CONTAINS
For music (standard singles) and playlists on YouTube click on the available > buttons <
> Back 1958 Sun Schedule <

1958 SESSIONS (7)
July 1, 1958 to July 31, 1958

Studio Session for Jerry Lee Lewis, Early July 1958 / Sun Records (1)
Studio Session for Jerry Lee Lewis, Before July 9, 1958 / Sun Records (2)
Studio Session for Jerry Lee Lewis, July 9, 1958 / Sun Records (3)
Studio Session for Jerry Lee Lewis, July 1958 / Sun Records (4)
Studio Session for Johnny Cash, July 10, 1958 / Sun Records
Studio Session for Charlie Rich, July 14, 1958 / Sun Records
Home Recordings for Charlie Rich, Probably July 1958 / Sun Records
Studio Session for Carl McVoy, July 17, 1958 / Sun Records
Studio Session for Johnny Cash, July 17, 1958 / Sun Records
Studio Session for Sonny Burgess & Billy Riley, July 22, 1958 / Sun Records

For Biographies of Artists see: > The Sun Biographies <
Sun recordings can be heard on the playlists from 706 Union Avenue Sessions on  > YouTube < 

© - 706 UNION AVENUE SESSIONS - ©

JULY 1958

Although few could have perceived it at the time, July 1958 was a watershed in the history of Sun Records. Jerry Lee Lewis had returned from England with his career in tatters; Johnny Cash was just completing his divorce from the label. A few weeks later, Jud Phillips left to start his eponymous Judd label

Despite the bad news, Sam Phillips pushed forward. Foremost in his mind was his concern over the recording conditions at 706 Union Avenue: his studio was creeping into obsolescence. The floor, while larger than many have supposed, was too small to accommodate the increasingly large groups Sun was recording.

The control room was too small to install the crucial new multitrack recorders. And the office area, where Sam rambled around as always among other people's desks, was too cramped to house even his skeleton staff.

By 1958 he knew he would have to take his recording operations into new quarters, even if his own, very good, instincts warned him against it.

Phillips also wanted to diversify into custom recording (hiring out studio time), and developing Phillips International into an label with diverse brands of music. All of this, requiring more space, more personnel, and updated technology, was impossible at 706 Union Avenue.

JULY 1958

Jerry Lee Lewis and his entourage had anticipated that they would arrive back in United States to find the disclosure of Myra's age and the accompanying news that Jerry's divorce from his previous wife had not been finalized when he married Myra would have no impact upon his burgeoning career.

Sam Phillips was dismayed. ''It was stupid damn thing. I think Jerry's innocence back then and his trying to be open and friendly and engaging with the press, backfired. They scalped him. It turned out to be a very ghastly and deadly thing. So many people wanted to point a finger of scorn at rockers and say. we told you so; rockers are no good''.

JULY 1958

In 1958, former Sun recording artist, Andy Anderson and his band mixed local shows with spots on tour packages organized by Dick Clark and Alan Freed. Then, Andy quit the Stones and went home to do what he always said he didn't want, to help run the family business. This was short-lived, however, and he soon back on the rock and roll trail with a new band The Dawnbreakers, and a new record, ''Tough Tough Tough'', the same song he had recorded at Sun. He had his own record label too, Century Ltd. By the mid-1960s, after a period running an electric wholesale company, Anderson switched courses completely, moving to Los Angeles and beginning an acting career. He spent some time in Santa Fe, New Mexico recording as ''The Eagle and The Hawk'' with songwriter J.J. Hettinger. Today, Andy lives back near his roots in Clinton, Mississippi playing occasional jam sessions with friends from the Delta days. He was written a book with Erika Celeste called ''Memories of the Original Rolling Stones''.

JULY 1958

The seventeen-year-old Phil Spector went into Gold Star Studio in Los Angeles with his group the Teddy Bears (Marshall Leib, Sandy Nelson, Annette Kleinbard). His mission was to cut his first record and, he hoped his first hit. The song, ''To Know Him Is To Love Him'', had been written by Spector, its title inspired by the inscription on his father's gravestone. Spector also arranged the music for the session and played all the instruments except drums (which were handled by Sandy Nelson). And, in a sign of things to come, the song did indeed become a hit, going all the way to number one on the pop charts.

In the annals of sixties pop music, few behind-the-scene figures had a more profound impact than Phil Spector. Two years after recording ''To Know Him Is To Love Him'', Spector flew to New York aboard American Airlines's first commercial cross-country jet and began to mingle with the songwriters and producers who were responsible for what has ill Building Sound. Apprenticing with Jerry Leiber and Mike Stoller, Spector quickly proved himself, cowriting (with Leiber) ''Spanish Harlem'', a huge hit for Ben E. King, and playing guitar on the Drifters's ''On Broadway''.

