CONTAINS

Sun 221-230 Series
 
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Johnny Cash & The Tennessee Two
"CRY, CRY, CRY" - B.M.I. - 2:24
Composer: - Johnny Cash
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 151 - Take 4
Recorded: - Probably May 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - June 21, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 221-A mono
CRY! CRY! CRY! / HEY! PORTER
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-5 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Reached at number 14 on the Billboard's Country and Western charts.
 
Name (Or. No. Of Instruments)
Johnny Cash - Vocal and Guitar
Luther Perkins - Guitar
Marshall Grant - Bass

This is, of course, a landmark recording: Johnny Cash's first record for Sun, issued in June, 1955. If nothing else, it reveals that the essential of Cash's style were fixed by the time he set foot in Sam Phillips' tiny studio. It also shows that Phillips had a clear idea of how to record Cash from the first - a spartan style that would remain virtually unchanged through Cash's first half a dozen singles.

''Cry Cry Cry'' was based on a signature line used by Memphis disc jockey Eddie Hill: ''We're gonna bawl, squall and climb the wall''. In Cash's hands, this became ''You're gonna bawl, bawl, bawl''. Before it was recorded, however, the song took a more somber tone, as bawling evolved into crying.

''Cry Cry Cry'' charted locally and spent one week on the national country charts in November 1955. That was message enough for Sam Phillips. cash was clearly an artist worth investing in. Within two months, he would join the Louisiana Hayride and see the release of his second Sun single. (HD)

 
Johnny Cash & The Tennessee Two
"HEY PORTER" - B.M.I. - 2:11
Composer: - Johnny Cash
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 150 - Take 4
Recorded: - March 22, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - June 21, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 221-B mono
HEY PORTER / CRY! CRY! CRY
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-6 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Johnny Cash - Vocal and Guitar
Luther Perkins - Guitar
Marshall Grant - Bass

Johnny Cash wrote the song while on his way home from a four year stint in the United States Air Force. He  was stationed in Landsberg, Germany, and as such felt elated to be returning to his native South. The song is  available on many compilations, such as ''The Complete Sun Singles Collection'', ''The Essential Johnny  Cash'', ''Ring Of Fire: The Legend of Johnny Cash Volume Two'', ''The Legend''. The song "Hey Porter" was  covered by Ry Cooder in 1972 on his second album ''Into the Purple Valley''. (HD)

 
The Five Tinos
"DON'T DO THAT" - B.M.I. - 2:27
Composer: - Five Tinos
Publisher: - Hi-Lo Music Incorporated - Knox Music Limited
Matrix number: - U 148
Recorded: - May 26, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - June 21, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 222-A mono
DON'T DO THAT / SITTIN' BY THE WINDOW
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-7 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
The Five Tinos consisting of
Luchrie Jordan - Vocal
Melvin Walker - Vocal
Marvin Walker - Vocal
Haywood Hebron - Vocal
Melvin Jones - Vocal

Phineas "Calvin" Newborn Jr. - Guitar
Phineas Newborn Sr. - Drums
Jewell Briscoe - Tenor Sax
Moses Reed - Tenor Sax
Robert Garner - Piano
Kenneth Banks – Drums

The Tinos recorded a total of eight tracks for Sun, two of which were released on Sun 222. ''Don't Do That'' features a cutesy, ersatz sexy vocal, mambo rhythm and double length honking sax solo. If this record had been issued at the follow-up to the Turbans' ''When You Dance'', on the Herald label from New York. not on eyebrow would have been raised. In short, this was neither typical Memphis nor typical Sun fare. Its appearance in the fall of 1955 in the same batch of releases that included Elvis's ''Mystery Train'', came at a transitional time in Sun Records' history. The blues were on the wane evolving and the presence of sideburned hybrid music was becoming a greater factor with each passing day. (HD)

