of Sun Records. His first release was "Movie Magg" (FLIP 501), recorded on January 22, 1955. Carl Perkins first met Elvis Presley in Bethel Springs, Tennessee, in 1954, where Perkins was playing a club. Carl Perkins and Elvis Presley appeared together in Memphis on November 13, 1955. Perkins recorded his composition "Blue Suede Shoes"/"Honey Don't" (SUN 234) on December 19, 1955. On March 27, 1956, Perkins was injured in an automobile accident that took the life of his brother and manager Jay. Disc jockey David Steward fell asleep at the wheel while the band was en route to New York City to appear on TV's "Ed Sullivan Show" and "The Perry Como Show", which would have given them national exposure. At the time of the accident, Perkins' version of "Blue Suede Shoes" are released on January 1, 1956, reached on February 18, 1956 for 24 weeks on the Country charts peaked at number 1; on March 3, 1956, "Blue Suede Shoes" reached for 21 weeks on the Billboard Most Played In Juke Boxes chart peaked at number 2 for 4 weeks; on March 10, 1956 the number reached two on the Billboard Hot 100 charts; and peaked for 16 weeks on the Rhythm and Blues charts for 4 weeks at number 2.

After the accident he was taken to the General Hospital in Dover, Delaware, where he received a Western Union telegram from Elvis Presley on March 28, 1956, that read: "We were all shocked and very sorry to hear of the accident. I know what it is for I had a few bad ones myself. If I can help you in any way please call me. I will be at the Warwick Hotel in New York City. Our wishes are for a speedy recovery for you and the other boys. Sincerely Elvis Presley, Bill Black, Scotty Moore, and D.J. Fontana".

From 1954 to 1957, Carl Perkins and his band, recorded several brilliant recordings for Sun Records as follow, "Movie Magg"/"Turn Around" (Flip 501) 1954, "Let The Jukebox Keep On Playing"/"Gone, Gone, Gone" (SUN 224) 1955, "Blue Suede Shoes"/"Honey Don't" (SUN 234) 1955, "Sure To Fall"/"Tennessee" (SUN 235) 1955, "Boppin' The Blues"/"All Mama's Children" (SUN 243) 1956, "Dixie Fried"/"I'm Sorry I'm Not Sorry" (SUN 249) 1956, "Youre True Love"/"Matchbox" (SUN 261) 1956, "That's Right"/"Forever Yours" (SUN 274), and "Lend Me Your Comb"/"Glad All Over" (SUN 287) 1957.

In 1957 his last single hit the market, Carl Perkins had quit Sun Records. He and Johnny Cash had been approached by Don Law from Columbia Records in August 1957 who proposed that both artists move to Columbia. An agreement in principle was signed with Columbia in November 1957 and the contract was dated January 25, 1958. With his career as a rock singer fading fast, Carl Perkins turned back to the honky tonks. He also turned to the bottle. His alcoholism was precipitated by the death of his older brother Jay from a malignant brain tumour on October 22, 1958. 1959 was the last year in which Carl Perkins entertained serious hopes of recapturing his place in the sun. Later in 1959 W.S. ''Fluke'' Holland quit the line-up. He tried managing Carl Mann for a while and then opted for the security of playing drums behind Johnny Cash. By this point, Perkins had stated working long stints in Las Vegas which would hardly seem to be his natural habitat. In August 1963, Carl Perkins signed a two-year contract with Decca Records and recorded four titles in Nashville where MOR, country had co-opted rockabilly beyond recognition. The session got off to a sluggish start with two of the least exciting songs in the Perkins canon. On June 1, 1964 is historically resonant, Perkins attended a Beatles session at Abbey Road in Liverpool where his Scouse admirers completed five takes of "Matchbox" between 2:30 and 5:30 p.m.

Back in the USA, Carl Perkins worked clubs with George Morgan, Webb Pierce and Faron Young. In mid-July, he caught his left hand in the blades of an electric fan at a club in Dyersberg, Tennessee. He was taken 60 miles to hospital in Jackson while blood dripped through the floorboards of his Buick. The surgeon was persuaded not to amputate two of his fingers. In mid-October, Carl Perkins flew to London for a second tour of England. It was tabled The Rhythm and Blues Show 1964 and Carl topped the first half of a bill which included The Animals, Tommy Tucker, Elkie Brooks, Ray Cameron, The Quotations, The Nashville Teens, The Plebs and, at selected venues, Barry St. John. In 1980s, Carl Perkins still live in Jackson, Tennessee, and the part of Carl Perkins that he will leave behind consists of a handful of recordings, only a few of which were released during his tenure with Sun, but recordings that still form the bulk of his stage repertoire today. They also remain, all told, one of the landmarks of pure, carefree rock and roll. From 1965 through 1975, Carl Perkins constantly drinking alcohol and toured with Johnny Cash in the United States.

Elvis Presley, who recorded a faster version of Perkins' "Blue Suede Shoes" in 1956, was present at Perkins' recording session on December 4, 1956, when he recorded "Matchbox" (SUN 261) and other songs. That impromptu get-together was later dubbed the Million Dollar Quartet. Elvis Presley last played with Carl Perkins on July 4, 1976, for a Bicentennial concert in Memphis. After Elvis Presley's death, Carl Perkins recorded the tribute record "The Whole World Misses You" (JET 117). In 1974, Carl Perkins wrote and recorded the novelty record "The E.P. Express" (Mercury 73609) in his own rockabilly style. In 1986, Carl Perkins, Jerry Lee Lewis, Johnny Cash, and Roy Orbison recorded as the group "Class Of 55" at Sun Recording Studio, 706 Union Avenue in Memphis, Tennessee, "We Remember The King" (American Smash 88142-7). RCA's Chet Atkins once remarked to Sam Phillips when Carl Perkins had the number two record in the country with "Blue Suede Shoes", "We thought for a while we bought the wrong Sun artist".

In 1987, Carl Perkins was elected in the Rock and Roll Hall of Fame, included with Eddie Cochran, Bill Haley, Roy Orbison, and Ricky Nelson. The Beatles recorded the following Carl Perkins compositions: "Honey Don't", flip-side of "Blue Suede Shoes", "Everybody's Trying To Be My Baby", and "Matchbox". On February 4, 1969, Jackson, Mississippi celebrated Carl Perkins Day. Carl Perkins once said of Elvis Presley, "This boy had everything. He had the looks, the moves, the manager, and the talent. And he didn't look like Mr. Ed, like a lot of us did. In the way he looked, way he talked, way he eyed, he really was different". On January 19, 1998, about 10:30 p.m., Carl Perkins died in Madison County General Hospital in Jackson, Tennessee, following a series of strokes and an extended stay in Intensive Care at the age of 65.

