CONTAINS

PI 3561-3570 Audio Series 

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

 
Danny Stewart
"SOMEWHERE ALONG THE LINE" - B.M.I. - 2:43
Composer: - Don Padgett
Publisher: - Knox Music Limited - Copyright Control
Matrix Number: - P 388
Recorded: - Probably January 6, 1958
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - August 1960
First appearance: - Phillips International (S) 45rpm standard single PI 3561-A mono
SOMEWHERE ALONG THE LINE / I'LL CHANGE MY WAYS
Reissued: - 1999 Bear Family Records (CD) 500/200rpm BCD 15806 DI-2-23 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Danny Stewart - Vocal
Roland Janes - Guitar
Scotty Moore - Bass
Lee Cornello - Drums
James Terry - Piano
Charlie Rich - Piano
 
Baby-faced Danny K. Stewart, from Jackson, Tennessee, got his initial look in at 706 Union after Bill Justis spotted his band working the Memphis clubs behind Sun artist, Dickey Lee. In terms of influences it would be fair to say that Elvis figured big in Stewart's life, a fact borne out by the vocal mannerisms on his "Somewhere Along The Line". After a spell working in TV and radio he set up a highly lucrative real estate business, selling property in Shelby County.  (HD)

 
Danny Stewart
"I'LL CHANGE MY WAYS" - B.M.I. - 2:18
Composer: - Danny Stewart
Publisher: - Hi-Lo Music Incorporated
Matrix number: - P 389
Recorded: - Probably January 6, 1958
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - August 1960
First appearance: - Phillips International (S) 45rpm standard single PI 3561-B mono
I'LL CHANGE MY WAYS / SOMEWHERE ALONG THE LINE
Reissued: - 1999 Bear Family Records (CD) 500/200rpm BCD 15806 DI-2-24 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Danny Stewart - Vocal
Roland Janes - Guitar
Scotty Moore - Bass
Lee Cornello - Drums
James Terry - Piano
Bill Justis - Tenor Saxophone
Vernon Drane - Tenor Saxophone
Nelson Grill - Saxophone
Charlie Rich - Piano
 
"Somewhere Along The Line" sounds more like swamp pop than typical Memphis fare. On the flip-side "I'll Change My Ways", all that we're missing is the "Hold it fellas, that don't move me. Let's get real real gone for a change" line. The resemblance to vintage Elvis stops there, however, as this tune might have appeared in a film like "King Creole".  (HD)


Charlie Rich
''ON MY KNEES'' - B.M.I. - 2:29
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - P 390
Recorded: - August 4, 1960
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - September 7, 1960
First appearance: - Phillips International (S) 45rpm standard single PI 3562-A mono
ON MY KNEES / STAY
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-2 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Charlie Rich – Vocal & Piano
Sidney Manker – Guitar
Billy Riley – Bass
Jimmy M. Van Eaton – Drums
Martin Willis – Tenor Saxophone
 
''On My Knees'' reflects a Latin style that Rich flirted with several times in unissued material at Sun. He also re-recorded the song as a duet with Janie Fricke at the end of his Epic glory days in 1978. The irony is that next to his early unissued rock and roll demos. ''On My Knees'' is about as lyrically trite as Rich ever got as a songwriter, yet the record works quite well in its lilting, melodic way. (HD)

 
Charlie Rich
"STAY" - B.M.I. - 2:53
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - P 391 - Master
Recorded: - Unknown Date
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
and/of Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - September 7, 1960
First appearance: - Phillips International (S) 45rpm PI 3562-B mono
STAY / ON MY KNEES
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-1 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Charlie Rich - Vocal & Piano
Unknown Musicians
 
Gene Lowery Singers consisting of
Edwin Bruce, Sara Bruce, Nita Smith,
Lee Holt, Vocal Harmony
 
"Stay" was a beautiful country ballad, amazingly undoctored by the post production crew. The restraint that must have underlies this release truly ranks as one of Sun's finest hours. ("Oh, Sam, just let me put some strings and voices on there. I know I can sweeten this thing up like a dream. We'll really cross over with Charlie this time. You're gonna need strings on there to sell it. Its too bare this way"). But cooler heads prevailed. At least they kept the strings and voices away. What they didn't control was the echo. Its hard to know exactly what went wrong here, but this has got to be the most variable echo on any Sun release. Parts of Rich's performance (like the opening lines) are so swamped with echo that they are all but unintelligible. On the other hand, the release ("Many mistakes...") are virtually dry, revealing how truly wonderful this side might have been. (MH)(HD)(CE)