 
The Five Tinos
"SITTING BY MY WINDOW" - B.M.I. - 3:24
Composer: - Five Tinos
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 149
Recorded: - May 26, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - June 21, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 222-B mono
SITTIN' BY MY WINDOW / DON'T DO THAT
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-8 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
The Five Tinos consisting of
Luchrie Jordan - Vocal
Melvin Walker - Vocal
Marvin Walker - Vocal
Haywood Hebron - Vocal
Melvin Jones - Vocal

Phineas "Calvin" Newborn Jr. - Guitar
Phineas Newborn Sr. - Drums
Jewell Briscoe - Tenor Sax
Moses Reed - Tenor Sax
Robert Garner - Piano
Kenneth Banks – Drums

The Tinos' weaknesses come into sharper focus on the slower tempo. The lead vocal isn't sufficiently commanding and the harmonies aren't as seamless as the idiom demands. In its depiction of idealized love, ''Sitting By My Window'' was conventional doo-wop, but if it had been on a conventional doo-wop label, it would be viewed as a lesser entry. On Sun, it's an anomaly. The backing group was led by the father-and-son team of Phineas and Calvin Newborn. By 1955, Phinea, Jr. was making a name for himself in New York; replacing him on piano was another Memphis legend, Honeymoon Garner. At that time, Garner was a disc jockey on WDIA, but in later years led a sax-organ combo with Fred Ford. (CE)

 
Elvis Presley – Scotty & Bill
"MYSTERY TRAIN" - B.M.I. - 2:25
Composer: - Herman "Little Junior" Parker Jr.-Sam Phillips
Publisher: - Memphis Music - Hi-Lo Music Incorporated
Matrix number: - U-156 - Take 2
Recorded: - July 11, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - August 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 223-A mono
MYSTERY TRAIN / I FORGOT TO REMEMBER TO FORGET
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-9 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Elvis Presley - Vocal and Acoustic Rhythm Guitar
Scotty Moore - Electric Lead Guitar
Bill Black - Acoustic Upright Bass
Johnny Bernero - Drums

If Elvis Presley (or anyone) ever made a better two sided record than this, it has yet to be found. On ''Mystery Train'', all you have is quintessential rockabilly: a confident, virile vocal, stacatto reverb lead guitar, audible rhythmic guitar strumming by Elvis, and driving percussive bass. If anyone ever asks you what a slap bass sounds like, just play them this record. There is not much room for improvement here. Even the abortive fadeout, during which Elvis's ''wooooo'' disintegrates into unselfconscious laughter, seems part of the magic. The distance between this track and Little Junior Parker's original (Sun 192) is immense, from the telling lyrical change (Parker's ''It's gonna do it again'' is transformed by Presley into ''It never will again'') to the tempo change from a sluggish freight to a runaway locomotive. 
 
Scotty Moore was the guitarist who backed Elvis during his earliest, and best) years, both on stage and on record. He contributed more than his share of memorable guitar moments to the music of his era. In 1964, Billy Sherrill arranged that Scotty record an album of instrumentals called ''The Guitar That Changed The World''.
 
''Mystery Train'' provides one of Scotty's most notable outings. In part, its effectiveness comes from his brand new custom-made Ecgosonic amplifier, an amp that could add a little echo to the sound of the guitar. The filled-out sound coming out of that amp helped energize his performance and the entire record. Where Little Junior's record was a subdued blues, Elvis's record is an unstoppable train at full throttle. The distinctive figure that Scotty plays behind it is a dramatic revision of what Floyd Murphy had played behind Junior Parker. It caught on as a signature riff; Al Caseay recreated it behind Sanford Clark's record of ''Lonesome For A Letter''. Scotty's solo is not complicated but has a perfect contour - starting mid-high and rising to an apex before descending so that the guitar line returns smoothly to its place under the return of Elvis's vocal. Simple but elegant. (HD)

 
Elvis Presley – Scotty & Bill
"MYSTERY TRAIN" - B.M.I. - 2:25
Composer: - Herman "Little Junior" Parker Jr.-Sam Phillips
Publisher: - Memphis Music - Hi-Lo Music Incorporated
Matrix number: - F2WB-8001 - Take 2
Recorded: - July 11, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - December 20, 1955
First appearance: - RCA Victor (S) 78/45rpm standard single RCA 20/47-6357-A mono
MYSTERY TRAIN / I FORGOT TO REMEMBER TO FORGET
 