Recorded in 1955 and 1956 at 706 Union Avenue, Memphis, Tennessee. Compilation, annotations, cover concept, artistic, direction by Ding Dong. Licensed from Charly Records International APS. This compilation ℗ © 1988 Charly Records Ltd. Manufactured through Movieplay Portuguesa S.A.R.L. Made in the EEC. SPA.

Side 1 Contains
Blue Suede Shoes
Honey Don't
Everybody's Tryin' To Be My Baby
Boppin' The Blues
Wrong Yo-Yo
Cat Clothes
Original Sun Recordings

Side 2 Contains
Let The Juke Box Keep On Playing
Dixie Bop (Perkins Wiggle)
Gone Gone Gone
You Can't Make Love To Somebody
Tennessee
Sure To Fall
Original Sun Recordings


 

1988 Charly Records (LP) 33rpm Sun LP 1015 mono
JOHNNY CASH AND THE TENNESSEE TWO - JOHNNY CASH'S TOP HITS

JOHNNY CASH - Country singer, guitarist, and songwriter, was born in the remote rural settlement of Kingsland, Arkansas, on February 26, 1932. His birthplace was almost directly across the Mississippi from Lake County, Tennessee, where Carl Perkins was born six weeks later. Cash is the father of singer Rosanne Cash (1955), as well as the father-in-law of singer Rodney Crowell. Cash was born John Ray Cash, and it was only when he joined the U.S. Air Force that he was given the name Johnny.

In the mid-1940s Cash started work in the fields, habitually listening to Smilin' Eddie Hill on WMPS, Memphis, during the midday break. Hill's "High Noon Roundup" show featured the cream of the local hillbilly talent. Unlike almost all of his later Sun colleagues, Johnny Cash grew up without the influence of black music: his parents had settled on a government colony in Dyess when he was three years old, from which blacks were specifically excluded. His parents kept the radio tuned to the hillbilly stations, and when Cash went into Dyess with a few nickels to put in the jukebox, it was Roy Acuff and Ernest Tubb that he wanted to hear.

When Cash's voice broke, he realized that he owned something that might get him out of Dyess. He practised at every opportunity, singing in school and at home. Yet when he left tow, it was not to become a hillbilly singer but to work in the auto plants in Pontiac, Michigan. Like many others who took that route, Cash returned home, although he made his return somewhat sooner than most - after three weeks. Still determined to get out of Dyess, he joined the Air Force on July 7, 1950.

By his own account, Cash's 'four long, miserable years' in the Air Force were relieved only by playing music with fellow southerners. While stationed in Germany, they formed a group called the Landsberg Barbarians, and Johnny Cash started writing material for them - including the quintessential lament of the homesick southerner, "Hey! Porter", which was published as a poem in the servicemen's magazine Stars & Stripes.

Before leaving for overseas duty, Johnny Cash had gone roller-skating in San Antonio, Texas. On the rink, he crashed into Vivian Liberto, then seventeen years old and in her last year of high school. They dated during his last weeks in the States and wrote to each other constantly while he was overseas. John and Vivian decided to get married after he returned. Cash probably harboured the dream of being able to make money playing music, but up to that point his largest audience had been a gathering of a few dozen Italians who had listened to the Landsberg Barbarians on a drunken furlough in Venice.

On July 3, 1954, Johnny Cash left the U.S. Air Force. On August 7 he married Vivian Dorraine Liberto, and they set up home on Tutwiler Avenue in Memphis. Cash's older brother Roy had found him a job selling appliances for the Home Equipment Company, but Cash was, by his own admission. Cash's trips into the black neighborhoods of Memphis gave him his first exposure to black music. Trying to break into music any way he could, Cash auditioned for a job as a radio announcer at a station in Corinth, Mississippi, but was turned down because of lack of experience.

Taking advantage of the G.I. Bill, Cash enroled at the Keegan School of Broadcast in Memphis. Attending on a part-time basis, he had completed half of the course by the time his first Sun record was released in 1954 with the Tennessee Two (Luther Perkins and Marshall Grant).

A few days after getting out of the service, Johnny Cash visited his brother in Memphis. Roy Cash had forsaken a musical career and was working at the Hoehn Chevrolet dealership on Union Avenue. He introduced his younger brother to three mechanics who played together at home, at small benefit concerts, and on Sunday morning radio. Marshall Grant was twenty-six years old, sang tenor, and played guitar. Luther Monroe Perkins, also twenty-six, played guitar as well. A.W. "Red" Kernodle, ten years older than Perkins and Grant, played steel guitar.

For all his musical shortcomings, it was Luther Perkins who developed the guitar sound that complemented Cash's stark baritone. Perkins was born in Memphis on January 8, 1928. His father drove a taxi at the time, but soon returned to farming in Mississippi. The Perkins family, including Thomas Wayne (Perkins), who later scored a hit with "Tragedy", grew up in Sardis and Como. "Finally, one day, we decided that we were ready for a shot at the record business", recalled Cash.

"I had met Elvis Presley's guitarist, Scotty Moore, and I called him and asked him about the possibility of getting an audition with Sun". Moore probably told Cash that the best approach was simply go to the studio. It was an approach that had worked for Presley.

In an interview with Peter Guralnick, Cash described how he came to audition. "Sun Records was between my house and the radio announcing school. I just started going by there and every day "'d ask: Could I see Mr. Phillips. And they'd say, 'He's not in yet', or 'He's at a meeting'. So really it became a challenge to me just to get inside that studio. Finally, one day I was sitting on the stoop just as he came to work and I stood up and said, 'I'm John Cash and I want you to hear me play'. He said, 'Well, come on in'. I sang two or three hours for him. Everything I knew - Hank Snow, Ernest Tubb, Flatt and Scruggs... I even sang "I'll Take You Home Again Kathleen".

"I had to fight and call and keep at it and push, push, push to even get into Sun Records. I don't feel like anyone discovered me because I had to fight so hard to get heard".

Phillips liked what he heard and invited Cash to return with his group. "When they came in", recalled Sam Phillips, "Cash apologized to me for not having a professional band but I said that he should let me hear what they could do and I would be able to tell whether they had a style I would be able to work with. At that first audition I was immediately impressed with John's unusual voice. I was also interested in Luther's guitar playing. He wasn't a wizard on the guitar. He played one string at a time and he wasn't super good - but he was different,
and that was important".

