CONTAINS

Sun 211-220 Series
 
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Malcolm Yelvington – Star Rhythm Boys
"DRINKIN' WINE SPODEE-O-DEE" - B.M.I. - 2:47
Composer: - Stick McGhee-J. Mayo Williams
Publisher: - Leeds Music Incorporated - Universal-MCA Music Ltd
Matrix number: - U 134
Recorded: - October 10, 1954
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - November 10, 1954
First appearance: - Sun Records (S) 78/45rpm standard single SUN 211-A mono
DRINKIN' WINE SPODEE-O-DEE / JUST ROLLING ALONG
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-15 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Malcolm Yelvington - Vocal and Guitar
Gordon Mashburn - Guitar
Jake Ryles - Bass
Reece Fleming - Piano
Miles "Bubba" Winn - Steel Guitar

Issued on Sun in November 1954, this was the first disc to appear on the label after the two-record debut of Elvis Presley that summer. This song and Yelvington's treatment of it was certainly consistent with Sam Phillips' approach to country music at the point. However, Yelvington was some ten years older than Elvis Presley and he had learned his music in a different are. The Star Rhythm Boys were essentially a western swing-honky tonk outfit, no matter how hard Sam tried to disguise the fact. As it turned out, the western swing treatment suited from an unprintable tune that McGhee had learned in the Navy, ''Drink' Wine Motherfucker''. He had first recorded it for Mayo Williams' Harlem label in 1947 and subsequently sold half of the copyright to Williams for $10. McGhee recorded the song for Atlantic in 1949 and it became one of the first hits on that label. Yelvington and the boys whoop it up in fine style with the help of a chorus that Phillips had literally brought in off the street. Yelvington sound a little uncomfortable at this tempo although his bullfrog baritone gets a chance to shine on the ''wine wine wine'' refrain. The group shows a little more affinity for the material. The guitarist was obviously proud of his solo because he used it twice, for the intro and the first break. However, he had listed some of the most memorable licks from Brownie McGhee's solo on his brother's original version. Reece Fleming's piano solo is rooted in the ''Your Red Wagon'' theme that became the base of ''Rock Around The Clock'' and countless other boogie tunes. Nevertheless, it is not hard to see why Phillips gravitated towards this song. It captured a proto-rockabilly feel and was a very natural blend of black and white styles. (HD)(MH)(CE)
Malcolm Yelvington - Star Rhythm Boys
"JUST ROLLING ALONG" - B.M.I. - 2:19
Composer: - Lavern Fleming
Publisher: - Leeds Music Incorporated
Matrix number: - U 135
Recorded: - October 10, 1954
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - November 10, 1954
First appearance: - Sun Records (S) 78/45rpm standard single SUN 211-B mono
JUST ROLLING ALONG / DRINKIN' WINE SPODEE-O-DEE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-16 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Malcolm Yelvington - Vocal and Guitar
Gordon Mashburn - Guitar
Jake Ryles - Bass
Miles "Bubba" Winn - Steel Guitar
Lavern Fleming – Piano

After honky tonk and western swing, the Star Rhythm Boys now veer closer to western music. It's delivered  in unison by Malcolm and Reece Fleming and another unidentified Star Rhythm Boy in an approximation of  the Sons of the Pioneers. As a member of Fleming & Townsend back in the 1930s, Reece Fleming was not  new to recording and he and Yelvington had gathered a more than competent band let by fine steel and  electric guitar players. There was little chance of ''Just Rolling Along'' becoming a hit, but ''Wine'' sold quite  well and Yelvington was perhaps unlucky that Sam Phillips was able to compare his sales figures with those  of Presley. It would be a year and a half before Sam found time to put another Yelvington disc. (HD)(MH)(CE)
Doctor Ross
"THE BOOGIE DISEASE" - B.M.I. - 2:31
Composer: - Doctor Isaiah Ross
Publisher: - Hi-Lo Music Incorporated - Knox Music Incorporated
Matrix number: - U 136 - Take 4
Recorded: - Late October 1954
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - November 10, 1954
First appearance: - Sun Records (S) 78/45rpm standard single SUN 212-A mono
THE BOOGIE DISEASE / JUKE BOX BOOGIE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-17 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
Isaiah Ross - Vocal, Guitar and Harmonica
Tom Troy - Guitar
Bobby Parker - Drums