Name (Or. No. Of Instruments)
Elvis Presley - Vocal and Acoustic Rhythm Guitar
Scotty Moore - Electric Lead Guitar
Bill Black - Acoustic Upright Bass
Johnny Bernero - Drums

Reissued of Sun 223

 
Elvis Presley – Scotty & Bill
"I FORGOT TO REMEMBER TO FORGET" - B.M.I. - 2:28
Composer: - Charlie Feathers-Stanley Kesler
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U-157
Recorded: - July 11, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: August 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 223-B mono
I FORGOT TO REMEMBER TO FORGET / MYSTERY TRAIN
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-10 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
Elvis Presley - Vocal and Acoustic Rhythm Guitar
Scotty Moore - Electric Lead Guitar
Bill Black - Acoustic Upright Bass
Johnny Bernero - Drums

The flipside, ''I Forgot To Remember To Forget'', is no less powerful in its own right. For once, Sam Phillips commissioned a first rate piece of original material for his new star. Again, everything works here to perfection: the lyric, the melody, Presley's sexy crooning, Scotty Moore's memorable solo. Perhaps the strongest element is Johnny Bernero's drumming which, more than anything else, defines this recording. Shifting effortlessly from his trademark shuffle to a heavy backbeat during the guitar solo, Bernero elevates this record to greatness.

Finally, Sam Phillips had his dream: a two-sided masterpiece by his great white hope, and with both sides owned by his publishing company, Phillips was ready to do battle. This single, Presley's last for Sun, eventually became his first number 1 country hit. (HD)

 
Elvis Presley – Scotty & Bill
"I FORGOT TO REMEMBER TO FORGET" - B.M.I. - 2:28
Composer: - Charlie Feathers-Stanley Kesler
Publisher: - Hi-Lo Music Incorporated
Matrix number: - F2WB-8000
Recorded: - July 11, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: December 20, 1955
First appearance: - RCA Victor (S) 78/45rpm standard single RCA 20/47-6357-B mono
I FORGOT TO REMEMBER TO FORGET / MYSTERY TRAIN
  
Name (Or. No. Of Instruments)
Elvis Presley - Vocal and Acoustic Rhythm Guitar
Scotty Moore - Electric Lead Guitar
Bill Black - Acoustic Upright Bass
Johnny Bernero - Drums

Reissued of Sun 223

 
Carl Perkins
"LET THE JUKEBOX KEEP ON PLAYING" - B.M.I. - 2:50
Composer: - Carl Perkins
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 94 - Take 2
Recorded: - July 11, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - August 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 224-A mono
LET THE JUKEBOX KEEP ON PLAYING / GONE, GONE, GONE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-11 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Carl Perkins - Vocal and Guitar
James Buck Perkins - Rhythm Guitar
Quinton Claunch - Electric Guitar
Stanley Kesler - Steel Guitar
Lloyd Clayton Perkins - Bass
W.S. Holland - Drums

The trick is to follow Carl Perkins recording career in a forward direction, hearing this single and then ''Blue Suede Shoes''. Unfortunately, most Sun fans did it in reverse order. Although the hillbilly roots of Carl Perkins music are now well documented, it was a bit of a stunner going from ''Blue Suede Shoes'' to the first four bars of ''Jukebox''. Beyond the culture shock, this is a fine back-country hillbilly record, circa 1955: competent, but not ground breaking. It is lovable, frankly, because it's Carl, and we all know what came next. (HD)

 
Carl Perkins
"GONE, GONE, GONE" - B.M.I. - 2:37
Composer: - Carl Perkins
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 95
Recorded: - July 11, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - August 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 224-B mono
GONE, GONE, GONE / LET THE JUKEBOX KEEP ON PLAYING
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-12 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
Carl Perkins - Vocal and Guitar
James Buck Perkins - Rhythm Guitar
Quinton Claunch - Electric Guitar
Bill Cantrell - Fiddle
Stanley Kesler - Steel Guitar
Lloyd Clayton Perkins - Bass
W.S. Holland - Drums

