CONTAINS

PI 3571-3580 Audio Series 

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Brad Suggs
''ELEPHANT WALK'' - B.M.I. - 2:08
Composer: - Brad Suggs-Scotty Moore-Vinnie Trauth
Publisher: - Hi-Lo Music Incorporated
Matrix number: - P 406
Recorded: - Unknown Date July 1961
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - November 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3571-A mono
ELEPHANT WALK / LIKE, CATCHIN' UP
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-19 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Brad Suggs – Guitar
Scotty Moore – Guitar
Larry Mohoberac – Organ & Piano
John Ace Cannon – Tenor Saxophone
Al Jackson - Drums
 
This is Brad Suggs' final opus on Phillips International, released in November 1961. The truth is, it's a pretty damn good record! ''Elephant Walk'' stood a real chance of success in the pop marketplace nearly 40 years ago. There was a 1950s movie by this tittle starring Elizabeth Taylor, and releases bearing this title appeared  on RCA in 1959 by the Kings, and in 1963 on Cortland by Donald Jenkins and the Delighters. It will require some deeper archeology to determine whether they are the same elephants.
 
''Scotty Moore and I put that thing together'', Brad Suggs recalls. Suggs' minimal five note guitar figure is very catchy and that lord-of-the-jungle french horn provides some real atmosphere. Larry Mohoberac contributes the organ sound and Ace Cannon comes up with a wonderful growling solo he would use again exactly a month later on Harold Dorman's ''Uncle Jonah's Place'' (Sun 370). Nothing like recycling your own best work. If you peel away a few layers here, you can hear the rudiments of the sound the Mar-Keys and Booker T. and the MGs would shortly take to the bank. Not surprisingly, Al Jackson, the stalwart drummer of that group, was the session man here on Suggs' date. He should get an award for his performance on this track and whoever miked his drums should share the award with him. In fact, this whole track sounds more like a Stax record than just about anything issued on Sun or Phillips International. (HD)

 
Brad Suggs
''LIKE, CATCHIN' UP'' - B.M.I. - 2:03
Composer: - Brad Suggs
Publisher: - Knox Music Incorporated
Matrix number: - P 407
Recorded: - Unknown Date July 1961
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - November 1961
Firs appearance: - Phillips International (S) 45rpm standard single PI 3571-B mono
LIKE, CATCHIN' UP / ELEPHANT WALK
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-20 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Brad Suggs – Guitar
Scotty Moore – Guitar
Larry Mohoberac – Organ & Piano
John Ace Cannon – Tenor Saxophone
Al Jackson - Drums
Unknown - High Voices
 
''Like, Catching Up'' is a perfect flipside. The comma that originally appeared after the word ''Like'' is quite important, because it conveys the hipster phrase associated with jazz. And make no mistake, this was a jazz tune. Sort of a one-take jazz tune at that. The unidentified shrieking chick is good at what she does, which is to scat her way thru some familiar jazz changes. ''I wish I could remember the name of that woman'', Suggs admitted recently (1998). ''I'm pretty sure her first name was Millie. What I do recall is she was very pregnant. Looks like she was due any second. I kept thinking she'd never make it through the take before we'd have to rush her off to the hospital''. If these sides had been recorded in Nashville one would have no hesitation in saying that it was Millie Kirkham (who contributed the wordless echo to on ''My Wish Came True'' and Millie was pregnant on ''Blue Christmas''. These sounds were a long way from the jungle of the flipside, but they did their job – which was to focus everyone's attention on the Elephant.
 
As noted, this was Brad Suggs's final single. Ten instrumental sides. Can you identify his style? After five or so singles, you knew almost everything you ever needed to know about Perkins, Cash, Presley, Jerry Lee. But, musically speaking, who was Brad Suggs? (HD)

 
Charlie Rich
''JUST A LITTLE BIT SWEET'' – 2:23
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - P 408
Recorded: - February 11, 1961
Sam Phillips Recording Studio
319 Seventh Avenue North, Nashville, Tennessee
Released: - September 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3572-A mono
JUST A LITTLE BIT SWEET / IT'S TOO LATE
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-22 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
 
''Just A Little Bit Sweet'' seems almost like a trite pop/country song. But that judgement is superficial. There are vintage Richisms here – the little two-bar instrumental fills at the vocal line, the gospelly diminished chords and the fine churchy finale after ''Come on, come on, come on...''. (HD)