The good doctor is in fine form on his second Sun single. ''The Boogie Disease'' features a humorous and spirited vocal from Ross. Some of his lyrics are truly memorable. The man was not just spinning out cliches. (''Gonna boogie for the doctor/Gonna boogie for the nurse/Gonna keep on boogieing/Till they throw me in the hearse''). Ross claims that he can only get better; he can't get well. In truth, it is hard to imagine him getting better than this. This is post-war country blues at its finest. Ross's guitar work, especially during the main riff and solos has an undeniable rockabilly edge to it, a feature that has not gone unnoticed by collectors over the years. As usual, the ending cries out for a studio fade, and Sam Phillips refuses to oblige. He forces this tight little combo to end cold, which yields exactly the kind of chaos one might expect. No matter; this is a splendid entry in Sun's blues years. (HD)
 
Doctor Ross
"JUKE BOX BOOGIE" - B.M.I. - 2:31
Composer: - Doctor Isaiah Ross
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 137 - Take 3
Recorded: - Late October 1954
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - November 10, 1954
First appearance: - Sun Records (S) 78/45rpm standard single SUN 212-B mono
JUKE BOX BOOGIE / THE BOOGIE DISEASE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-18 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Isaiah Ross - Vocal, Guitar and Harmonica
Tom Troy - Guitar
Bobby Parker - Drums

The title of this flipside suggests a throwaway instrumental jam. While technically true, ''Juke Box Boogie'' also managed to be a rather melodic and engaging outing. Lots of reverb keeps things tense and involving despite obvious limitations in both format and number of musicians. (HD)
The Jones Brothers
"LOOK TO JESUS" - B.M.I. - 2:47
Composer: - Eddy Hollins
Publisher: - Hi-Lo Music Incorporated - Knox Music Limited
Matrix number: - U 107 - 78rpm Only
Recorded: - Early January 1954
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - January 8, 1955
First appearance: - Sun Records (S) 78rpm standard single SUN 213-A mono
LOOK TO JESUS / EVERY NIGHT
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-19 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
The Jones Brother consisting of
William Gresham - Vocal
Jake McIntosh - Vocal
Charles Jones - Vocal
Eddie Hollins - Vocal
Johnny Pryke - Vocal
James Rayford - Vocal
Charles Bishop – Guitar

The Jones Brothers hold a rare honor among the black quartets recorded by Sam Phillips, their was the only release that appeared on Sun. Ironically, its dismal sales may have helped to doom any future prospects for gospel qyartets. as if the emergence of Elvis Presley and Carl Perkins weren't already doing that. Curiously, this track was recorded and released over two years after Phillips' work with the more classic styles of the Bresteraires and Southern Jubilees. Perhaps he felt that the addition of an electric guitar and more blues-tinged gospel vocal made the Jones Brothers a better bet for commercial success. He was wrong, ''Look To Jesus'' is not a particularly memorable recording. Among gospel collectors it is typically viewed as very rare, but not particularly distinguished. Little fault can be placed with the lead vocal, which is certainly expressive and has an arresting, almost country quality. The arrangements is rooted in call an response, which may be the root of the problem. The background vocals are not particularly strong. Despite the number of singers involved, there is no strong bass and the overall choral sound is very similar to the range of the lead singer. The guitar does not help things and, arguably, dissipates some of the occasional vocal tension the group manages to build. (HD)
The Jones Brothers
"EVERY NIGHT" - B.M.I. - 2:39
Composer: - Jake McIntosh
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 106 - 78rpm Only
Recorded: - Early January 1954
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - January 8, 1955
First appearance: - Sun Records (S) 78rpm standard single SUN 213-B mono
EVERY NIGHT / LOOK TO JESUS
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-20 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
The Jones Brothers consisting of
William Gresham - Vocal
Jake McIntosh - Vocal
Charles Jones - Vocal
Eddie Hollins - Vocal
Johnny Pryke - Vocal
James Rayford - Vocal
Charles Bishop – Guitar

