"COME ON LITTLE MAMA" - B.M.I. - 2:18
Composer: - Ray Harris-Wayne Cogswell
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 200
Recorded: - June 20, 1956
Memphis Recording Service
706 Union Avenue, Memphis, Tennessee
- September 24, 1956
First appearance: - Sun Records (S) 78/45rpm standard single SUN 254-B mono
COME ON LITTLE MAMA / WHERE'D YOU STAY LAST NIGHT
Reissued: - 1995 Bear Family Records (CD) 500/200rpm
BCD 15802 DI-3-1 mono digital
THE SUN SINGLES COLLECTION - VOLUME 2
Name (Or. No. Of Instruments)
Ray Harris - Vocal and Guitar
Winston Wayne Cogswell - Guitar
Joey Reisenberg - Drums
Unknown – Bass
There is a priceless anecdote about Ray Harris, practicing his vocal craft in a non-air conditioned Memphis
apartment in July, standing in his overalls, dripping with sweat, bellowing his heart out to his undeserving neighbors.
Folks living blocks away got to preview an a cappella version of these sides, which Billboard later called "dangerous".
All the practicing apparently paid off for Harris, whose voice Billboard described as "extreme"
and "emotion packed". In his more staid later life, Ray Harris spent years as the resident engineer at the Hi Records studio across town.
its original 45rpm form "Come On Little Mama" proved to be a serious challenge for the avid listener as the single was pressed on particularly low grade vinyl. Only in recent years,
with the advent of the digital format, has it been possible to soak up the full impact of what Ray Harris first set out to archieve. As a point of interest, his right hand man was a fine guitarist by the name of Wayne Gogswell who saw success of his own when he penned "Teensville"
for Chet Atkins.
On Little Mama" was one of the original Holy Grail Sun singles... and with good reason. Its one of the most berserk records of the era. Ray Harris took his song to Sun. Sam Phillips,
surely knowing that he couldn't sell Harris to the mass market, nevertheless responded to his maniacal energu. "I'll never forget it, he was so intense", says Phillips. "Ray was a very intense person. He really put himself into it. He looked like he was going to have a heart attack every
time he played. 'Rack 'em up, boy, let's go!. That was Ray's saying".
"Come On Little Mama" was a definitive statement of supercharged rockabilly: a word apart from country, but
not identifiably rhythm and blues or pop. The lyrics were virtually unintelligible, the musicianship limited, and the production sparse, but the performance was irressistible. "Come On Little Mama"
apparently sold well locally, and Ray Harris was invited back to cut a follow-up. (MH)(HD)(CE)