The flipside, ''Gone! Gone! Gone!'' is a different story, however. Here we can see the bouncy, hillbilly bop that was already in the process of evolving into rockabilly. Make no mistake, this is still rural music. Carl is singing about ''going round to the square dance'', an activity that might have left them a tad cold north of the Mason-Dixon. But lyrics are really not very important here. Sam Phillips has mixed Perkins' vocal back behind the bass and lead guitar, establishing what is really important. In fact, he's mixed Bill Cantrell's fiddle (yes, there really is a fiddle on ''Gone! Gone! Gone!'') even further into the next county. Billboard got the message, proclaiming ''The rhythm sound is unusual and contagious... a bouncy blues in flavorsome combined country and rhythm and blues idioms''. Indeed it was. (HD)

 
Slim Rhodes
"THE HOUSE OF SIN" - B.M.I. - 2:41
Composer: - Brad Suggs-Slim Rhodes
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 158
Recorded: - February 23, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - August 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 225-A mono
THE HOUSE OF SIN / ARE YOU ASHAMED OF ME
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-13 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Brad Suggs - Guitar
Dusty Rhodes - Vocal
Dottie Rhodes - Vocal
Slim Rhodes - Guitar
John Hughey - Steel Guitar
Spec Rhodes – Bass

''House Of Sin'' was the Rhodes Band's second release to appear on the Sun label and it features a strongly moralistic tone, consistent with music hillbilly music of the era. Dusty and Dot Rhodes have worked up a lovely vocal harmony on the chorus and after the third hearing of ''A baby cries...'' its hard not to understand the meaning of the songwriter's term ''hook''. This side might have contended for wider attention had Sun's promotional and distribution efforts supported it. Nevertheless, Rhodes sold well in and around Memphis, where his band was well known via radio and TV appearances. (CE)(HD)(MH)

 
Slim Rhodes
"ARE YOU ASHAMED OF ME" - B.M.I. - 2:32
Composer: - Brad Suggs-Slim Rhodes
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 159
Recorded: - February 23, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - August 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 225-B mono
ARE YOU ASHAMED OF ME / THE HOUSE OF SIN
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-14 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
Brad Suggs - Vocal and Guitar
Dusty Rhodes - Fiddle
Slim Rhodes - Guitar
John Hughey - Steel Guitar
Spec Rhodes – Bass

Guitarist Brad Suggs takes the spotlight on ''Are You Ashamed Of Me''. His singing has almost no trace of Hillbilly in it, only the wonderful fiddle playing from Dusty Rhodes takes us back into the country. This is supper club country music. Perhaps the more sophisticated city listeners that Slim catered to demanded this type of material. From this distance, it's hard to tell. At its best, the country music that Phillips recorded can make the hair on the back of your neck stand up with its chilling backwoods intensity. On that count, this recording fails but it probably sold well to Slim's television audience. (CE)(HD)(MH)

 
Eddie Snow
"AIN'T THAT RIGHT" - B.M.I. - 2:33
Composer: - Eddie Snow
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 160
Recorded: - July 19, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - August 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 226-A mono
AIN'T THAT RIGHT / BRING YOUR LOVE BACK HOME
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-15 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

 
Name (Or. No. Of Instruments)
Eddie Snow - Vocal and Piano
Floyd Murphy - Guitar
Eddie Davis - Tenor Saxophone
Bennie Moore - Alto Saxophone
Jeff Greyer – Drums

For the flip-side of his only Sun single, Eddie Snow tried a semi-talking misogynistic blues in the manner of Willie Mabon and, more recently, Ray Charles. This was slick, commercial rhythm and blues, and just the sort of thing that Sam Phillips should have been recording if his head hadn't been turning in an altogether different direction. When Billboard got around to reviewing it in October 1955, it said ''Snow walls some salty philosophy in this potent talking and refrain effort. Should do well in many sectors. Good down-to-earth stuff''. Indeed. (MH)