 
Charlie Rich
''IT'S TOO LATE'' - B.M.I. - 2:39
Composer: - Chuck Willis
Publisher: - Tidelands Music
Matrix number: P 409
Recorded: - May 27, 1960
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - September 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3572-B mono
IT'S TOO LATE / JUST A LITTLE BIT SWEET
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-21 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Charlie Rich – Vocal & Piano
Scotty Moore – Guitar
Billy Riley – Bass
Jimmy M. Van Eaton – Drums
Martin Willis – Tenor Saxophone
Unknown – Vocal 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)

 
Mikki Wilcox
''I KNOW WHAT IT MEANS'' - B.M.I. - 2:33
Composer: - Stan Kesler
Publisher: - Katrina Music
Matrix number: P 410
Recorded: - Unknown Date August 1961
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - September 1, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3573-A mono
I KNOW WHAT IT MEANS / WILLING AND WAITING
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-23 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Mikki Wilcox – Vocal
Strings & Arrangements by Vinnie Trauth
More Details Unknown
 
It's time to correct a mistake that has hounded Sun discographers over the years (1998) Contrary to earlier impressions it now appears certain that Mickey Milan (Phillips International 3533) and Mikki Wilcox, who performs these session, are not the same person. Our most obvious error was to include the photo of Wilcox (that appears here) next to the listing for Milan in Sun Single Collection Volume 5. This error, which is also reflected in the Escott/Hawkins Sun Records Discography, was prompted in part by the fact that tapes from the two singers are stored together in the Sun vaults. At some point, someone must have stuck everything together after asking, ''What are the odds of having two female singers named Mikki/Mickey record for Phillips International in a short period of time? The answer, unfortunately, was ''Quite High''.  There are two telling pieces of evidence for the ''Two Mikki/Mickey Theory''. The first is, if you look closely at the inscription on the Wilcox photo, you will see a thank you note to arranger Vinnie Trauth for his arrangement on her first record. The message is dated August, 1961. Indeed, Trauth provided the arrangement for this track by Mikki Wilcox which was released on September 1, 1961. If we assume that Ms. Wilcox had her wits about her, she would have remembered whether she already had a September, 1958 release on the Phillips International label. If she were the same Mickey/Mikki, she might have thanked Vinnie by saying something like ''Tanks for your arrangement on my record. It's s damn sight better than the first''.
 
Which gets us to the second bit of evidence. Quite simply, all you need to do is listen to the two records. It would be close to miraculous if these sides were recorded by the same person. One is, as previously noted, a rather shrill country pop singer and the others is, well, what we have here. Mikki Wilcox knew her way around the blues and is a lot closer to the contrallo of Mavis Staples than the higher range of, say, Kay Starr.
 
Forgetting the intrigue surrounding the artist, both sides of this record are actually quite good. The simplest way to describe the sound might be ''LaVerne Baker meets Floyd Cramer''. An odd pairing, to be sure, but stranger things have happened at Sun. (HD)

 
Mikki Wilcox
''WILLING AND WAITING'' – 2:34
Composer: - Hager-Glasgow
Publisher: - Hi-Lo Music Incorporated
Matrix number: - P 411
Recorded: - Unknown Date August 1961
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - September 1, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3573-B mono
WILLING AND WAITING / I KNOW WHAT IT MEANS
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-3-24 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Mikki Wilcox – Vocal
Strings & Arrangements by Vinnie Trauth
More Details Unknown
 
''Willing And Waiting'', the side for which arranger Trauth had to be thanked, is a fine bluesy, melodic song which is actually enhanced by strings. The flipside, ''I Know What It Means'' cuts closer to the bone. Would you have been at all surprised to learn that this vocalist was black? Either side of this record might have broken through with just a little sustained promotion. Unfortunately, Sam's well documented philosophy at this point was to release them and, if lightning struck, reap the profits. Unfortunately for Ms. Wilcox, it didn't. (HD)

 
Freddie North
''DON'T MAKE ME CRY'' – B.M.I. - 1:59
Composer: - Ray Stevens
Publisher: - Bill Lowery Music
Matrix number: - P 412
Recorded: - Unknown Date August 1961
Studio Location Unknown
Released: - October 16, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3574-A mono
DON'T MAKE ME CRY / SOMEDAY SHE'LL COME ALONG
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-1 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Freddie North - Vocal
More Details Unknown
 
The flipside reveals that there is more to North than overwrought intensity. ''Don't Make Me Cry'' reveals a tough of Jackie Wilson and when that falsetto kicks in, it's hard not to think about Jimmy Jones. In fact, the opening notes of the falsetto section are a nearly direct quote from Maurice Williams' ''Stay'' (''Oh won't tou Sta – yay''). Perhaps it is fair to say that Freddie North was simply a composite of the most effective black music style of the late 1950s and early 1960s. He could do them all and managed to roll most of them into this record. (HD)