"Their material was all religious at that time. Songs which Cash had composed. I liked them, but I told him that I would not at that time be able to merchandize him as a religious artist and that it would be well if he could secure some other material or write some other songs. I told him that I was real pleased with the sound we were getting from just the three instruments. If I'm mot mistaken, I think it was the third occasion in the studio that I actually commenced seriously to get Johnny Cash down on tape. He continued to be very apologetic about his band. However, I told him that I did not want to use any other instrumentation because of the unique style they had. They would practice a lot, but I told them not to be overly prepared because I was interested in spontaneity too".

"Sam Phillips had a vision", confirmed Cash in an interview with Bill Flanagan. "Nashville in 1955 was grinding out all these country records. If you took the voice off, all the tracks sounded the same to me... All the arrangements were calculated and predictable. It's kinda that way with my music - but (at least) it's my music. It's not done to try and sound like someone else in Nashville".

According to Marshall Grant, Red Kernodle came to the first session, froze and went back to his day job. According to Kernodle, he played the first session and then quit. "There was no money in it", he recalled with little apparent regret, "and there was getting to be too much staying up late at night and running around". It is probably that his halting attempts at playing the steel guitar can be heard on an early version of "Wide Open Road". If so, his disappearance was no great loss. Luther Perkins' oldest daughter, Linda, recalled that Kernodle's wife had threatened to leave if he concentrated upon music. He also held a better paying job than the other members of the group which he was unwilling to jeopardize. His disappearance was viewed with some relief by the others.

Needing some secular material in a hurry, Cash resuscitated "Hey! Porter" and previewed "Folsom Prison Blues" - a song based closely on a Gordon Jenkins tune, "Cresent City Blues", which formed a segment of a 1953 concept album called "Seven Dreams". Both the melody and finally dawned upon Jenkins after Cash re-recorded the song for his hugely successful prison album in 1968. Cash's earliest version of "Folsom Prison Blues" were delivered in a curiously high pitched voice, although those early takes show that Luther Perkins had already worked out his guitar solo that would later become a model of minimalist country picking. However, Sam Phillips did not want to couple "Folsom Prison Blues" with "Hey! Porter" for the first record.

The essential elements of Cash's music were in place from the start. The stark, lonesome vocals were front and centre, with Luther doing little more than keeping time - even during his solo. Where most guitarists relish the opportunity to solo, Luther seemed to dread it. The fear of failure - messing up an otherwise good take - seemed to haunt him every time he entered the studio during the early days.

For his part, Sam Phillips challenged the established precepts of recording balance, placing Cash's vocals more assertively in the mix than had ever been the case in country music. Phillips fattened the sounds of the vocals and the rhythm track with carefully timed slapback echo that gave a compelling syncopation to some of the faster numbers.

Cash recorded a number of hit records for Sun, including "I Walk The Line" (SUN 241), "Folsom Prison Blues" (SUN 232), and "Ballad Of A Teenage Queen" (SUN 283). His first major public appearance after singing with Sun Records was at the Overton Park Shell in Memphis on August 5, 1955. Elvis Presley was also on the bill. Johnny Cash, Carl Perkins, and Elvis Presley toured together on the Jamboree tour from Abilene, Texas, to St. Louis, for two weeks in October 1955.

Johnny Cash became one of the participants in the famed Million-Dollar Quartet session. Years later he filed a lawsuit to try to prohibit the session's release on record. Cash left Sun Records in 1958 to record for Columbia Records. Berely two weeks after his last Sun session, Johnny Cash was in Nashville cutting his first Columbia session. Without Sam Phillips second-guessing the repertoire, cash was able to record a selection of religious or quasi-religious material. The first Columbia album, The Fabulous Johnny Cash, was released in time for the Disc Jockey Convention in the middle of November 1958.

On December 12, 1958 Johnny and Vivian Cash hosted a housewarming party in Encino, California. Cash's life - both inside and outside music - would acquire some new dimension as the '50s gave way to the '60s. At times he seemed to be the most focussed artist in country music, recording concept albums, and bringing a variety to his bare-bones sound that Sam Phillips never envisaged. At other times Cash seemed - like Hank Williams - to be heading ninety miles down a dead-end street.

At a live concert at the International Hotel in Las Vegas, Nevada, in August 1969, Elvis Presley jokingly introduced himself by saying, "Hello, I'm Johnny Cash", before singing "Folsom Prison Blues" and "I Walk The Line".

The Sun recordings maximized the effective contrast between the hustling rhythm of the bass/acoustic guitar and the enigmatically ponderous vocals and sparse lead guitar. Phillips' achievement was to keep Cash's sound at its bare essentials and then fatten it up with the use of tape delay echo. Subsequent producers and engineers could never quite recapture Phillips' formula. At Columbia, Cash's little trio was placed in the cavernous Bradley's studio where the sound leaped around, giving a cavernous echo where Phillips had imparted a tightly focussed slapback. The difference was especially evident on Cash's vocals. The repertoire was as strong, the backings were still commendably simple - but the booming assertive presence was partially lost in the swampy echo.

The ultimate judgement on Cash - at Sun and Columbia - though, is that the whole represented much more than the sum of the parts. Cash's limited vocals, Luther Perkins' bare-bones picking and Marshall Grant's bass playing jelled magically to produce a unique and compelling blend, one of the most original, innovative and immediately recognisable sounds in country music.

The late career regeneration was ongoing. The last album released during Cash's lifetime, ''American IV: The Man Comes Around'', was a fitting epitaph, and the video accompanying his version of Trent Rezner's ''Hurt'' might well be the most moving music video ever made. It was life laid bare.

Johnny Cash lived to be seventy-one, although he looked and sounded considerably older toward the end. Parkinson's disease, diabetes, glaucoma, and respiratory problems took a terrible toll. After his second wife, June Carter Cash, died on May 15, 2003, many believed that John would not last long, and he did not. The end came on September 12, 2003 and Johnny Cash dies at the Shy- Drager Syndrome of the age of 71 in the Baptist Hospital in Nashville, Tennessee. He'd been to the brink so often, but lacked the strength for more fight. It had been nearly fifty years since Sam Phillips captured the surprisingly confident opening notes of ''Wide Open Road''.

All tracks recorded at 706 Union Avenue, Memphis, Tennessee. Compilation, cover concept annotations, artistic direction by Ding Dong. Licensed from Charly Records International APS. This compilation ℗ © 1988 Charly Records Ltd. Manufactured through Movieplay Portuguesa S.A.R.L. Made in the EEC. SPA.