 
Brad Suggs
''MY GYPSY'' - B.M.I. - 2:49
Composer: - Brad Suggs
Publisher: - Knox Music Incorporated
Matrix number: - P 392
Recorded: - Unknown Date February 1960
Sam Phillips Recording Studio
319 Seventh Avenue North, Nashville, Tennessee
Released: - October 13, 1960
First appearance: - Phillips International (S) 45rpm standard single PI 3563-A mono
MY GYPSY / SAM'S TUNE
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-4 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Brad Suggs – Guitar
Memphis Symphony – Strings
Unknown Female Voices
More Details Unknown
 
Suggs' music continues to surprise us. What can one say about ''My Gypsy'', an utterly strange and lush record? ''I wrote that tune because I love fiddle music. I used to sit and listen to Sonny James play the violin and he used to remind me of a gypsy. That melody stayed in my head for years. I wanted to try to play a fiddle melody on the guitar. That's what this record was about. The musicians we used on there were from the Memphis Symphony. I wish we had been able to record it in Nashville. I think we could have gotten a really great record on it''.  In truth, the final results sound very much like an instrumental backing track that has mysteriously lost its vocal. Certainly, this is not a bad record, and it might even have entered the charts as a left-field item back in 1960. It's just that collectors who've come along for a digital copy of ''Sadie's Back In Town'' are going to have a tough time with this one. According to the session logs, these two titles were recorded in February, 1960. Somebody (probably Suggs, himself) wasn't satisfied and the lads were back in the studio on July 20th re-recording the same tunes. Curiously, though, it was the earlier versions that were selected for overdubbing (in August) and released in October. (HD)

 
Brad Suggs
"SAM'S TUNE" - B.M.I. - 2:01
Composer: - Brad Suggs
Publisher: - Hi-Lo Music Incorporated
Matrix number: - P 393
Recorded: - Unknown Date February 1960
Sam Phillips Recording Studio
319 Seventh Avenue North, Nashville, Tennessee
Released: - October 13, 1960
First appearance: - Phillips International (S) 45rpm PI 3563-B mono
SAM'S TUNE / MY GYPSY
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-3 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Brad Suggs – Guitar
Memphis Symphony Orchestra
Unknown Female Voices
More Details Unknown
 
Brad Suggs just keeps paying homage to his employer and his place of work (''Sam never seemed to mind it'', Suggs recalls). First it was ''706 Union'' (Phillips International 3545). This time out, it's ''Sam's Tune'', dedicated to our esteemed label owner. Although it's a catchy little ditty in a singalong kind of way, this one  seems to have no more relevance to its source than ''706 Union'' did. Suggs recalls performing the lyrics with Sonny Haley and Jackie Boy Pennington, although there seems to be a pretty dominant female voice in the mix as well. (HD)

 
Carl Mann
''THE WAYWARD WIND" - B.M.I. - 2:15
Composer: - Herb Newman-Stan Lebowsky
Publisher: - Warman Music
Matrix number: - P 394
Recorded: - October 16, 1959
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - October 1960
First appearance: - Phillips International (S) 45rpm standard single PI 3564-A mono
THE WAYWARD WIND / BORN TO BE BAD
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-5 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Carl Mann - Vocal and Piano
Eddie Bush - Guitar
Robert Oatsvall - Bass
W.S. ''Fluke'' Holland - Drums
 
Overdubbed Session Unknown Date, Memphis, Tennessee
Gene Lowery - Leader and Vocal
A. Davis - Vocal
B. Gross- Vocal
D. Horton - Vocal
P. Jacobs - Vocal
C. Walker - Vocal
P. Walker - Vocal
Joan Gilbert - Violin
Noel Gilbert - Violin
Nino Ravarino - Violin
 
You simply need to listen to these two sides of "The Wayward Wind", as they were originally recorded. There is no way to estimate the damage done here in the name of "sweetening". We may not quite be working in the range of mainting a mustache on the "Mona Lisa", but there is no doubt that a lot has been lost here with the addition of strings, voices and echo. The overwrought productions that hit the marketplace are not a true measure of Mann's ability. More to the point, somebody named Charles Underwood, Scotty Moore, or Ernie Barton has a lot to answer for, even if they were only following orders or following trends.
 