 
Eddie Snow
"BRING YOUR LOVE BACK HOME" - B.M.I. - 3:08
Composer: - Eddie Snow
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 161
Recorded: - July 19, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - August 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 226-B mono
BRING YOUR LOVE BACK HOME / AIN'T THAT RIGHT
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-16 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Eddie Snow - Vocal and Piano
Floyd Murphy - Guitar
Eddie Davis - Tenor Saxophone
Bennie Moore - Alto Saxophone
Jeff Greyer – Drums

This was the leading contender from Snow's 1955 session, issued on Sun that August. It was a rolling blues with a catchy tune, and it might have done quite well but for Phillips' lack of resources and the fact that Sun was now touting itself in the trade papers as ''America's number 1 Country Label''. As well as saxophonist Eddie Davis, Snow featured another Elven Parr alumnus, Bennie Moore. It's pretty clear from Moore's sax solo here that he had spent long nights listening to Charlie Parkers 78s. (MH)(HD)(CE)

 
Rosco Gordon
"JUST LOVE ME BABY" - B.M.I. - 2:21
Composer: - Rosco Gordon
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 162
Recorded: - Probably February 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - September 1955
First appearance: - Sun Records (S) 45rpm standard single SUN 227-A mono
JUST LOVE ME BABY / WEEPING BLUES
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-17mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
 
Name (Or. No. Of Instruments)
Rosco Gordon - Vocal and Piano
Billy Duncan - Alto Saxophone
Charles Taylor - Alto Saxophone
Richard Sanders - Baritone Sax
Willie Wilkes - Tenor Saxophone
Foree Wells - Guitar
Tuff Green - Bass
John Murry Daley – Drums

This was the first record by Rosco Gordon to appear on the Sun label (technically it was on both Sun and Flip), although Gordon was no stranger to 706 Union Avenue. For two years, Sam Phillips had recorded him, peddling his music to Chess and RPM. He had also custom-recorded a Rosco session for Duke. In fact, it was Rosco's hits like ''Booted'' and ''No More Doggin'''that helped to convince Phillips that he could compete in the cut-throat rhythm and blues business. So, in June 1955, when Rosco's Duke deal was up, Sam signed him to Sun on a three-year contract. Rosco was still living in Memphis when he signed, although by 1957 he had moved to New York. 

Although he brings a confident and idiosyncratic vocal to ''Just Love Me Baby'', this remains one of Rosco's least distinguished offerings. The band finds a fine mid-tempo groove and the saxes riff like they tell you in the manual, but somehow this side never rises above mediocrity. (HD)(CE)

 
Rosco Gordon
"JUST LOVE ME BABY" - B.M.I. - 2:21
Composer: - Rosco Gordon
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 162
Recorded: - Probably February 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - September 1955
First appearance: - Flip Records (S) 78rpm standard single Flip 227-A mono
JUST LOVE ME BABY / WEEPING BLUES
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-17mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
 
Name (Or. No. Of Instruments)
Rosco Gordon - Vocal and Piano
Billy Duncan - Alto Saxophone
Charles Taylor - Alto Saxophone
Richard Sanders - Baritone Sax
Willie Wilkes - Tenor Saxophone
Foree Wells - Guitar
Tuff Green - Bass
John Murry Daley – Drums

 
Rosco Gordon
"WEEPING BLUES" - B.M.I. - 3:09
Composer: - Rosco Gordon
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 163
Recorded: - Probably February 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - September 1955
First appearance: - Sun Records (S) 45rpm standard single SUN 227-B mono
WEEPING BLUES / JUST LOVE ME BABY
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-18 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Rosco Gordon - Vocal and Piano
Billy Duncan - Alto Saxophone
Charles Taylor - Alto Saxophone
Richard Sanders - Baritone Sax
Willie Wilkes - Tenor Saxophone
Foree Wells - Guitar
Tuff Green - Bass
John Murry Daley – Drums

This B-side, ''Weeping Blues'' is rooted in a gimmick, one that had worked for Clyde McPhatter on Billy Ward's recording of ''The Bells'' in 1953, but one that fell flat here. (HD)(CE)