 
Freddie North
''SOMEDAY SHE'LL COME ALONG'' - B.M.I. - 2:28
Composer: - Rick Hall
Publisher: - Fame Music – Knox Music Incorporated
Matrix number: P 413
Recorded: - Unknown Date August 1961
Studio Location Unknown
Released: - October 16, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3574-B mono
SOMEDAY SHE'LL COME ALONG / DON'T MAKE ME CRY
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-1 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Freddie North - Vocal
More Details Unknown
 
This October 16, 1961 release is quite a stylistic departure from much of the Phillips International release schedule. ''Someday She'll Come Along'' is performed in a dramatic, quasi-bolero style popularized by Roy Orbison's records of the day (''Running Scared'', ''Crying''). There is a tremendous intimacy to North's performance, reflected in both his warm style and the manner in which it is recorded. It's likely that he did a lot of listening to Brook Benton and, going back a few years, it wouldn't be surprising to learn that Roy Hamilton was a hero. North's voice and indeed, this material recall inspirational classics like ''You'll Never Walk Alone''. Indeed it wouldn't have been surprising if the opening lines of this record had been ''Oh, my love...'' as North launched into his own version of ''Unchained Melody''. (HD)

 
Jeb Stuart
''I BETCHA GONNA LIKE IT'' - B.M.I. - 2:34
Composer: - Buddy Killen-Robert Riley
Publisher: - Tree Music
Matrix number: P 414
Recorded: - Unknown Date Late 1961
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - February 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3575-A mono
I BETCHA GONNA LIKE IT / LITTLE MISS LOVE
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-3 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Jeb Stuart – Vocal
Scotty Moore – Guitar
Brad Suggs – Guitar
Al Jackson – Drums
Larry Muhoberac – Piano
Robert Oldham – Tenor Saxophone
William Maherry – Tenor Saxophone
 
Like Freddie North, Jeb Stuart was another artist who did his share of listening to the radio. This may be the best of Stuart's four Phillips International releases. Old Jeb knew how to be commercial, if nothing else. The A-side features a tribute to some obscure juke joint that lies out there beyond the city limits. Singing the praises of joints like this is a time-honored tradition. At the time Jeb's record appeared, Chris Kenner was doing it with ''I Liked It Like That'', but the tradition was far older. Amos Milburn's ''Chicken Shack Boogie'', and Freddie Slack's ''House Of Blue Lights'' take it back at least 15 years and, more recently on Sun, Harold Dorman tried his hand with ''Uncle Jonah's Place''.  Jeb's tune features the glorious and memorable line ''The drum and the bass, they kick like a mule''. There was a vaguely Sun-related postscript to ''I Betcha Gonna Like It''. In 1964, with his career deeply in the doldrums, Jerry Lee Lewis recorded the song, although it was held back for the dreadful ''Soul My Way'' album. The song itself was written by Tree Music boss Buddy Killen, and 9wait for yet another tenuous Sun connection), Robert Riley, the co-writer of ''Just Walkin' In The Rain''. (HD)(CE)

 
Jeb Stuart
''LITTLE MISS LOVE'' – B.M.I. - 2:20
Composer: - Percy Mayfield
Publisher: - Curtom Publishers – Knox Music Incorporated
Matrix number: - P 412
Recorded: - Unknown Date August 1961
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - October 16, 1961
First appearance: - Phillips International (S) 45rpm standard single PI 3575-B mono
DON'T MAKE ME CRY / SOMEDAY SHE'LL COME ALONG
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-1 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Jeb Stuart – Vocal
Scotty Moore – Guitar
Brad Suggs – Guitar
Al Jackson – Drums
Larry Muhoberac – Piano
Robert Oldham – Tenor Saxophone
William Maherry – Tenor Saxophone
 
Never a unidimensional artist, Jeb gets into his Sam Cooke bag for the flipside ''Little Miss Love''. If Sun couldn't sell records like this in February 1962, there was something wrong with their promotion department. (HD)(CE)

 
Charlie Rich
''EASY MONEY'' - B.M.I. - 2:34
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - P 416
Recorded: - March 20, 1962
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - April 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3576-A mono
EASY MONEY / MISNITE BLUES
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-6 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Charlie Rich - Vocal & Piano
Eddie Bush - Guitar
R.W. ''T-Willie'' Stevenson - Bass
Al Jackson - Drums
Martin Willis - Tenor Saxophone
 