Side 1 Contains
Cry! Cry! Cry!
Luther Played The Boogie
Folsom Prison Blues
So Doggone Lonesome
Mean Eyed Cat
Wide Open Road
Two Timin' Woman
Original Sun Recordings

Side 2 Contains
There You Go
I Walk The Line
Country Boy
Train Of Love
Get Rhythm
Hey Porter
Wide Open Road
Original Sun Recordings


 

1988 Charly Records (LP) 33rpm Sun LP 1016 mono
VARIOUS ARTISTS - GOOD OLE MEMPHIS COUNTRY

All tracks recorded at 706 Union Avenue, Memphis, Tennessee. Compilation, cover concept annotations, artistic direction, and liner notes by Ding Dong (February 1988). Licensed from Charly Records International APS. This compilation ℗ © 1988 Charly Records Ltd. Manufactured through Movieplay Portuguesa S.A.R.L. Made in the EEC. SPA.

Side 1 Contains
Feelin' Low (Ernie Chaffin)
Laughin' And Jokin' (Ernie Chaffin)
Destiny (Cast King)
Baby Doll (Cast King)
Round And Round (Cast King)
Please Believe Me (Cast King)
When You Stop Lovin' Me (Cast King)
Original Sun Recordings

Side 2 Contains
Easy To Love (Mack Self)
Down On The Border In Mexico (Gene Simmons)
Goin' Crazy (Mack Self)
Poor Boy (O.C. Holt)
This Train (O.C. Holt)
Pink Wedding Gown (O.C. Holt)
Satisfied With Me (Cast King)
Original Sun Recordings


 

1985 Charly Records (LP) 33rpm Sun LP 1018 mono
CARL PERKINS & JUNIOR THOMPSON - RABBIT ACTION

This origins album takes us to the beginning of the most rollicking time of the Sun Record Company. In the early months of 1956, after Elvis Presley's success lead to his contract being sold to RCA, Carl Perkins become the stimulus for all rockabilly stylists. His December 1955 ''Blue Suede Shoes'' b-sided with ''Honey Don't was the first rockabilly record to hit the national charts. Stimulated by his success and wanting to continue to hit, Carl Perkins and band recorded in March their boppiest sessions. ''Perkins Wiggle'', ''All Mama's Children'', ''Boppin' The Blues'' and ''Everybody's Trying To Be My Baby'' were final cuts used since for standard releases. However those sessions produced also with a more underground feel and sound, the earliest cuts of ''Dixie Fried'', ''Cats Clothes'' and Everybody's Trying To Be My Baby'' B-sided here and previously unissued as is the explosive recut of ''Cat Clothes'' (2) possibly unissued take of the undated cut ''You Can't Make Love To Somebody'', the undated rough demo ''That Don;t Move Me'' and the rushing boogie take of ''Honey Don't''. All that stuff will enlighting you about that spirited musical era of Carl Perkins the King of the Bop Cats.

The great Junior Thompson from Alabama, is one of the most mysterious name in the rockabilly field. After he recorded in 1955 ''Raw Deal''/''Mama's Little Baby'' (Meteor 5029), he auditioned at Sun in the wake of Carl Perkins' success probably in March 1956. His first session saw the performances of the four rhythm tunes included here: ''Rabbitt Action'', ''Rhythm Called Rock And Roll, ''Rock Me Baby'' and ''How Come You Do Me''. That's real ''bopcat'' action and all what you like about rockabilly as in his Meteor material. Several sub-standard out takes of ''How Come You Do Me'' predate the take already issued at Sun albums. Junior Thompson was unsuccessful at Sun, He recut ''How Come You Do Me'' on Tune Records coupled with ''Who's Knocking'' as his second single release in 1957.

All this boppin' stuff wouldn't be available today without the biggest rockabilly hit of all time: ''Blue Suede Shoes''. The master tape has not been out of its ''shoe-box'' in the Sun vaults since the late 1960s. There were three kinds of shoes in the same box included the solid ones you wanna put on to bop this ''rabbit action'' in ''real cat clothes'' and ''real blue suede''.

NOTE: The unissued Sun tracks "How Come You Do Me" ''Rhythm Rock And Roll'', ''Rock Me Baby'' and "Rabbit Action", while often attributed to Junior Thompson on reissues, were actually recorded by Jimmy Haggett in 1956.

* - Previously Unissued. Sun vaults research, compilation and mastering, liner notes and cover design by Ding Dong.

Side 1 Contains
Blue Suede Shoes (Carl Perkins)
Rhythm Called Rock And Roll (Junior Thompson)*
Honey Don't (Carl Perkins)
Rabbit Action (Junior Thompson)*
Everybody's Trying To Be My Baby (Carl Perkins)
How Come You Do Me (Junior Thompson)*
Rock Me Baby (Junior Thompson)*
Original Sun Recordings

Side 2 Contains
Dixie Fried (Carl Perkins)*
Everybody's Trying To Be My Baby (2) (Carl Perkins)*
Cat Clothes (Carl Perkins)*
You Can't Make Love To Somebody (Carl Perkins)*
Cat Clothes (2) (Carl Perkins)*
That Don't Move Me (Carl Perkins)
Honey Don't (Carl Perkins)
Original Sun Recordings


 

1985 Charly Records 33rpm Sun LP 1019 mono
VARIOUS ARTISTS - ROCK-A-BILLY BLUES

In the year 1956, rockabilly music was of its best! This musical style, which delves into hillbilly and blues origins, was born in the early 1950s before Hank Williams died, but it was only in late 1956 that the word rockabilly came into use. Jack earls was born in 1932 in Woodbury, Tennessee, and moved to Memphis in 1950. In 1954, he started a hillbilly-band: Warren Gregory (guitar), Johnny Black (bass), Donny Walker (drums), and Jack Earls himself as the vocalist and rhythm guitarist. Late in 1955, they made a private recording of Jack's compositions ''A Fool For Lovin' You'' at the Memphis Recording Service. Sam Phillips auditioned the group early in January 1956. Several sessions included two slow performances, ''When I Dream'', ''They Can't Keep Me From You'', and these two country blues and rockabilly renditions of ''|Hey Slim'' and ''Crawdad Hole''. Sam was impressed by ''Hey Slim''. Jack and the boys worked on it and after a few lyrical changes, the tune became ''Hey Jim'' on the last takes not up to standard for release. From this, Sam got the idea to call the group, ''The Jimbos''. Around March, Jack and the Jimbos recut ''A Fool For Lovin' You'' and some new songs: ''Slow Down'', ''If You Don't Mind'' an up-beat tune, and ''Sign On The Dotted Line''. During this period, Earls was signed by Stars Inc., the personal management and booking agency of Bob Neal. In April 1956, Jack appeared on W.S.M.'s Grand Ole Opry Show in Nashville, performing ''Crawdad Hole'' and both sides of Sun 240, ''Slow Down''/''A Fool For Lovin' You''. Since he was then touring with the Grand Ole Opry Show, Jack didn't record before June. That session, using different musicians such as Luther Perkins (guitar), Stan Kesler (steel guitar), Billy Weir (drums)and possible Bill Black on bass produced the fabulous recut of ;;Crawdad Hole'' (2) (Sun LP CFM 507). Jack Earls than did some more sessions developed his initial country-blues style with the real dancin' beat heard in ''A Fool For Lovin' You''. He recuron October 15, 1956, ''Hey Slim'', identifiability as being ''Hey Jim'', and possibly in September this different version of ''They Can't Keep Me From You''.