It seems the effects were actually more devastating to "Wayward Wind", Gogi Grant's pop hit from 1956.  Carl's version was recorded in October 1959 and the group was well rehearsed and tightly recorded here on 706 Union. You'll to take that on faith since there is hardly a shred of evidence of these virtues on the issued single. (HD)

 
Carl Mann
"BORN TO BE BAD" - B.M.I. - 3:36
Composer: - Carl Belew
Publisher: - Four Star
Matrix number: - P 395
Recorded: - August 3, 4, 1960
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - October 1960
First appearance: - Phillips International (S) 45rpm Standard single PI 3564-B mono
BORN TO BE BAD / WAYWARD WIND
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15713 DI-1-18 mono digital
CARL MANN - MONA LISA
 
Name (Or. No. Of Instruments)
Carl Mann - Vocal & Piano
Eddie Bush - Guitar
R.W. ''Willie'' Stevenson - Bass
Jimmy M. Van Eaton - Drums
Charlie Rich - Piano
 
Unknown Date Overdubbed Session
Scotty Moore - Leader
Joan Gilbert - Violin
Noel Gilbert - Violin
Nino Ravarino - Violin
 
The only song from this session to see light of day was ''Born To Be Bad''. Scotty Moore, in his new role of production manager, took the basic track and embalmed it in strings and coupled it for release with ''Wayward Wind''. Heard here without the sweetening, ''Born To Be Bad'' still won't rank as anyone's favourite Carl Mann track, but it was an undeniably strong choice for a single release in the early 1960s. It had a powerful rhythmic hook which was quite in keeping with the banalities of pop music circa 1961, but it sold poorly – fewer than 5000 copies during its first months on the market. That alone was a bad portent for 1961.   (MH)(HD)(CE)

 
Jimmy Louis
"GONE AND LEFT ME BLUES" - B.M.I. - 2:25
Composer: - Ray Scott
Publisher: - No Jo Publisher Corporation
Matrix number: - E 101
Recorded: - Unknown Date Summer 1960
Sonic Recording Studio
1692 Madison Avenue, Memphis, Tennessee
Released: - November 11, 1960
First appearance: - Phillips International (S) 45rpm standard single PI 3565-A mono
GONE AND LEFT ME BLUES / YOUR FOOL
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-7 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Jimmy Louis - Vocal
Probably Roland Janes - Guitar
Billy Riley - Bass
Stan Kesler - Steel Guitar
Jimmy M. Van Eaton - Drums
 
The information surrounding these sides is a tad sketchy although it is clear they were probably not recorded at Sun. The most likely scenario is that Louis initially leased them to Billy Riley's Nita Records, where assigned a release number as Nita 128. How, why, or when they were transferred to Phillips International remains unclear. Jimmy Louis was a disc jockey and a performer on live radio show. He, Ray Arlington, and Lewis Smith (the composer of Jerry Lee's "Baby, Baby Bye Bye") had a live music show on KWEM, West Memphis, Arkansas, and recorded around Memphis between 1957 and 1960. "We took these songs to a guy who had a studio", is all that Smith remembers. Beyond that, information is scant. (HD)

 
Jimmy Louis
"YOUR FOOL" - B.M.I. - 2:05
Composer: - Ray Arlington-Lewis Smith
Publisher: - Jack Music Incorporated
Matrix number: - E 100
Recorded: - Unknown Date Summer 1960
Sonic Recording Studio
1692 Madison Avenue, Memphis, Tennessee
Released: - November 11, 1960
First appearance: - Phillips International (S) 45rpm standard single PI 3565-B mono
YOUR FOOL / GONE AND LEFT ME BLUES
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-8 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Jimmy Louis - Vocal
Probably Roland Janes - Guitar
Billy Riley - Bass
Stan Kesler - Steel Guitar
Jimmy M. Van Eaton - Drums
 