''Easy Money'' features a surprisingly hoarse sounding vocal which, if anything, takes Rich further into the realm of black music. The chord changes here are hardly newsworthy – Ray Charles and others were busy taking them to the bank during this period. Unfortunately, the lyric describes the fickleness of financial gain – a sentiment that must have seemed autobiographical to Rich, as he watched his booking fees slip lower as each release following ''Lonely Weekend'' took him further from the top of the charts. (HD)

 
Charlie Rich
''MIDNITE BLUES'' - B.M.I. - 2:46
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - P 417
Recorded: - January 17, 1962
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - April 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3576-B mono
MIDNITE BLUES / EASY MONEY
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-5 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Charlie Rich - Vocal & Piano
Scotty Moore - Guitar
Brad Suggs - Guitar
Robert McGhee - Bass
Al Jackson - Drums
Floyd Newman - Tenor Saxophone
 
''Midnite Blues'' rivals the best of Charlie Rich's work at Sun. Driven by Al Jackson's crisply recorded drum track and a gospelly female chorus, this track cooks from its percussive opening to those delicious single stroke drum rolls of the fade. With the exception on the instrumental ''Red Man'', this is the only track issued by Charlie Rich in a minor key. Rich's vocal sounds almost overcome by emotions – his reading of the line ''Every time....'' has tremendous emotional power, as does the changeover to a major chord in the release. It is hard to describe any of Rich's Sun records as overlooked, but this one may quality for under appreciated. (HD)

 
Thomas Wayne
''I'VE GOT IT MADE'' - B.M.I. - 2:20
Composer: - Bill Rich
Publisher: - Sandra Pure Gold - Knox Music Incorporated
Matrix number: - P 418
Recorded: - February 15, 1962
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - April 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3577-A mono
I'VE GOT IT MADE / THE QUIET LOOK
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-7 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Thomas Wayne – Vocal
Scotty Moore – Guitar
Brad Suggs – Guitar
Al Jackson – Drums
Robert McGhee – Bass
Larry Muhoberac – Piano
Unknown – Vocal Chorus
 
The flipside, ''I've Got It Made'', is just plain silly. About the only notable thing here is that Wayne, who wrote Elvis's ''The Girl Next Door'' (the one who went walking and came home layyade every night) seem obsessed with the folks next door. On this tune, his opening line is ''The boy next door''. This guy isn't so lucky as the famous girl. He only owns a department store, which may be one of the most bizarre lines in the annals of pop music.
 
Scotty continued to help Wayne, hiring him at his Music City Recorders in Nashville, but Wayne was in a tailspin, finding it hard to come to terms with being famous not-so-long ago. In August 1971, he gunned his car across four lanes of traffic on 1-240 in Memphis and killed himself. ''Tragedy'' indeed, not least for the driver of the car he kit. (HD)

 
Thomas Wayne
''THE QUIET LOOK'' - B.M.I. - 2:11
Composer: - Gerald Nelson-Fred Burch
Publisher: - Champion Music
Matrix number: - P 419
Recorded: - February 15, 1962
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - April 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3577-B mono
THE QUIET LOOK / I'VE GOT IT MADE
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-8 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Thomas Wayne – Vocal
Scotty Moore – Guitar
Brad Suggs – Guitar
Al Jackson – Drums
Robert McGhee – Bass
Larry Muhoberac – Piano
Unknown – Vocal Chorus
 
Scotty Moore recorded these sides with his former paperboy, Thomas Wayne Perkins, (brother of Luther). The object was to recapture the magic they'd found together when Wayne recorded the smash hit ''Tragedy'' for Scotty's Fernwood label back in 1959. Phillips also had good reason for wanting lightning to strike twice; he had foolishly passed on ''Tragedy''.
 
''The Quiet Look'' was the obvious plug side here as all assembled did everything they could to remind listeners and buyers about Wayne's earlier hit. From the ''wo-wo's'' to the 4-minor chords and the major seventh, it's all here. All except to a good song. With not a trace of originality going for it, this record – about a girl who sends too many non-verbal messages – sank without a trace. (HD)

 
Frank Frost
''CRAWLBACK'' - B.M.I. - 1:59
Composer: - Frank Frost
Publisher: - Hi-Lo Music Incorporated
Matrix number: - P 421
Recorded: - April 10, 1962
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3578-A mono
CRAWLBACK / JELLY ROLL KING
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-10 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Frank Frost - Vocal, Guitar & Harmonica
Jack Johnson - Guitar
Sam Carr - Drums
 
If you want to see how ordinary Frost could be under lesser circumstances listen to the instrumental flipside ''Crawlback''. And hen listen to ''Jelly Roll King'' again. Savor the moment, because you won't find a better one in the entire Phillips International catalog.
 