Although the rich gospel tradition in Memphis was a wellspring of deep harmony a cappella singing, Sam Phillips never released any examples of it. True, he did record the Bresteraires and Southern Jubilees, but those sides were ultimately slotted for release on other labels, not Sun. The Jones Brothers, authors of Sun's only release by a black gospel quartet, features a very different approach to sacred music. These sides are performed in a soulish/shouting style that emerged after gospel music's Golden Era had passed. Perhaps Phillips saw it as more modern, or saleable to an audience who had their ears full of rhythm and blues. In any case, ''Every Night'' has many of the features of gospel music that continue to dominate the field. But surprisingly, despite a passionate lead vocal, the background singing is rather tepid. The entire outing is unfocussed and lacks the fire it might have conveyed. There's almost no tension here, although appeared to Phillips, and assuaged his frequently expressed commercial doubts, but the truth is, the guitar often clashes with or undercuts the power of the vocal. At the end of the day, many of the guitar lines might have been sung to greater effect. (HD)
Billy ''The Kid'' Emerson
"MOVE BABY MOVE" - B.M.I. - 2:39
Composer: - William R. Emerson
Publisher: - Hi-Lo Music Incorporated - Knox Music Limited
Matrix number: - U 138
Recorded: - October 27, 1954
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - January 8, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 214-A mono
MOVE BABY MOVE / WHEN IT RAINS IT POURS
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-21 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
William Billy Emerson - Vocal and Piano
Bennie Moore - Tenor Saxophone
Luther Taylor - Trumpet
Charles Smith - Alto Saxophone
Elven Parr - Guitar
Robert Prindell - Drums

Emerson himself admitted that this song owed more than a passing nod to the influence of Big Joe Turner (how could he seriously claim otherwise?). In fact, the melody is a note for note copy of Big Joe's hit of the day, ''Shake, Rattle And Roll'', and would surely have earned Phillips another lawsuit if it had been successful. For all its lack of originally, ''Move Baby Move'' is irresistibly rhythmic. Once again, Emerson sets up Bennie Moore for a fine sax solo. It's just as well that the rhythm was abetted by hand clapping because this is not one of Phillips' better efforts in the art of crisply recorded drums. Upon release in January 1955, Billboard picked ''Move Baby Move'' over ''When It Rains It Pours'', saying, ''This hand-clapping, foot-stomping opus is tailor made for the current trend... solid, irresistible beat sells this side. (CE)(HD)
Billy ''The Kid'' Emerson
"WHEN IT RAINS IT POURS" - B.M.I. - 3:05
Composer: - William R. Emerson
Publisher: - Knox Music Incorporated - Hi-Lo Music Incorporated
Matrix number: - U 139
Recorded: - October 27, 1954 (Or September 18, 1954)
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - January 8, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 214-B mono
WHEN IT RAINS IT POURS / MOVE BABY MOVE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-22 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
William Billy Emerson - Vocal and Piano
Bennie Moore - Tenor Saxophone
Luther Taylor - Trumpet
Charles Smith - Alto Saxophone
Elven Parr - Guitar
Robert Prindell - Drums

Marion Keisker remembered Elvis Presley coming into the Sun studio asking if he could cover versions of the day's top hits. Sam Phillips had two good reasons for refusing: he didn't own the publishing and there were already enough versions competing for airplay. Thus, Phillips led Presley copyrights form his Hi Lo Music catalog whenever possible. Among these was Billy Emerson's ''When It Rains It Pours'', recorded by Emerson three months after Presley's first session. Presley duly recorded it for Sun in November 1955, although it wasn't finished. During the Million Dollar Quartet session in December 1956 Presley sung a couple of lines of ''When It Rains It Pours''. As the tape ran, he said he'd put it on an album if he could get a good enough cut. When Phillips asked if he had the record, Elvis asked for one. Phillips said he'd go look, and you can bet he did. Elvis cut it in February 1957, but Phillips wouldn't gave up a piece of the music publishing so Elvis publishers, Hill & Range, prevailed upon RCA to sit on the master until 1965. Presley unfinished Sun recording wasn't issued until 1983.