Luke McDaniel born in 1927 in Laurel, Mississippi recorded in 1952 on Trumpet and in 1954on King. Luke says about all this... ''in fact the first song that I ever cut was nothing but rock, called ''Whoa Boy'' (Trumpet 184) but we didn't call it rock, it was more of a blues... and this song ''Money Big Woman'' (King 1380) was what they called rockabilly...”. In September 1956, Luke McDaniel went into Sun to recorded ''Uh! Baby'' and ''Go Ahead Baby''. He recorded slow and fast cuts of each tune with slight changes in the sound. Both were equally as good!

Gene Simmons, one of Sun's best rockabilly artist, was born in Tupelo, Mississippi in 1933. He moved to Memphis in 1956 and worked shows with Clyde Leoppard in the Tri-State area. He recorded at Sun around March-April 1956, ''Blues At Midnight'', ''Drinkin' Scotch'', (original of ''Drinkin' Wine''), and ''Pop And Mama''. This material is a fabulous mixture of divisiveness hillbilly and blues sound!

Carl Perkins' late 1955 original ''You Can't Make Love To Somebody'' is top rockabilly recording, hillbilly, bop, boogie and blues too! In 1955, Charlie Feathers recorded some of the finest hillbilly-side's. Flip (503) and Sun (231). He left Sun and moved to Meteor where around May. 1956 he recut with Jody Chastain (bass) and Jerry Huffman (guitar), ''Tongue Tied Jill''/''Get With It'' (Meteor 5032), then in August 1956 he recorded '' Bottle To The Baby''/''One Hand Loose'' (King 4997). Before movin' over to Meteor, Feathers tried to recut ''Tongue Tied Jill'' at Sun and come to see Sam Phillips with it. Actually it's not the ''Tongue Tied Jill'' demo but that of ''Bottle To The Baby'' which sounds more like a Meteor demo. I've checked that Meteor sound with 78's and 45's of Charlie Feather sand Jess Hooper (Meteor 5025) where Charlie possibly plays the rhythm guitar. Checkin' all that out, the demo here includes Jerry and Jody in the background and sounds goin' back earlier to ''Tongued Tied Jill'' but more recent than the Jess Hooper from February 1956. If so, we have here the first rockabilly cut of the great Charlie Feathers. I'm not 100% sure it was recorded on Meteor. It could also have been recorded at Sun or elsewhere. Anyway, ''I pick the tune'' so we can ''get with it''!

*- Previously Unissued. **- Dub from mint 78 record. Sun vaults research, compilation and mastering, liner notes and cover design by Ding Dong.

Side 1 Contains
Blues At Midnight (Gene Simmons)*
Hey Slim (Jack Earls)*
Crawdad Hole (Jack Earls)*
Bottle To The Baby (Charlie Feathers)
Drinkin' Scotch (Gene Simmons)*
Pop And Mama (Gene Simmons)*
You Can't Make Love To Somebody (Carl Perkins)
Original Sun Recordings

Side 2 Contains
They Can't Keep Me From You (Jack Earls)*
A Fool For Lovin' You (Jack Earls)**
Hey Slim (Jack Earls)*
Uh! Baby (2) (Luke McDaniel)
Go Ahead Baby (2) (Luke McDaniel)*
Slow Down (Jack Earls) **
Sign On The Dotted Line (Jack Earls)*
Original Sun Recordings


 

1985 Charly Records (LP) 33rpm Sun LP 1022 mono
SONNY BURGESS & THE PACERS - WE WANNA BOOGIE

This is the hottest Sun album release ever and of course it contains the earliest recorded tracks of the fabulous Sonny Burgess and the Pacers! A native of Newport, Arkansas, Albert Sonny Burgess, born in 1931, was farming until his two year army hitch began at age 22. He left the farm to become a professional musician inspired by his great love of country music. He also developed a great interest in rhythm and blues music, having on rhythm and blues record collection datin' back to the late forties. It was in 1955 when Sonny on vocal and guitar, started a trio with pianist Kern Kennedy and drummer Russ Smith to play clubs in their hometown. Joined by Johnny Ray Hubbard (bas) they opened shows for Elvis at the famous ''Silver Moon Club'' in Arkansas under the name of The Moonlighters. Later the group completed by Joe Lewis (vocal and rhythm guitar) and Jack Nance (trumpet) appeared as a complete night club type band of the name ''The Pacers''. They decided when ''Presley came out'' that they also wanted to record on Sun. Driving the 85 miles from Newport to Memphis, The Pacers went to talk to Sam Phillips who wanted to hear them play their music first. Using some of the material from their club acts, The Pacers were ''kinda wild'' when performing five of their craziest tunes! Sam of course cut them with a lot of encouragement. It was their first recording session: May 2, 1956. Sonny's performances here of ''Wings Of An Angel'', ''We Wanna Boogie'' and ''Red Headed Woman'' were part of this unbelievable session that also produced the two Joe Lewis renditions ''Life's Too Short'' and ''Al Nite Long''. In October, ''Red Headed Woman''/''We Wanna Boogie'' (Sun 247) came on the market as their first single release. It is the wildest double sided single ever issued on Sun. Its master tape are presently missing from the Sun vaults. However, this album uses similar takes which are just a little bit wilder.

From separate sessions with little change in the sound, ''Daddy Blues'', ''You'', ''Fannie Brown'' and ''Goin'' Home'' seem to have been cut shortly after the first recording date. Meanwhile Sonny and The Pacers were workin' colleges and high school dances all over the Mid-South and didn't come back to Sun before January 1957.

The use of new equipment in the 1957 sessions without the trumpet changed their recorded sound as did the more country orientated material in their repertoire. From this last period which reflects this evolution, come Sonny's original ''Gone'' still strongly rhythm and blues influenced, the recut ''Goin' Home'' from January 13, and ''Ain't Got A Thing'' which was coupled with the nice country ballad ''Restless'' for their second single (Sun 263) issued on January 23.

With the exception of this last tune, all the tracks included here are savage rockers and proof positive: Those Arkansas Cats were the first and wildest to Boogie, Bop, Rock and Jive Sun until they turned it red hot!