 
Rosco Gordon
"WEEPING BLUES" - B.M.I. - 3:09
Composer: - Rosco Gordon
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 163
Recorded: - Probably February 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - September 1955
First appearance: - Flip Records (S) 78rpm standard single Flip 227-B mono
WEEPING BLUES / JUST LOVE ME BABY
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-18 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Rosco Gordon - Vocal and Piano
Billy Duncan - Alto Saxophone
Charles Taylor - Alto Saxophone
Richard Sanders - Baritone Sax
Willie Wilkes - Tenor Saxophone
Foree Wells - Guitar
Tuff Green - Bass
John Murry Daley – Drums

 
Smokey Joe
"THE SIGNIFYING MONKEY" - B.M.I. - 3:15
Composer: - Bill Taylor-Stanley Kesler-Joseph Bauch
Publisher: - Hi-Lo Music Incorporated - Knox Music Limited
Matrix number: - U 170
Recorded: - August 25, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - September 15, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 228-A mono
THE SIGNIFYING MONKEY / LISTEN TO ME BABY
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-19 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Smokey Joe Baugh - Vocal and Piano
Johnny Bernero - Drums
Stanley Kesler - Steel Guitar
Buddy Holobaugh - Guitar
Jan Ledbetter - Bass
Johnny Bernero - Drums
Bill Taylor - Trumpet
Stan Kesler - Steel Guitar

The story about ''Monkey'', of course Smokey Joe, Stan Kesler, and Bill Taylor can no more take credit for writing this song than anyone else. Its origins are embedded deep in African American myth, as far back as Yoruba folklore according to some sources. One of America's preeminent African American scholars, Henry Louis Gates, wrote a book about literary signifying within black culture titled ''The Signifying Monkey - A Theory Of African American Literary Criticism''. The question to which we don't have a good answer is where Smokey Joe became acquainted with the potty-mouthed primate. His contribution was to clear it up, although Johnny Bernero remembered that Joe would sing the unexpurgated version from time to time. Once again, the backing is disarmingly simple. Bernero sustains the show with some rock-solid drumming while Buddy Holobaugh works a repeated boogie riff. There had been other attempts to get the ''Monkey'' on record, most recently by the Big Three Trio (featuring Willie Dixon) back in 1946. Cab Calloway and Count Basie covered Dixon song. Joe's version appears to have sold quite well in late 1955, certainly in excess of 25,000 copies, and the song reportedly gained him an invitation to play at the Apollo Theatre in New York, where his white face and blonde hair would have created a stir. Stan Kesler remembered the ''Monkey'', and prevailed upon Sam the Sham to record it for a label he co-owned, XL Records. It was the record before ''Woolly Bully'', but probably sold sufficiently well to incentivise Phillips to re-release this one in 1964.  (MH)(HD)(CE)

 
Smokey Joe
"THE SIGNIFYING MONKEY" - B.M.I. - 3:15
Composer: - Bill Taylor-Stanley Kesler-Joseph Bauch
Publisher: - Hi-Lo Music Incorporated - Knox Music Limited
Matrix number: - U 170
Recorded: - August 25, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - September 15, 1955
Reissued: - Flip Records (S) 78rpm standard single Flip 228-A mono
THE SIGNIFYING MONKEY / LISTEN TO ME BABY
 
Name (Or. No. Of Instruments)
Smokey Joe Baugh - Vocal and Piano
Johnny Bernero - Drums
Stanley Kesler - Steel Guitar
Buddy Holobaugh - Guitar
Jan Ledbetter - Bass
Johnny Bernero - Drums
Bill Taylor - Trumpet
Stan Kesler - Steel Guitar