Sam Phillips himself enthused over Frank Frost. Talking to Martin Hawkins in 1987, he said, ''I saw a place in the market for Frank Frost, even though it was the most bluesy thing I had recorded in years. By the 1960s, there were more radio station that could expose the blues to a white audience than there had been earlier, and although rock music had gone in other directions I felt there was a chance of going against the odds and producing some solid blues that would get played and bought. Fran Frost could have been a very big artist. My longtime friend from Nashville, John R. - the disc jockey, rang me and told me that the LP on Frank Frost was the best record he had ever heard''. (HD)

 
Frank Frost
''JELLY ROLL KING'' - B.M.I. - 2:29
Composer: - Frank Frost
Publisher: - Knox Music Incorporated
Matrix number: - P 422
Recorded: - April 10, 1962
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3578-B mono
JELLY ROLL KING / CRAWLBACK
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-9 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Frank Frost - Vocal, Guitar & Harmonica
Jack Johnson - Guitar
Sam Carr - Drums
 
There are tens, maybe hundreds of thousands of blues records out there featuring songs by men like Frank Frost, hailing from tiny town up and down the Delta and urban jungles in the frozen north. Most of those records, whether by famous or unknown blues men, are nowhere near as good as this ''Jelly Roll King'' is certainly one of the best singles ever released under the Phillips International banner, but more than that it ranks among the best blues records issued in Sun's history; it's right up there with classics like ''Cotton Crop Blues'' and ''I Feel So Worried''. Arguably, this belongs among the best blues records issued in the past 40 years.
 
How did it happen? There are moments of near transcendent brilliance on this record and the truth is most of them are probably accidental. Frost had an entire LPs worth of material issued on Phillips International in 1962 (Frank Frost with The Night Hawks – ''Hey Boss Man!'', PILP 1975), and another on the Jewell label. They both have their moments, but nothing is in this class. ''Jelly Roll King'' is simply a near perfect record. The recorded sound is impeccable. The instruments, all four of them (including Frost's harp) are right on target. Sam Carr's drumming with its little kicking counter rhythms couldn't be more effective. Jack Johnson plays the minimalist but effective guitar.
 
The song itself – a rather loving tribute to a dear departed friend – isn't particularly distinguished. There's really no punch line here ''The guy was a prince. I miss him and his girlfriend Sue misses him too. I wish I could see him again''. What takes this beyond the ordinary are two important things. First, the verse start in the 4-chord instead of the conventional 1-chord, adding some tension and melodic potential; second, Frank Frost's beautiful, breaking voice takes this record into another realm. It is just superb. Make no mistake about it, this is a country performance. To be sure, Frost was and is a bluesman. Just a glance at the other titles he recorded for Phillips makes it clear that he listened to his share of Jimmy Reed and Little Walter records, but somewhere along the line he also learned to express emotion in his voice like a country singer. He is eons closer to Hank Williams than to Howlin' Wolf. Once again, Sun and Sam have presented us with a devastating hybrid record. (HD)

 
Carl Mann
"WHEN I GROW TOO OLD TO DREAM''- A.S.C.A.P. - 2:43
Composer: - Oscar Hammerstein II-Sigmund Romberg
Publisher: - Robbins Music
Matrix number: - P 424
Recorded: - March 20, 1962
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3579-A mono
WHEN I GROW TOO OLD DREAM / MOUNTAIN DEW
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-12 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Carl Mann - Vocal, Piano
Eddie Bush - Guitar
R.W. ''T-Willie'' Stevenson - Bass
Al Jackson - Drums
 
The flipside ''When I Grow Too Old To Dream'' has a loses feel. Technically speaking, this too is another old song that Mann is rocking up, but the approach is much different here from ''Mona Lisa''. In fact, the kindest thing one can say about Mann's last Phillips International single is that it is every bit as spare and underproduced as his first. He managed to exit without string and vocal excesses trailing behind him. (HD)