Liner notes by Ding Dong

Marketed and Manufactured by Charly Records.

Side 1 Contains
Daddy Blues
Wings Of An Angel
Life's Too Short
All Nite Long
Red Headed Woman
We Wanna Boogie
Original Sun Recordings

Side 2 Contains
You
Fannie Brown
Goin' Home
Ain't Got A Thing
Gone
Goin' Home (2)
Restless
Original Sun Recordings


 

1985 Charly Records (LP) 33rpm Sun LP 1023 mono
VARIOUS ARTISTS - ROCK AND ROLL PILS

A mixed sex album of rocking sides from 1956 with the five guys mixing it with five chicks! A diehard lover of authentic rock and roll music, Ding Dong (real name Alain Pourquier) was France's leading rock and roll disc jockey in the early 1980s when he produced an acclaimed series of 10" albums for Charly Records compiled from recordings made for Sam Phillips's legendary Sun label. Ding Dong then launched into another series of 12" albums for Charly, following the same formula that had been so successful in the 10" series. This LP ''Rock And Roll Pills'' features Wade and Dick, Macy "Skip" Skipper, Jimmy Williams, Barbary Pittman, Carl McVoy, Jean Chapel, The Kirby Sister, and Maggie Sue Wimberly.

Phonographic Copyright (p) Charly Holdings Inc. Copyright Charly Records. Marketed and Manufactured Charly Records Ltd. Licensed from Charly Records International APS.

Side 1 Contains
Wild Woman (Wade & Dick)
Bop Pills (Macy Skipper)
Fire Engine Red (Jimmy Williams)
Sonny Boy (Jimmy Williams)
Watch That Stuff (Macy Skipper)
Sentimental Fool (Barbara Pittman)
Tootsie (Carl McVoy)
Original Sun Recordings

Side 2 Contains
Slow Rock And Roll (Macy Skipper)
I Won’t Be Rockin Tonight (Jean Chapel)
Red Velvet (The Kirby Sisters)
Welcome To The Club (Jean Chapel)
Rock And Roll Cinnamon Tree (Maggie Sue Wimberly)
Call Me Anything But Call Me (Maggie Sue Wimberly)
Voice Of A Fool (Barbara Pittman)
Original Sun Recordings


 

1985 Charly Records (LP) 33rpm Sun LP 1026 mono
VARIOUS ARTISTS - ROCKABILLY TUNES

The bulk of the recordings on this compilation were not originally released by Sun Records during its existence and several first appeared on ''Rockabilly Tunes''. Ken Cook's duet with Roy Orbison was originally issued on Phillips International in 1958 credited to Ken Cook. "Thinkin' Tonight Of My Blue Eyes" saw its first release on this album, as did Ray Harris's "Love Dumb Baby". The only song recorded on Sun containing the word "Rockabilly" was Hayden Thompson and Slim Rhodes's "Rockabilly Gal". Andy Anderson's "Johnny Valentine" and "Tough, Tough, Tough" saw their first release on this album and have since become iconic Sun recordings. Jimmy Wages did not have any of his Sun recordings issued until 1975. "Heartbreakin' Love" and "Take Me" were previously unissued, but their popularity was sufficient to bring Wages over to Britain to appear live. Tommy Ruick was another who never saw a release on Sun Records and his three sides on this album represent 75% of his Sun recordings. Narvel Felts, in common with a number of Sun artists, made the big time after leaving Sun, in his case in 1973. His recordings for the Memphis label remained unissued for some 20 odd years. Vintage photos of the artists and Ding Dong's detailed sleeve notes adorn the album.

Phonographic Copyright (P) Charly Holdings Inc. Copyright (c) Charly Records Ltd. marketed and Manufactured by Charly International APS.

Side 1 Contains
I Was A Fool (Roy Orbison)
Rockabilly Gal (Hayden Thompson)
Johnny Valentine (2) (Andy Anderson)
Tough Tough Tough (2) (Andy Anderson)
Love Dumb Baby (3) Ray Harris)
Heartbreakin' Love (Jimmy Wages)
Take Me (Jimmy Wages)
Original Sun Recordings

Side 2 Contains
Take Me Thinkin' Tonite Of My Blue Eyes (2) (Ken Cook)
Don't Come Crying (Tommy Ruick)
Prisoner Of The Blues (Tommy Ruick)
Let 'Em Now (Tommy Ruick)
Lonely River (Narvel Felts)
Foolish Toughts (Narvel Felts)
Lonesome Feeling (Narvel Felts)
Original Sun Recordings


 

1986 Charly Records (LP) 33rpm Sun LP 1035 mono
VARIOUS ARTISTS - SUNSET SPECIAL

A diehard lover of authentic rock and roll music, Ding Dong (real name Alain Pourquier) was France's leading rock and roll disc jockey in the early 1980s when he produced an acclaimed series of 10" albums for Charly Records compiled from recordings made for Sam Phillips' legendary Sun label.

Ding Dong then launched into another series of 12" albums for Charly, following the same formula that had been so successful in the 10" series. Mini biographies of most of the artists are included on the sleeve back, written by Ding Dong, are vintage photos of the featured artists appear on both sides of the sleeve. Several classic original Sun singles were included on this set: Dick Penner's ''Your Honey Love'', Rudy Grayzell's ''Judy'', Ray Smith's ''Right Behind You Baby'' and ''You Made A Hit''.

Previously unissued sides: Ray Smith's ''Why Why Why'' (alternate take) and ''Break Up'', Eddie Bond's ''Show Me'', ''Broke My Guitar'' and ''This Ole Heart Of Mine'', Roy Hall's ''Christine'', ''I Lost My Baby'' and ''Sweet Love On My Mind''.

Phonographic Copyright (P) Charly Holdings Inc. Copyright (c) Charly Records Ltd. marketed and Manufactured by Charly International APS.

Side 1 Contains
Your Honey Love (Dick Penner)
Willing And Ready (Ray Smith)
Judy (Rudy Grayzell)
Shake Around (Ray Smith)
You Made A Hit (Ray Snith)
Right Behind You Baby (Ray Smith)
Why, Why Why (Ray Snith)
Original Sun Recordings

Side 2 Contains
Show Me (Eddie Bond)
Broke My Guitar (Eddie Bond)
Break Up (Ray Smith)
This Old Heart Of Mine (Eddie Bond)
Christine (Roy Hall)
Sweet Love On My Mind (Roy Hall)
I Lost My Baby (Roy Hall)
Original Sun Recordings


 

1988 Charly Records (LP) 33rpm Sun LP 1036 mono
VARIOUS ARTISTS - MORE SUNDOWN ROCKERS

Compilation of 14 tracks by Kenny Parchman, Alton & Jimmy, Glenn Honeycutt, Ken Cook, Wanda Ballman, James Wood, and Roger Fakes.