Emerson's record is by no means overshadowed by Presley's. Talking to Stuart Colman in 1980, he recalled the song's origin. ''We came all the way down from Chicago to record this record. We brought some fellas, some musicians, all the way down, car broke down, rain storm - It rained like water pouring out of a barrel, never seen it rain that hard... And you're talking about when it rains it pours, I sang that song from my heart that day''. Emerson went to describe how the car broke down and they stopped at a club they knew in Arkansas. The owner drove them to Memphis the next day to make the session. By then, Emerson had the song written. The instrumental break is a beautiful moment in Sun rhythm and blues history. Emerson's cry of ''All right''! sets up Bennie Moore's powerful solo, beginning with a tense sustained note. Moore was angry with Phillips for having to do so many takes and his frustration was vented here. Elven Parr's guitar had a fine dirty tone and his incessant chording ramped up the tension behind Moore. Emerson recorded the song again in 1959 for Chess (although the tape was lost) and for Mad Records in 1960. On the latter occasion, he changed the slightly bizarre line ''You really opened up my nose'' to ''You really opened my door'', and wrote a very appealing bridge. (CE)(HD)
Elvis Presley – Scotty & Bill
"YOU'RE A HEARTBREAKER" - B.M.I. - 2:12
Composer: - Charles "Jack" Alvin Sallee
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U-141
Recorded: - December 20, 1954 - Sales 20,600 copy's
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - December 28, 1954
First appearance: - Sun Records (S) 78/45rpm standard single SUN 215-A mono
YOU'RE A HEARTBREAKER / MILKCOW BLUES BOOGIE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-24 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

Unlike most artists who recorded for Sun, Elvis Presley did not turn up on the doorstep of 706 Union with a guitar case full of original songs. Presley was more likely to have heard a tune on the radio or jukebox, become obsessed with it, and to have worked up a novel arrangement with Scotty Moore and Bill Black. Although this gave music journalists something to write about, it was a costly procedure for Sam Phillips. Every Presley record pressed on Sun provided income for a music publisher. That income out of Phillips' pocket. By the third record Presley recorded for Sun, Phillips was determined to get at least one of his copyrights on the disk. This resulted in ''You're A Heartbreaker'', one of the weakest, least reissued tunes in the Presley/Sun archives. (HD)
Elvis Presley – Scotty & Bill
"YOU'RE A HEARTBREAKER" - B.M.I. - 2:12
Composer: - Charles "Jack" Alvin Sallee
Publisher: - Hill and Range Music Incorporated
Matrix number: - F2WB-8045
Recorded: - December 20, 1954
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - December 20, 1955
First appearance: - RCA victor (S) 78/45rpm standard single RCA 20/47-6382-A mono
YOU'RE A HEARTBREAKER / MILKCOW BLUES BOOGIE
 
Name (Or. No. Of Instruments)
Elvis Presley - Vocal and Acoustic Rhythm Guitar
Scotty Moore - Electric Lead Guitar
Bill Black - Acoustic Upright Bass

Reissued of Sun 215
 
Elvis Presley – Scotty & Bill
"MILKCOW BLUES BOOGIE" - A.S.C.A.P. - 2:38
Composer: - James "Kokomo" Arnold
Publisher: - Leeds Music
Matrix number: - U-140
Recorded: - December 20, 1954 - Sales 20,600 copy's
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - December 28, 1954
First appearance: - Sun Records (S) 78/45rpm standard single SUN 215-B mono
MILKCOW BLUES BOOGIE / YOU'RE A HEARTBREAKER
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-23 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