''Gone And Left Me Blues'' is a fairly pedestrian country tune that was unlikely to garner much attention from record company owners or buyers. ''Your Fool'' is another matter. It's a highly contagious gospelstyled tune with traces of both the white and black churches.  (HD)

 
Charlie Rich
''WHO WILL THE NEXT FOOL BE'' – B.M.I. - 2:22
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - P 396
Recorded: - February 11, 1961
Sam Phillips Recording Studio
319 Seventh Avenue North, Nashville, Tennessee
Released: - February 24, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3566-A mono
WHO WILL THE NEXT FOOL BE / CAUGHT IN THE MIDDLE
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-9 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Charlie Rich - Vocal & Piano
Kelton D. Kelso Herston - Guitar
Hank Garland - Guitar
Buddy Harmon - Drums
Jerry Tutle - Organ
Unknown - Saxophone
Unknown - Chorus & Strings
 
Many believe that ''Who Will The Next Foll Be'' is Charlie Rich's masterpiece at Sun. Certainly, it helped solidify his reputation as one of the finest white soul singers ever to grace a studio. The fact that he also wrote and played piano on the track didn't hurt matters either. And knowing that Bobby Blue Bland went right out and covered Rich's record hasn't done much to diminish Charlie's reputation. Interestingly, Bland was not simply covering the song for the black stations and stores.  Rich was already getting attention there. A lot of black buyers had no idea that Charlie Rich was a white man. Indeed, Charlie's best music really transcend race and category. All of which makes it hard to imagine that a man capable of such passion and soul could record the dreck he produced late in his career. (HD)

 
Charlie Rich
''CAUGHT IN THE MIDDLE'' – B.M.I. - 2:30
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - P 397
Recorded: - February 11, 1961
Sam Phillips Recording Studio
319 Seventh Avenue North, Nashville, Tennessee
Released: - February 24, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3566-B mono
CAUGHT IN THE MIDDLE / WHO WILL THE NEXT FOOL BE
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-10 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Charlie Rich - Vocal & Piano
Kelton D. Kelso Herston - Guitar
Hank Garland - Guitar
Buddy Harmon - Drums
Jerry Tutle - Organ
Unknown - Saxophone
Unknown - Chorus & Strings
 
It is unclear whether Rich recorded these sides in Nashville or whether the Madison Avenue studio in Memphis was in the process of being tamed. Both logic and aural evidence suggests that Nashville was the birthplace. This flipside, ''Caught In The Middle'', is again a well constructed song and beautiful performance. The criticism most often levelled at this track is that the arrangement is a bit too cutesy. Musically, Rich is again on his game. The little 4-bar piano break is a gem and the key modulation at the end is deftly handled. (HD)

 
Jeb Stuart
"DREAM" - A.S.C.A.P. - 2:44
Composer: - Johnny Mercer
Publisher: - Michael H. Goldsen Incorporated
Matrix number: - P 398
Recorded: - Probably Late 1959
Probably Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
and/or Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - April 28, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3567-A mono
DREAM / COMING DOWN WITH THE BLUES
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-12 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Jeb Stuart - Vocal
More Details Unknown
 
"Dream" is likewise a fine piece of nascent soul, again revealing the commercial held by Stuart. A minor quible: this side would have been a lot more impressive if someone on the date had figured out the correct chords to the song, instead of constructing a new melody to fit the chords they did know. A lot of people from Etta James to Vaughn Monroe, from Dinah Washington to the Four Aces had recorded this Johnny Mercer tune and they all managed to get the chords right. Stuart's recitation is really effective, although somewhat unusual stylistically for the era. (HD)(CE)

 
Jeb Stuart
"COMING DOWN WITH THE BLUES" - B.M.I. - 2:06
Composer: - Don Covay-Frank Berry
Publisher: - Roosevelt Music
Matrix number: - P 399 - Promotion Copy
Recorded: - Probably Late 1959
Probably Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
and/or Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - April 28, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3567-B mono
COMING DOWN WITH THE BLUES / DREAM
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-11 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Jeb Stuart - Vocal
More Details Unknown
 