The 14 tracks are recorded during the second part of the 1950's, this album is a little pop rock flavoured. However, none of the performances feature exaggerated pop singing with overdubbed backing vocals. The album is nicely main all along its two sides and will satisfy every rock and roll lover or other Sun fans.

The protege of Roy Orbison, Ken Cook is featured in his 1958 cut of ''I Was A Fool'' (PI 3534) which despite aural evidence is constantly confused with the one of Roy Orbison (Sun LP 1026) recorded one year earlier with unknown musicians including a double bass player. On the two different cuts, Roy and Ken sing in duet. Roy is the composer of "I Was A Fool'' as mentioned on the Phillips International label of Ken Cook's 45 release, although ''Problem Child", which he also recorded, is signed Phillips on his Sun LP 1960's release. Ken Cook's version of ''Problem Child'' comes from the earliest session which they had recorded together in March 29, April 2, 1957.

Bill Justis arranged the session of this unique cut of Roger Fakes. Fakes was born in Little Rock, Arkansas, and had moved to Memphis in the late 1940's. In the middle 1950's, he started a band called ''The Spinners" which soon later toured with the Bill Justis band playing on some local dances. Roger Fakes' ''Somehow We'll Find A Way'' is heard here in its previously unissued best take. That session took place on August 28, 1958 and featured Sid Manker and Billy Riley on guitars; Stan Kesler on bass; Jimmy Van Eaton on drums; and Charlie Rich on piano.

Born on a farm in Arkansas, the female singer and songwriter Wanda Ballman recorded this fine coupling of ballad country rockers that shows she had great vocal potential. It may be possible that Sam planned a release. Wanda's mother was singing and playing the guitar and was a good music teacher for the little Wanda who made her first radio appearance in Jonesboro, Arkansas, when aged only 13. Later, she married Charles Ballman, and Wanda moved to the West, and started to write songs and sing "mostly to entertain herself'. At first she sent her composition ''I'm Sorry, I'm Not Sorry'' to Sam Phillips before meeting Roy Acuff and sending him more of her songs to Acuff Rose Publication in Nashville. As a follow up to her success with Carl Perkins' release of ''I'm Sorry, I'm Not Sorry'' she had several of her compositions recorded by Kitty Wells, Loretta Lynn, Charley Pride and other country and gospel artists. She didn't work much as an entertainer but mode some TV and radio appearances. She continues to play and sing for church groups sometimes.

James Woods, probably backed by his own band, may have recorded these three unique tracks on an audition tape during 1958/1959. Nothing is actually known about him except for mentions made of his name on the tape box and of his Mississippian origins on the outtake listing. The listeners will find on this album that Alton and Jimmy's earliest recordings featured piano and saxophone playing in the back up. This material is as good as their unique release of Sun 323 recorded two months later in a more pop style.

Glenn Honeycutt's undubbed version of ''I'll Wait Forever'' is a great rock-a-ballad quite better without the backing vocals. ''Be Wise Don't Cry' which he recorded on December 22, 1956 was also probably destined to be overdubbed. Its track was isolated in a tape box credited to Glenn Honeycutt. It is not perfect but still quite acceptable.

The two titles of the incredible Kenny Parchman are recorded in a similar approach to his Jaxon versions. This second Sun cut of ''Treat Me Bight'' is once again different to the two others previously issued on Sun LP's 1025 and 1038. It fully justifies its release. There's s duet in the vocals on ''Don't You Know'' that shows Kenny was also part of those Sam Philip's duet projects aiming at a more pop market with performers of Hayden Thompson, Ken Cook and Roy Orbison all recorded in that some month of April 1957. '''on, You Know'' is the copyrighted Jaxon title which stayed unreleased on Sun and is still entitled ''What's The Reason'' on the Sun listing. Anyway, the best take of the Sun cut is also here previously unissued and we have this time good guitar playing' on it! These Sun session files detailed on this back cover do not agree at all with the ones recently 'fully' revised and published. These are the results of my personal analysis which I completed during my searches in the Sun vaults back in February and March 1983. Also these discographies do not make references to any record of substandard pressing.

- Ding Dong January 1988

Marketed and Manufactured by Charly Records.

Side 1 Contains
I Was A Fool (Ken Cook)
Why Do I Love You (Alton & Jimmy
I Just Don't Know (Alton & Jimmy)
Don't You Know (Kenny Parchman)
Treat Me Right (2) (Kenny Parchman)
Problem Child (Ken Cook)
I'll Wait Forever (Glenn Honeycutt)
Original Sun Recordings

Side 2 Contains
Heartbreak's Girl (Wanda Ballman)
Ain't Got A Worry On My Mind (Wanda Ballman)
Hey Mister Blues (James Wood)
Somehow We'll Find A Way (Roger Fakes)
Gonna Give A Party (James Wood)
Lock You In My Heart (James Wood)
Be Wise Don't Cry (Glenn Honeycutt)
Original Sun Recordings


 

1986 Charly Records (LP) 33rpm Sun LP 1042 mono
JERRY LEE LEWIS - WHOLE LOTTA SHAKIN' GOIN' ON

A diehard lover of authentic rock and roll music, Ding Dong (real name Alain Pourquier) was France's leading rock and roll disc jockeyin the early 1980s when he produced an acclaimed series of 10" albums for Charly Records compiled from recordings made for Sam Phillips' legendary Sun label. Ding Dong then launched into another series of 12" albums for Charly, following the same formula that had been so successful in the 10" series. The sleeve notes by Ding Dong give a vivid snapshot of Jerry Lee's activities during the period of the recordings on this album.

Marketed and Manufactured by Charly Records.

Side 1 Contains
You Are My Sunshine
Shame On You
I Don't Love Nobody
Whole Lotta Shakin' Goin' On
Drinkin' Wine Spo-Dee-O-Dee
When The Saints Go Marchin' In
It'll Be Me
Original Sun Recordings

Side 2 Contains
Deep Elem Blues
Singin' The Blues
Honey Hush
Lewis Boogie
You Win Again
Hand Me Down My Walkin' Cane
Old Time Religion
The Crawdad Song
Original Sun Recordings


 

1987 Charly Records (LP) 33rpm Sun LP 1045 mono
JERRY LEE LEWIS - KICKIN' UP A STORM

''Kickin' Up A Storm'', 15-track mono LP compilation of collectors sides from the Sun vaults, picture sleeve with extensive liner notes. The cover shows little of its years. LP compiled, mastered, design and liner notes by Ding Dong (real name Alain Pourquier). A7 track title printed on back cover: ''Hillbilly Fever''.