By mid-1961, Phil Spector, still only twenty, had formed his own label, Philles Records, and begun a five-year run during which he produced enduring classics as ''He's A Rebel'', ''(Today I Met) The Boy I'm Gonna Marry'', ''Da Dopo Ron Ron'', ''Be My Baby'', ''Walking In The Rain'', ''You've Lost That Lovin' Feelin''', and ''Unchained Melody''.

During this period, Spector, like Leiber and Stoller before him, further developed the concept of the record produced as auteur. Working with engineer Larry Levine, arranger Jack Nitzsche, the best songwriters (Carole King, Gerry Goffin, Harry Nilsson, Doc Pomus, Ellie Greenwich, Jerry Barry, Cynthia Weil, and Barry Mann), and the best musicians (drummer Hal Blane, pianist Leon Russell, drummer Jim Gordon, bassist Carol Kaye, among many others), Spector directed each recording as if it were a feature film. He added string sections, tympani, bells, anything that would help him build his now-famous Wall of Sound, a cavernous, majestic, echo-enveloped sound in which the singers, like the musicians, were just one aspect of the overall production.

Phil Spector attempted to top himself with each new single, the productions becoming more complex, more massive. But when the song he considered his masterpiece, Tina Turner's ''River Deep Mountain High'', failed to become a hit, Spector decided to call it a day. He shut down Philles, though he did continue on in the rock world, working with the Beatles on ''Let It Be'', George Harrison on ''All Things Must Pass'', John Lennon on ''Imagine'' and Plastic Ono Band, Leonard Cohen, the Ramones, and others. The music that Spector created in the sixties sounds as fresh and exciting today as it did forty years ago, proving there was a lot of truth in the Philles motto: ''Tomorrow's Sound Today''. In 2009, Spector was convicted of seconddegree murder in the 2003 shooting death of actress Lana Clarkson in his Alhambra, California home. He is serving a prison sentence of 19 years to life.

JULY 1958

Still stunning by Jerry Lee Lewis's flame-out, soldiered on as the days lengthened into early summer 1958. The magnolias and crepe myrtles were beginning to bloom, and the many trees along the main streets and boulevards were in full leaf. It was warm, but the oppressive heat and humidity of July and August hadn't come yet. Jerry Lee Lewis's ''High School Confidential'' was released as planned on June 2, to coincide with the appearance in movie houses of the film of the same name.

We had a black-and-white sleeve to ship it in, showing a head shot of Jerry Lee with the stars of the movie in the background. The voluptuous Mamie Van Doren had the most eye-catching photo among the five cast members.

In the movie, Jerry Lee Lewis, along with bassist Jay W. Brown, his cousin and father-in-law, and drummer Russ Smith performed on the back of a truck, personifying the rock and roll music that the teenyboppers loved and their parents hated.

Jay W. took the place of Roland Janes, who along with Jimmy M. Van Eaton, had quit Jerry Lee's band at this time. However, in the movie, the music being heard was the original Sun recording with Roland Janes on guitar and Jimmy M. Van Eaton on drums.

Sun was happily surprised that ''High School Confidential'' climbed to number 21 on the charts. Its lyrics monotonously chanted, ''Bopping at the high school hop'' and was clearly a song ''manufactured'' for this movie. Other people much preferred the country-sounding flip side, ''Fools Like Me'', which Jack Clement co-wrote.

Despite the ban that many radio and TV stations had imposed Jerry Lee, ''High School Confidential'' stayed on the Billboard Top 100 for eleven weeks. Some of Jerry's fans obviously loved him for his music and didn't think his personal life defined him. We kept thinking that, if the movie had featured a stronger song, Jerry Lee might have had a bona fide hit that would have put him back in the big arenas. As it was, just to keep him working, his manager had started booking small venues at a fraction of what he was making before he went to England.

Jud Phillips kept obsessing about ways to help Jerry Lee make a comeback. He mentioned he'd like his writer friend, Helen Bolstad, or someone like her to do a fan-magazine piece with pictures of Myra and Jerry at home with their parents. ''If they know more about him, show them cooking, playing with their dog, all that domestic stuff, they'll forget about the past. People do forget. We need to create a new impression of him''.

He said he'd talked with Sam Phillips about some of his ideas, but Sam wasn't too interested. Even though he thought Jerry Lee had a chance to make it back in sow business, Sam didn't have any ideas about how to help him. ''Sam seems to have lost interest in the record business'', Jud confided. ''I'm about to lose my enthusiasm, too. Without that drive, you can't accomplish anything''.

SUMMER 1958

According to Barbara Barnes, ''Summer also brought a major development to Sun Record Company. At opening time one Monday morning (this was the day he usually got there early), Sam arrived in a buoyant mood on 706 Union, eager to convey the good news that he'd bought property at 639 Madison for a new studio. He exclaimed that we would have ample space for staff offices, as well as great new equipment and two studios for greater technical flexibility in recording. We were going to be an even greater record company and now, custom recording studio!. He had hired a remodeling of the building he had bought''.