"Coming Down With The Blues" is a very effective piece of early 1960s soul music that appears somewhat anomalous in the Phillips International release schedule. The song was written by Don Covay and his partner from the Rainbows, Frank Berry. Covay was the first to record it (as "I'm Coming Down With The Blues") for Big Top Records. Note its somewhat curious structure: three verses, no release. Stuart was really a very good vocalist who would have probably paid dividends if he had been well recorded and promoted. His vocal here could have been the blueprint for an early 1960s Presley record. This title is part of an interesting sub-genre of songs based on the "blues as disease" metaphor. earlier examples include Carl Perkins' "Boppin' The Blues", Huey Smith's "Rockin' Pneumonia And The Boogie Woogie Flu" and, at a stretch, venerable old Dr. Isiah Ross's "Boogie Disease". (HD)(CE)

 
Nelson Ray
"YOU'RE EVERYTHING" - B.M.I. - 2:09
Composer: - Jack Toombs
Publisher: - Sure Fire Music Corporation
Matrix number: - P 400 - Promotion Copy
Recorded: - Unknown Date 1961
Unknown Studio Location
Released: - April 28, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3568-A mono
YOU'RE EVERYTHING / YOU'VE COME HOME
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-13 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Nelson Ray - Vocal
More Details Unknown 
 
Nelson Ray represents another question mark on the Phillips International roster. Once again, it's a cinch these sides were not recorded in a Memphis Sun studio and their source and personnel remain a mystery. The ballad ''You're Everything'' mines the country crossover territory worked to perfection by Jim Reeves. In fact the opening bars suggest that Ray is about to sing ''Put your sweet lips a little closer to the phone''. (HD)

 
Nelson Ray
"YOU'VE COME HOME" – B.M.I. - 2:29
Composer: - Nelson Ray
Publisher: - Hi-Lo Music Incorporated
Matrix number: - P 401 Promotion Copy
Recorded: - Unknown Date 1961
Unknown Studio Location
Released: - April 28, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3568-B mono
YOU'VE COME HOME / YOU'RE EVERYTHING
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-14 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Nelson Ray - Vocal
More Details Unknown
 
The flip-side was probably the reason these sides were imported to Phillips International. ''You've Come Home'' features a strong Floyd Cramer sounding piano and a muted string guitar solo that might have come directly from Don Gibson's ''Oh Lonesome Me''.  The song's brief release borrows the chords directly from ''The Ways Of A Woman In Love'' has a mighty powerful hook. The title phrase, brief as it is, is stretched into four notes and repeated melodically and effectively to the point where this song could have had some serious impact with only a modicum of air play. Unfortunately few disc jockeys in April 1961 agreed with that assessment. (HD)

 
Carl Mann
"IF I COULD CHANGE YOU" - B.M.I. - 3:09
Composer: - Carl Mann-Kelso Herston
Publisher: - Knox Music Incorporated
Matrix number: - P 402 - Master
Recorded: - June 13, 1961
Sam Phillips Recording Studio
319 Seventh Avenue North, Nashville, Tennessee
Released: - July 1961
Firs appearance: - Phillips International (S) 45rpm standard single PI 3569-A mono
IF I COULD CHANGE YOU / I AIN'T GOT NO HOME
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-16 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Carl Mann - Vocal, Piano and Guitar
Eddie Bush - Guitar
Kelton Kelso Herston - Guitar
Bob Moore - Bass
Murray Buddy Harmon - Drums
Hargus M. ''Pig'' Robbins - Piano
 
Anita Kerr Singers consisting of
Anita Kerr, Dottie Dillard, Gil Writh, and Louis Nunley- Vocal Chorus
 
''If I Could Change You'' is a really beautiful country song, written by Carl and Eddie Bush. Unfortunately, Bush was broke as usual and managed to sell his rights to picker Kelso Herston. Business transactions of this nature were hardly new to Nashville. Just ask Willie Nelson. There is a vaguely Faron Young-ish quality to Mann's voice on this track but the biggest news for his fans is that there was nothing formulaic about either side of this record. For the first time Carl Mann was free to make his own music.
 