The flipside of Sun 215 featured a re-working of the old Kokomo Arnold tune, ''Milkcow Blues''. Rather than simply rock up a slow blues, the gang decided to let you hear the whole process - from the turgid, almost free rhythm intro, to a verbal statement of dissatisfaction, ''Hold it fellas, that don't move me'', to a statement of intention: ''Let's get real real gonne for a change''. In truth, neither side of this record did much to solidify Presley's position or adds to his momentum. Almost as soon as Phillips saw the somewhat flat response to this single, he went back to the well and within three months had another single out that raised more than a few eyebrows. (HD)
Elvis Presley – Scotty & Bill
"MILKCOW BLUES BOOGIE" - A.S.C.A.P. - 2:38
Composer: - James "Kokomo" Arnold
Publisher: - Leeds Music
Matrix number: - F2WB-8044
Recorded: - December 20, 1954
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - December 20, 1955
First appearance: - RCA Victor (S) 78/45rpm standard single RCA 20/47-6382-B mono
MILKCOW BLUES BOOGIE / YOU'RE A HEARTBREAKER
 
Name (Or. No. Of Instruments)
Elvis Presley - Vocal and Acoustic Rhythm Guitar
Scotty Moore - Electric Lead Guitar
Bill Black - Acoustic Upright Bass

Reissued of Sun 215
Slim Rhodes
"DON'T BELIEVE" - B.M.I. - 2:15
Composer: - Brad Suggs-Slim Rhodes
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 144
Recorded: - February 23, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 216-A mono
DON'T BELIEVE / UNCERTAIN LOVE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-25 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

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

Returning to the Sun studio after a four-year absence, Slim Rhodes rejoined Sam Phillips in 1955 with a sound based on hillbilly music more than the stripped-down western-swing sound of earlier years. His musicians were essentially the same, apart from steel guitarist John Hughey who had been working with Conway Twitty (or Harold Jenkins as he was then) in Helena, Arkansas.   ''Slim's steel guitar player, Rocky Caple, had gotten called into the Army in 1953'', recalled Hughey. ''Harold and I always watched their TV show every week. After Rocky left for the Army, Slim started advertising on TV for a steel player. Harold started in on me trying to get me to go and audition for the job, and I kept saying, 'I'm not good enough to play with those guys'. After about two months he talked me into it. Harold called Slim and made an appointment to go up and do an audition. Harold carried me to Memphis, and I played a few instrumentals and Harold sang a couple of songs. That was on a Monday night, and the following Thursday they called and told me to pack my suitcase and guitar and meet them at some little town in Mississippi. I forgot the name of the town. That was March the 12th in 1953''. Brad Suggs takes the vocal on ''Don't Believe'', which is a fairly ordinary country song. Billboard reviewed the disc in May 1955 describing it as ''a routine plea for proper understanding''. (CE)(HD)(MH)
Slim Rhodes
"UNCERTAIN LOVE" - B.M.I. - 2:12
Composer: - Dusty Rhodes-Dottie Rhodes
Publisher: - Hi-Lo Music Incorporated - Ridgetop Music
Matrix number: - U 145
Recorded: - February 23, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 216-B mono
UNCERTAIN LOVE / DON'T BELIEVE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-26 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Brad Suggs - Guitar
Dusty Rhodes - Vocal
Dottie Rhodes Moore - Vocal
Slim Rhodes - Guitar
John Hughey - Steel Guitar
Spec Rhodes – Bass

On "Uncertain Love" for the first time, Dusty Rhodes combined with his wife, Dot, to deliver this very pleasant hillbilly vocal. Dot had taken over from Bea Rhodes who had been the original girl member of the group through the early 1940s. Dot was featured in surviving radio air-shots from 1948. The theme of ''Uncertain Love'' was nothing new and the composition itself was almost a paint-by-numbers Hank Williams soundlike. However, the years that Dusty and Dot had sung together obviously bore fruit here in their unerring harmonies. The new boy on the block, John Hughey, contributed some lovely work on the steel guitar. Billboard showed the disc in the Memphis country Top 5 that May along with Webb Pierce, Hank Snow, Eddy Arnold and Charlie Feathers, and decided that the group had ''strong talent''. (CE)(HD)(MH)
Elvis Presley – Scotty & Bill
"I'M LEFT, YOU'RE RIGHT, SHE'S GONE" - B.M.I. - 2:36
Composer: - Stanley Kesler-Chuck "Bill" Taylor
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 142 - Take 5 
Recorded: - March 6, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 217-A mono
I'M LEFT, YOU'RE RIGHT, SHE'S GONE / BABY, LET'S PLAY HOUSE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-27 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
Jimmie Lott - Drums
Probably Doug Poindexter - Acoustic Rhythm Guitar