 
Smokey Joe
"LISTEN TO ME BABY" - B.M.I. - 2:27
Composer: - Stanley Kesler-Joe Bauch
Publisher: - Hi-Lo Music Incorporated - Knox Music Limited
Matrix number: - U 171
Recorded: - August 25, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - September 15, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 228-B mono
LISTEN TO ME BABY / THE SIGNIFYING MONKEY
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-20 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Smokey Joe Baugh - Vocal and Piano
Johnny Bernero - Drums
Stanley Kesler - Steel Guitar
Buddy Holobaugh - Guitar
Jan Ledbetter - Bass
Johnny Bernero - Drums
Bill Taylor - Trumpet
Stan Kesler - Steel Guitar

There is a wonderful drive to ''Listen To Me''. The little combo works the off-beat for all it's worth, overlaying it with a steady boogie woogie. There are some early Jamaican rhythm and blues and ska records that sound kinda like this. Johnny Bernero and Buddy Holobaugh power the record, and Stan Kesler contributes some tasty work on steel. Bill Taylor can be heard on trumpet from time to time. The lyrics are hardly groundbreaking but, once again, The Snearly Ranch gang reveals a genuine feeling for this type of music. It is a matter for conjecture whether the patrons of the Bel Air lounge or the VFW club knew what a treat were getting when this combo climbed on to the stage. Overlooked in the rush to deify the rockabilly musicians who leaped out of Memphis the following year, this group combined black and white styles with as much verve and enthusiasm as the rockabillies. In many ways, they comprised the best that Memphis had to offer at that point.   (MH)(HD)(CE)

 
Smokey Joe
"LISTEN TO ME BABY" - B.M.I. - 2:27
Composer: - Stanley Kesler-Joe Bauch
Publisher: - Hi-Lo Music Incorporated - Knox Music Limited
Matrix number: - U 171
Recorded: - August 25, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - September 15, 1955
Reissued: - Flip Records (S) 78rpm standard single Flip 228-B mono
LISTEN TO ME BABY / THE SIGNIFYING MONKEY
 
Name (Or. No. Of Instruments)
Smokey Joe Baugh - Vocal and Piano
Johnny Bernero - Drums
Stanley Kesler - Steel Guitar
Buddy Holobaugh - Guitar
Jan Ledbetter - Bass
Johnny Bernero - Drums
Bill Taylor - Trumpet
Stan Kesler - Steel Guitar

 
Maggie Sue Wimberly
"DAYDREAMS COME TRUE" - B.M.I. - 2:53
Composer: - Bill Cantrell-Quinton Claunch
Publisher: - Met Music
Matrix number: - U 167
Recorded: - March 18, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - December 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 229-A mono
DAYDREAMS COME TRUE / HOW LONG
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15801 DI-1-1 mono digital
THE SUN SINGLES COLLECTION - VOLUME 2
 
Name (Or. No. Of Instruments)
Maggie Sue Wimberly - Vocal
Bill Cantrell - Fiddle
Stanley Kesler - Steel Guitar
Quinton Claunch - Guitar
Marcus Van Story - Bass

''Daydreamin'''was the surprise country hit to emerge from Memphis in the early 1955. Rejected by Sam Phillips a year earlier and dismissed by Billboard as a B-side (''capable rural waxing...'') it nevertheless gave Phillips' competitor, Lester Bihari, his second major hit. In New Orleans, for example, it spent over 30 weeks in the Top Ten. However, the goodnews for Bihari ended here. Deckelman moved to MGM and the team had written ''Daydreamin''', Bill Cantrell and Quinton Claunch, pitched the follow-up to both Sun and Meteor's version featured Buddy Bain, Kay Wain et al, and Sun's version marked the debut of Maggie Sue Wimberly. Maggie Sue's performance betrays her tender years and exhibits the peculiarly American trait of having juvenile performers sing about adult emotions. That said is still a fine record that, to a degree, transcends its problem. The instrumental backing is nothing short of superb; yet another showcase for San Kesler's steel guitar and Bill Cantrell's fiddle. (MH)(HD)(CE)

 
Maggie Sue Wimberly
"HOW LONG" - B.M.I. - 2:47
Composer: - Quinton Claunch-Bill Cantrell
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 166
Recorded: - October 25, 1954
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - December 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 229-B mono
HOW LONG / DAYDREAM COME TRUE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-1-2 mono digital
THE SUN SINGLES COLLECTION - VOLUME 2
 