 
Carl Mann
"MOUNTAUN DEW" - B.M.I. - 2:34
Composer: - Bascar L. Lunsford-Scott Weisman-Grand Pa Jones
Publisher: - Tanner Music
Matrix number: - P 426
Recorded: - March 20, 1962
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3579-B mono
MOUNTAIN DEW / WHEN I GROW TOO OLD DREAM
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-11 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Carl Mann - Vocal, Piano
Eddie Bush - Guitar
R.W. ''T-Willie'' Stevenson - Bass
Al Jackson - Drums
 
A milestone of sorts – Carl Mann's last record for Phillips International. The release sold worse than any of his preceding records and sealed Mann's fate with the label. There is a very loose, almost spontaneous feel to the both sides of this record. ''Mountain Dew'' was all autobiographical by this point in Mann's young life  and it sounds as if a bit of the title substance was flowing during the session. Mann takes considerable liberties with the lyrics, stumbling over the mug/jug lines and altogether messing up one of the song's clever rhymes. The birds in the sky get so high they can't fly. That way you get a three word rhyme out of it. In Car's version, the birds are sick – a possible case of art imitating life. Interestingly, there is a much hotter version of this track available as an alternate take. Why it was passed over in favor of this more subdued reading is anyone's guess. (HD)

 
Jeb Stuart & The Chippers
''I AIN'T NEVER" - B.M.I. - 1:59
Composer: - Tillis-Webb Pierce
Publisher: - Cedar Music
Matrix number: - P 427
Recorded: - Unknown Date 1962
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3580-A mono
I AIN'T NEVER / IN LOVE AGAIN
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-13 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Jeb Stuart – Vocal
Steve Cropper – Guitar
Booker T – Organ
Lewie Steinberg - Bass
Al Jackson - Drums
Vinnie Trauth – Tenor Saxophone
 
Webb and Jeb: together again. Or, actually, together for the first time. Jeb takes on Webb Pierce's massive hit from 1959, a song that has been recorded by everyone from The Four Preps to Isaac Hayes. There's nothing wrongs with Jeb's approach which, truth to tell, is pretty close to how Webb read it the first time around. If anything, Jeb adds some melisma to some of those vocal lines and it turns out they simply don't need it. This is one song that benefits not one iota from going to church. It's just a good, solid, catchy tune, whether Webb is reading it straight or John Fogerty is doing his one-man band version in 1973. For all intents and purposes, this is Jeb singing with Booker T. and the MGs.   The session personnel includes Booker T. himself on organ, Steve Cropper on guitar, and Al Jackson on drums. Perhaps the most unusual thing about this record is the opening. Listen closely to it. Sound familiar? Why, that's nobody but the ''Signifying Monkey'', himself, jumping right out of his coconut tree on Sun 228. Was this coincidence or do you think they knew what they were borrowing? Jeb insisted that Webb Pierce thought enough of Jeb's record to invite him to pose alongside the famous silver dollar-encrusted Pontiac, but Sun sent Jerry Lee Lewis for the photo op instead. (HD)(CE)

 
Jeb Stuart & The Chippers
"IN LOVE AGAIN''- B.M.I. - 2:41
Composer: - Vinnie Trauth
Publisher: - Knox Music Incorporated
Matrix number: - P 428
Recorded: - Unknown Date 1962
Sam Phillips Recording Studio
639 Madison Avenue, Memphis, Tennessee
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3580-B mono
IN LOVE AGAIN / I AIN'T NEVER
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806 DI-4-14 mono digital
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Jeb Stuart – Vocal
Steve Cropper – Guitar
Booker T – Organ
Lewie Steinberg - Bass
Al Jackson - Drums
Vinnie Trauth – Tenor Saxophone
 
''In Love Again'' pays a mighty big debt to Miz Barbara George, the barely teenage singer who scored a big 1961 New Orleans hit with ''I Know''. The similarity shows up immediately in the first two words, and reappears in the horn solo. Regardless of its source, this is a very churchy record, written by Sun's in-house arranger, Vinnie Trauth (who was fooling with a musician's wife – a liaison that would soon prompt a hurried exit from both Sun and Tennessee).
 
This was Jeb's last appearance on Phillips International. A few years later, in 1969, he was writing letters to Knox Phillips, trying to rekindle the flame and get the Phillips clan to produce, distribute or release his recordings again. As far as we can tell, no such arrangement ever came to pass. Stuart moved from label to ever-smaller label, turning up for brief periods on Kent, King, Great American, Pure Gold, Youngstown, Eureka, and Vlomax. He later moved to Miami, and still lives there (1998). Interviewed in 1987, he said that he was learning Yiddish to better serenade Jewish retirees. (HD)(CE)

 

 

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