Elvis Presley's fourth Sun single was the first to appear on a national chart. This single, more than any before it, established the fact that Presley was not just a regional artist.

Many Sun fans profess to like the unissued bluesy version of ''I'm Left, You're Right, She's Gone'' more than the maracca-driven uptempo take chosen for release. Nevertheless, this is a fine record, whose staying power may have been greater than the more limited and intense unissued alternative. Happily for Sam Phillips, this song had a home in the Sun publishing catalogue and will remain a source of income as long as Presley records are performed or manufactured. (HD)
Elvis Presley – Scotty & Bill
"I'M LEFT, YOU'RE RIGHT, SHE'S GONE" - B.M.I. - 2:36
Composer: - Stanley Kesler-Chuck "Bill" Taylor
Publisher: - Hill and Range Songs Incorporated
Matrix number: - F2WB-8047 - Take 5 
Recorded: - March 6, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - December 20, 1955
First appearance: - RCA Victor (S) 78/45rpm standard single RCA 20/47-6383-A mono
I'M LEFT, YOU'RE RIGHT, SHE'S GONE / BABY, LET'S PLAY HOUSE
 
Name (Or. No. Of Instruments)
Elvis Presley - Vocal and Acoustic Rhythm Guitar
Scotty Moore - Electric Lead Guitar
Bill Black - Acoustic Upright Bass
Jimmie Lott - Drums
Probably Doug Poindexter - Acoustic Rhythm Guitar

Reissued of Sun 217
Elvis Presley – Scotty & Bill
"BABY, LET'S PLAY HOUSE" - A.S.C.A.P. - 2:15
Composer: - Arthur Neal Gunter
Publisher: - Excellorec Music
Matrix number: - U-143
Recorded: - February 5, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - April 1, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 217-B mono
BABY, LET'S PLAY HOUSE / I'M LEFT, YOU'RE RIGHT, SHE'S GONE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-28 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
Jimmie Lott - Drums
Probably Doug Poindexter - Acoustic Rhythm Guitar

Both sides of Sun 217 remain distinctive records, among Presley's best. ''Baby Let's Play House'' was adapted from Arthur Gunter's Excello single which had received considerable airplay throughout the South. Gunter was a laconic vocalist and his primitive goodnatured recording bore little similarity to Presley's highly charged performance. This single has probably done more than any other to establish the hiccup as an essential rockabilly mannerism. There is an undeniable energy and tension to ''Baby Let's Play House''. It stems not just from Presley's confident vocal, also from Scotty and Bill's minimalist instrumental virtuosity. What follows Elvis's cry of ''Hit it''! is the stuff of rockabilly guitarist's wet dreams. (HD)
Elvis Presley – Scotty & Bill
"BABY, LET'S PLAY HOUSE" - A.S.C.A.P. - 2:15
Composer: - Arthur Neal Gunter
Publisher: - Excellorec Music
Matrix number: - F2WB-8046
Recorded: - February 5, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - December 20, 1955
First appearance: - RCA Victor (S) 78/45rpm standard single RCA 20/47-6383-B mono
BABY, LET'S PLAY HOUSE / I'M LEFT, YOU'RE RIGHT, SHE'S GONE
 
 
Name (Or. No. Of Instruments)
Elvis Presley - Vocal and Acoustic Rhythm Guitar
Scotty Moore - Electric Lead Guitar
Bill Black - Acoustic Upright Bass
Jimmie Lott - Drums
Probably Doug Poindexter - Acoustic Rhythm Guitar