Name (Or. No. Of Instruments)
Maggie Sue Wimberly - Vocal
Bill Cantrell - Fiddle
Stanley Kesler - Steel Guitar
Quinton Claunch - Guitar
Marcus Van Story - Bass

Probably recorded in October 1954, this was saved from premature retirement by the need to find a flipside for ''Daydreams Come True''. Arguably, Maggie Sue was on safer ground here. Her vocal control is used to good effect, especially on the melismatic title phrase. The song is a pure delight and the backing, led as usual by Stan Kesler, is first rate. The song was plucked from obscurity by Rita Robbins who recorded a cover version in the early months of 1956. However, young Maggie Sue saw her own version by the wayside. Times were already changing by the point this was released and its fortunes stood or fell with the continuation of the ''Daydreamin'''sage. Unfortunately, the public seemed to have other things in mind. (MH)(HD)(CE)

 
The Miller Sisters
"THERE'S NO RIGHT WAY TO DO ME WRONG" - A.S.C.A.P. - 2:21
Composer: - Ted Meyne
Publisher: - Southern Music
Matrix number: - U 168
Recorded: - July 1, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - January 15, 1956
First appearance: - Sun Records (S) 78/45rpm standard single SUN 230-A mono
THERE'S NO RIGHT WAY TO DO ME WRONG / YOU CAN TELL ME
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-1-3 mono digital
THE SUN SINGLES COLLECTION - VOLUME 2
 
Name (Or. No. Of Instruments)
Elsie Jo Miller - Duet Vocal
Mildred Wages - Duet Vocal
Buddy Holobaugh or Roy Miller - Guitar
Stanley Kesler - Steel Guitar
Jan Ledbetter or William Diehl - Bass
Johnny Bernero - Drums
Ace Cannon - Tenor Saxophone

Billboard incorrectly described ''There's No Right Way To Do Me Wrong'' in January 1956 as an effective weeper, which suggest that they had not even listen to it, or, if that had. they’d listened to the wrong version. Despite its theme, the track moves along at a sprightly pace that belies its subject matter. As he did on all the girls releases, Phillips coupled a true weeper with some uptempo material and he must have thought very highly of this song because it was one of the very few non Hi-Lo copyrights released by Sun in 1956. The song was originally recorded at half tempo in December 1953 by Rose Maddox. Although Phillips credits Gabe Tucker and Smokey Stover, Rose's record credits west coast songwriter Ted Meyne. (MH)(HD)(CE)

 
The Miller Sisters
"YOU CAN TELL ME" - A.S.C.A.P. - 2:37
Composer: - Homer Eddleman
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 169
Recorded: - July 1, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - January 15, 1956
First appearance: - Sun Records (S) 78/45rpm standard single SUN 230-B mono
YOU CAN TELL ME / THERE'S NO RIGHT WAY TO DO ME WRONG
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-1-4 mono digital
THE SUN SINGLES COLLECTION - VOLUME 2

Name (Or. No. Of Instruments)
Elsie Jo Miller - Duet Vocal
Mildred Wages - Duet Vocal
Buddy Holobaugh or Roy Miller - Guitar
Stanley Kesler - Steel Guitar
Jan Ledbetter or William Diehl - Bass
Johnny Bernero - Drums
Ace Cannon - Tenor Saxophone

This is a powerful piece of country material written by Homer Eddleman Jr. who had submitted a tape to Sun  from Rte. 1, Marianna, Arkansas. Elsie Jo and Millie turn in a stellar performance on the material that keeps  pace with their stylings. The storyline is grabby, telling the tale of a woman who is all too eager te demean  her friend's man because she will be the beneficiary once her gossip breaks up the couple. About ten years  later, blues singer Bobby Bland recorded an interesting variant on this theme called ''Your Friends''. Separate  by years, miles, race, and audience Bland's record shows that some themes are timeless and can be reworked  into and style. (MH)(HD)(CE)

 


 

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