Finally, listen to the quality of these recording, made at Phillips' Nashville studio, compared with the untamed spaciness that still characterized Madison Avenue. It was comparisons like this that ultimately help to Sam Phillips to bite the bullet and bring in technical help to correct the acoustic problems at his Memphis  studio. (HD)

 
Carl Mann
"AIN'T GOT NO HOME'' - B.M.I. - 2:46
Composer: - Clarence Frogman Henry
Publisher: - Folkways Music
Matrix number: - P 403
Recorded: - June 13, 1961
Sam Phillips Recording Studio
319 Seventh Avenue North, Nashville, Tennessee
Released: - July 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3569-B mono
AIN'T GOT NO HOME / IF I COULD CHANGE YOU
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-15 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Carl Mann - Vocal, Piano and Guitar
Eddie Bush - Guitar
Kelton Kelso Herston - Guitar
Bob Moore - Bass
Murray Buddy Harmon - Drums
Hargus M. ''Pig'' Robbins - Piano
 
This Carl Mann record, his next-toast for Phillips, is worth special attention for several reasons. First, most listeners will notice that this is not the version of ''I Ain't Got No Home'' they are used to hearing Carl first recorded the song in October 1959 and it appeared on his original LP. The song had long been part of his stage repertoire and someone decided it might not be a bad idea to put it out as a single. What the hell, nothing else seemed to be selling. However, instead of releasing the album track, Carl journeyed east to Nashville to re-cut the song in the new Phillips studio. This time Carl left his trusty sideman home and used Nashville's finest pickers and grinners (Kelso Herston, Bob Moore, Buddy Harmon, Pig Robbins).
 
The session log from June, 1961 does not list Eddie Bush, but it's hard to believe that it's anybody but Bush on there. Bush was a transient (some would argue vagrant comes closer to truth) and it is unlikely he was a member of any musician union. It was one thing to bury that omission in Memphis; quite another in Nashville. And so the re-cut version of ''Home'' made its way on to the single. Most Sun collectors have long ago concluded that it is inferior to the original album cut although there is some undeniable energy here. Do you get the feeling that the band should have talked through the ending before starting to record this track? (HD)

 
Jean Dee
"MY GREATEST HURT" - B.M.I. - 2:35
Composer: - Denning
Publisher: - Four Star
Matrix number: - P 404
Recorded: - Unknown Date 1961
Unknown Studio Location
First appearance: - Phillips International (S) 45rpm standard single PI 3570-A mono
MY GREATES HURT / NOTHING DOWN (99 YEARS TO PAY)
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-18 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Jean Dee – Vocal
Unknown Vocal Chorus
More Details Unknown
 
''My Greatest Hurt'' is where the money was spent. We've got the same bass and drums here for sure, but what a difference a well-recorded chorus makes. Compare the impact of this restrained chorus with the usual wretched excess of choral overdubs in Memphis. Sometimes less is more – a sentiment that rarely dawned on the Gene Lowery Singers. Jean Dee went on to record for King in 1963 but seems to have left few traces thereafter. (HD)

 
Jean Dee
''NOTHING DOWN (99 YEARS TO PAY)'' - B.M.I. - 2:22
Composer: - Wolfe
Publisher: - Peer Music
Matrix number: - P 405
Recorded: - Unknown Date 1961
Unknown Studio Location
Released: - July 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3570-B mono
NOTHING DOWN (99 YEARS TO PAY) / MY GREATEST HURT
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-17 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Jean Dee – Vocal
Unknown Vocal Chorus
More Details Unknown
 
Doing business in Nashville meant that Sam Phillips would be exposed to more and more offers of product for lease than he would ever hear holed up with his buddies in Memphis. And so, we are one again faced with a mystery. Who is Jean Dee and where do these sides, released in July, 1961, come from? You'd have to go all the way back to June, 1956 to find a similar case. At that time, Jean Chapel, another very bluesy white lady, had her spartan Nashville-recorded sides brought in for release on Sun.
 
''Nothing Down'' is a surprisingly gritty song for a white gal, circa 1961. Even the recording is curiously unadorned – the piano is barely audible in the mix. Basically, this is a vocal/drums/electric bass date. There is a passing resemblance to ''Heartbreak Hotel'', although by comparison that arrangement seemed quite full! (HD)

  

© - 706 UNION AVENUE SESSIONS - ©