Reissued of Sun 217
Sammy Lewis & Willie Johnson Combo
"I FEEL SO WORRIED" - 1 - B.M.I. - 2:24
Composer: - Sammy Lewis-Willie Johnson
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 146 - Take 3
Recorded: - March 28, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - April 25, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 218-A mono
I FEEL SO WORRIED / SO LONG BABY GOODBYE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-29 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Sammy Lewis - Vocal and Harmonica
Willie Johnson - Guitar
L.C. Hubert - Piano
Joe Nathan – Drums

Sam Phillips tried yet again in recapture the success he had found with Little Junior Parker's ''Feelin' Good''. His most obvious attempt was with Little Junior himself, but Phillips never deemed ''Feelin' Bad'', worthy of release. Although ''Feelin' Bad'' was by no means a weak record, this track is truly the ultimate sequel. In fact, in many ways, it eclipses the original. ''I Feel So Worried'' differs in some ways from Parker's original; the tempo is a touch slower and ''Worried'' is performed in a minor key, or at least comes close to being in a minor key. More on that below. The song also retains the vocal effect (the cry for a flatted-7 note to 8: for example, from B-flat to C) that made ''Feelin' Good'' so memorable, and it captivates the listener once again. Like many of Sun's best blues recordings, this track announces itself and demands attention within the first two bars. Sammy Lewis talk/sing style engaging throughout, and the brief and sudden appearance of a second harmonica at the end of the guitar solo is quite a strong tough.

Not knowing whether this record is in a minor key adds much to its appeal. Without getting too technical, the song is laced with blues notes (flatted-thirds). It's hard to know whether the song is actually written in a major key and features more than its share of blue notes, or whether those flatted thirds are actually part of a minor scale. There's no real way to be sure and whether you're a musician or not, that confusion creates a lot of appealing tension. A fairly well-known example is Dale Hawkins ''Susie Q''. The verdict is no clearer there than it is here. Lewis' vocal, like Parker's before it, is strikingly Southern. In this case, its back country ways may have restricted the disc's urban potential, although it is surprisingly that ''Worried'' didn't grab more attention even in rural venues. Nevertheless, the track is a gem deservedly regarded as one of Sun's best blues records. (HD)
Sammy Lewis & Willie Johnson Combo
"SO LONG BABY GOODBYE" - B.M.I. - 2:06
Composer: - Sammy Lewis
Publisher: - Hi-Lo Music Incorporated - Fort Knox Music Incorporated
Matrix number: - U 147
Recorded: - March 28, 1955
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - April 25, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 218-B mono
SO LONG BABY GOODBYE / I FEEL SO WORRIED
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-3-30 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Sammy Lewis - Harmonica
Willie Johnson - Vocal and Guitar
L.C. Hubert - Piano
Joe Nathan – Drums

This well played blues tune might have had a better fate had it not been buried as the flipside of one of the best records released on Sun. it's not as exceptional as the flip, to be sure, but there is plenty to like here. It's a rock solid 12-bar blues with a fine groove, but unexpectedly there's more than that. The line that has probably remained ingrained in those of us who heard this record as impressionable youths is Willie's immortal entreaty, ''Well all right Sammy, blow the back off it''. It's truly hard to get that image (or those words) out of one's consciousness. (HD)
Billy ''The Kid'' Emerson
"RED HOT" - B.M.I. - 2:25
Composer: - William Robert Emerson
Publisher: - Hi-Lo Music Incorporated - Knox Music Limited
Matrix number: - U 154
Recorded: - May 31, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - June 21, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 219-A mono
RED HOT / NO GREATER LOVE
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-1-1 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
William Billy Emerson - Vocal and Piano
Jewell Briscoe - Tenor Saxophone
Moses Reed - Tenor Saxophone
Calvin Newborn - Guitar
Kenneth Banks - Bass
Phineas Newborn Sr. - Drums
Billy Love - Piano
Band Chorus