Manufactured by Charly Records Ltd. Marketed by Charly Records Ltd. Licensed from Charly Records International APS. Phonographic Copyright (P) Charly Holdings Inc. Copyright (c) Charly Records Ltd.

Side 1 Contains
Home
Little Queenie
Friday Night
Frankie And Johnny
Big Blon Baby
Livin' Up A Storm
Hillbilly Fever
I Could Never Be Ashamed Of You
Original Sun Recordings

Side 2 Contains
It All Depends
I'll Sail My Ship Alone
Bonnie B
As Long As I Live
Night Train To Memphis
Mexicali Rose
In The Mood (Instrumental)
Original Sun Recordings


 

1988 Charly Records (LP) 33rpm Sun LP 1046 mono
CARL PERKINS - PUT YOUR CAT CLOTHES ON

Carl Perkins was the first artist to score a Top 10 rockabilly hit in the States. The first artist to chart in the pop, rhythm and blues, and country charts with the same record ''Blue Suede Shoes'' in 1956. Major pioneer of rockabilly and rock n' roll whose guitar playing was an integral part of his success and who inspired George Harrison, Eric Clapton, Dave Edmunds, and countless other aspiring guitarists. A car crash on the way to New York to appear on the Perry Como Show, robbed Carl of national exposure and laid him up in hospital with multiple injuries when he should have been cashing in on the success of "Blue Suede Shoes". A successful song writer (he penned eight of the tracks on this release), he also wrote hits for the likes of Johnny Cash, Patsy Cline, and The Judds.

This release contains a previously unissued version of "Sweethearts Or Strangers". "Matchbox" is one of several of Carl's songs covered by the Beatles. "Put Your Cat Clothes On", a classic Perkins track that wasn't released until the 1970s, was covered by Brian Setzer of The Stray Cats. These sides, all recorded in 1957, highlight Carl at his finest, be it on country numbers like "Your True Love" or downhome rockers like "Dixie Fried" and "That's Right". Carl subsequently moved to Columbia Records but never quite recaptured the magic of his timeless Sun recordings. This Sun LP ''Put Your Cat Clothes On'' was compiled by France's leading disc jockey in the early 1980s, Ding Dong (real name Alain Pourquier).

Licensed from Licensemusic.com APS. Marketed and Distribution by Cargo Records Germany GmbH. Phonographic Copyright (p) Charly Acquisitions Ltd. Copyright (c) Charly Acquisitions Ltd. Remastered at Metropolis Mastering.

Side 1 Contains
Sweethearts Or Strangers
You Can Do No Wrong
Caldonia
Roll Over Beethoven
Matchbox
Put Your Cat Clothes On
Original Sun Recordings

Side 2 Contains
Your True Love
Her Love Rubbed Off
Pink Pedal Pushers
That's Right
Look At That Moon
Glad All Over
Lend Me Your Comb
Original Sun Recording


 

1988 Charly Records (LP) 33rpm Sun LP 1047 mono
JOHNNY CASH - ROCK ISLAND LINE

France's leading disc jockey in the early 1980s, Ding Dong (real name Alain Pourquier) puts together a selection of recordings from Johnny Cash. The sleeve artwork features a host of vintage photos of Johnny Cash in his prime. Remastered from the original tapes, pressed on 180 gram vinyl and housed in old style tip-on cover. The sleeve artwork features a host of vintage photos of Johnny Cash in his prime.

Second only to Elvis Presley as the greatest star to emerge from Sun Records, Johnny Cash has become an true icon of American music. One of the first country artists to regularly cross over into the mainstream pop charts, Johnny Cash established his own unique minimalistic sound that was instantly recognisable. Backed by Luther Perkins on lead guitar and Marshall Grant on bass, Cash's sound was initially determined by the bands technical limitations. Between 1955 and 1961 he gave the Sun label thirteen national hits that included ''Next In Line'', ''Home Of The Blues'', ''Oh! Lonesome Me'', ''Straight As In Love'', ''Come In Stranger'' and ''Katy Too'', all featured in this superb collection. Additionally he scored twenty-four country hits, making him the most consistently successful Sun artist of all time. Although going on to record prolifically for Columbia, Mercury and American, his body of work cut for Sun Records of Memphis, Tennessee are held by many of his fans to be his finest recordings. Tracks recorded in 1957 and 1958.

Licensed from Sun Record Company. Marketed and distrubution by Cargo Records. Phonographic Copyright (p) Charly Records Ltd.

Side 1 Contains
Belshazar
If The Good Lord's Willing
The Wreck Of The Old '97
You Tell Me
Oh! Lonesome Me
Big River
Doin' My Time
Rock Island Line
Original Sun Recordings

Side 2 Contains
Home Of The Blues
Straight A's In Love
Come In Stranger
Blue Train
Next In Line
Hey Good Lookin'
Life Goes On
Katy Too
Original Sun Recordings


 

1989 Charly Records (LP) 33rpm Sun LP 1050 mono
ROY ORBISON & THE TEEN KINGS

After recording on the Je-Wel label in Texas, Roy Orbison and his band The Teen Kings came to Memphis in the spring of 1956. Orbison continued recording for Sun through to 1958, but he couldn't replicate the success of his first release "Ooby Dooby", which reached the lower half of the Hot 100 and selling over 350,000 copies. After leaving Sun, Roy signed with RCA but met with no commercial success until he moved to Fred Foster's Monument label, and struck gold with "Only The Lonely", backed by "Go Go Go". Between 1960-1965 he notched up 21 hits before switching to MGM and scoring seven more hits in the next two years. He topped the United Kingdom charts three times and charted 33 times. Roy came back to international prominence as a member of The Travelling Wilburys before resuming his solo recording career on Virgin. He returned to the charts after a gap of 20 years in 1989 and charted six times up until 1993, despite his premature death in 1988.

This album contains the original undubbed versions of "Tryin' To Get To You", "Problem Child", "You're Gonna Cry", "Mean Little Mama", and "This Kind Of Love". It also contains the first recording of "I Was A Fool" that features Roy and Hayden Thompson on vocals. The version of "Problem Child" included here is without sax overdub. Compiled by France's leading disc jockey in the early 1980s, Ding Dong (real name Alain Pourquier).

Side 1 Contains
Domino
Ooby Dooby
Go!Go!Go!
Rock House
You're My Baby
Tryin' To Get To You
The Cause of It All
Original Sun Recordings

Side 2 Contains
I Was A Fool
Problem Child
You're Gonna Cry
Mean Little Mama
This Kind of Love
I Like Love
Chicken Hearted
Original Sun Recordings