Emerson derived this song from a cheerleader chant ''Our team is red hot...'' and recorded it with a band put together by Phineas Newborn, Sr. Rock and roll was clearly the coming thing when Emerson and Newborn settled down to record this in May 1955. A Little over eighteen months later, Sam Phillips pitched the song to one of his rockabilly singers, Billy Riley, who stripped down the lyrics and goosed up the tempo while retaining Emerson's classic retort ''Your girl ain't doodley squat''. Bob Luman covered Riley's record, but from that point the song remained untouched until Sam the Sham recorded it in 1966 in Phillips' new studio at Madison Avenue. Ten years later Robert Gordon turned in a sizzling rockabilly, rather than rhythm and blues classic. (HD)(CE)
Billy ''The Kid'' Emerson
"NO GREATER LOVE" - B.M.I. - 2:52
Composer: - William Robert Emerson
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 155
Recorded: - May 31, 1955
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - June 21, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 219-B mono
NO GREATER LOVE / RED HOT
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-2 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
William Billy Emerson - Vocal and Piano
Jewell Briscoe - Tenor Saxophone
Moses Reed - Tenor Saxophone
Calvin Newborn - Guitar
Kenneth Banks - Bass
Phineas Newborn Sr. - Drums
Billy Love - Piano
Band Chorus

Overlooked in the fanfare about ''Red Hot'' is the flipside, ''There Is No Greater Love''. Emerson offers a powerful vocal here, showing a more soulful style than appears on any of his other Sun releases. The entire recording has tremendous tension; you can feel it in Emerson's vocal, but it also runs through Calvin Newborn's guitar work. It would not be inappropriate to include this track on a ''Roots Of Soul Music'' anthology. The last four bars provide a marvellously sweet release from the tension and are similar to the ending of Guitar Slim's classic ''The Things I Used To Do''. (HD)
Little Milton
"HOMESICK FOR MY BABY" - B.M.I. - 2:18
Composer: - James Campbell
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 153 - Take 1
Recorded: - March 30, 1954
Memphis Recording  Service
706 Union Avenue, Memphis, Tennessee
Released: - June 21, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 220-A mono
HOMESICK FOR MY BABY / LOOKIN' FOR MY BABY
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-3 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1

Name (Or. No. Of Instruments)
Milton Campbell - Vocal and Guitar
Ike Turner - Piano
C.W. Tate - Tenor Saxophone
Lawrence Taylor - Alto Saxophone
Cleophus Johnson - Bass
Lonnie Haynes – Drums

A straightforward blues outing. Distinguised by yet another superlative guitar solo - once again demonstrating Milton's flair for aggressive phrasing - the saxes (Lawrence Taylor and C.W. Tate) weigh in with some rather soulful notes, whilst Ike Turner really shines in his somewhat limited supporting role on piano. (HD)
Little Milton
"LOOKIN' FOR MY BABY" - B.M.I. - 2:33
Composer: - James Campbell
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 152 - Take 1
Recorded: - March 30, 1954
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
Released: - June 21, 1955
First appearance: - Sun Records (S) 78/45rpm standard single SUN 220-B mono
LOOKIN' FOR MY BABY / HOMESICK FOR MY BABY
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801 DI-4-4 mono digital
THE SUN SINGLES COLLECTION - VOLUME 1
 
Name (Or. No. Of Instruments)
Milton Campbell - Vocal and Guitar
Ike Turner - Piano
C.W. Tate - Tenor Saxophone
Lawrence Taylor - Alto Saxophone
Cleophus Johnson - Bass
Lonnie Haynes – Drums

There is not a level on which this track does not succeed, except that the title wasn't hammered home sufficiently often for jukebox and radio play (in fact, the title was more an abstraction from the lyrics). Perhaps more than any other song in Milton's Sun catalog it emphasises what a terrific guitarist he was: his sense of timing and drama shine. This is a working definition of stinging guitar. There are other delights, notably Milton's spoken intro (''...see can't I find her'') and aside (''conductor, what state is this''?). Additionally, the whole group supplies a rhythmic hook by accenting the first beat in key measures. (HD)(CE)
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