''At noon, some of us traveled the short distance over to Madison to take a look, and we would see it was a great location, but the building needed a lot of work outside'', Barbara said. ''Naturally, the inside would have to be entirely redone, because it was a former wholesale bakery. There would be room for parking, which was a great improvement''.

''The leased 706 location had certainly served well as a place to generate hits, and we managed to conduct our business there, but the idea of greater comfort and a place to park was really welcome. Despite his other business interests, Sam intended to keep making records , though he had doubts that rock and roll would always be so popular, and now he could afford better quarters. One day some months past, Sally Wilbourn had looked up from her bookkeeping and announced, ''Sam has a million dollars in his bank account''. I wasn't surprise, because the figure three million had been floated as an estimate of our annual gross. I didn't know much about the money flow'', said Barbara, ''but I was up to date on sales, which had been great since before I arrived. I also knew that expenses had to be low, with our staff so small and no one making a high salary''.

Sam Phillips greatest expectation for the new facility lay in custom recording and mastering. Ever on the lookout for a good investment (he hadn't done badly sinking some cash in Holiday Inns), he felt Memphis was a magnet for the abundant indigenous talent, and that there was no real competition in recording. One studio, the Pepper facility, was making commercials, but that marked had room for competition, and only a few obscure studios were putting out records. But Sam envisioned the Sam C. Phillips Recording Studios as something comparable to the Nashville facilities where almost all of America's country music was produced. Sam Phillips could even compete with them, as the Sun label had always had a country catalog.

JULY 1, 1958 TUESDAY

The Ash Grove officially opens at 8162 Melrose Avenue in Los Angeles. The club raises the profile of blues, folk and country acts, including Mississippi John Hurt, Son House, Earl Hooker, Muddy Waters, and young artists that produced the sixties music revolution. Among those pearls brought to the Ash Grove where, Doc Watson, Pete Seeger, June Carter, Johnny Cash, Jose Feliciano, Phil Ochs, Joan Baez, Johnny Otis, Ramblin' Jack Elliott, Ian and Sylvia, Kathy and Carol, Sonny Terry, Brownie McGhee, New Lost City Ramblers, The Weavers, The Greenbriar Boys, Lighnin' Hopkins, Luke ''Lone Gone'' Miles, Barbara Dane, Holly Near, Arlo Guthrie, Rising Sons, Mance Lipscomb, Guy and Candie Carawan, John Jacob Niles, Bukka White, Howlin' Wolf, Johnny Shines, John Fahey, Willie Dixon, Lonnie Mack and Kris Krisofferson, among others.

JULY 2, 1958 WEDNESDAY

Paramount released Elvis Presley's ''King Creole''.

JULY 3, 1958 THURSDAY

Aaron Tippin is born in Pensacola, Florida. His hard-tipped vocals net him a strong 1990s presence behind such hits as ''That's As Close I'll Get To Loving You'', ''You've Got To Stand For Something'' and ''There Ain't Nothing Wrong With The Radio''.

JULY 5, 1958 SATURDAY

Webb Pierce recorded ''Falling Back To You'' in the afternoon at the Bradley Recording Studio in Nashville, Tennessee.

Harry Warner dies in Hollywood, California. With three siblings, he created Warner Bros. Pictures, a major film company that would also start a record label, which plays a hand in careers of Randy Travis, Faith Hill and Emmylou Harris, among others.

Johnny Cash is a guest on the ABC-TV music series ''The Dick Clark Show''.

Sheb Wooley is a guest on NBC-TV's ''The Bob Crosby Show''.

Actor Joseph Breen is born in Katonah, New York. He is destined to become the fourth husband of Carlene Carter.

JULY 6, 1958 SUNDAY

Elvis Presley picks up a speeding ticket in Fort Worth, Texas.

JULY 7, 1958 MONDAY

Columbia released the Marty Robbins single ''She Was Only Seventeen (He Was One Year More)''.

(Above right) Plenty of desks, office space, two recording studios, each its own control room, and an acetate room will be included in the new Sun Record Co., now completion at 639 Madison Avenue. Front designed by Denise Howard by Decor of Denise, is of rough yextured terrazzo. Top floor is include penthouse executive offices and a sun and dance deck. The new building will be identified as home of the Sun and Phillips International records by a sign and oversized, multi-colored disks. (Under construction, April 1959)

SUMMER 1958

639 MADISON AVENUE – In the summer of 1958 Sam Phillips bought a property on Madison Avenue in Memphis, just a few city blocks from the old studio. At various points in its history, 639 Madison had housed a Midas Muffler shop and Hart's Bakery. Phillips gutted the interior and installed two modern recording studios on the ground floor. On the second floor he laid out the new A&R and promotion offices, and set aside a vault for tape storage. On the third floor, adjacent to the accounting and publishing offices, Phillips finally gave himself his own office, complete with jukebox and nearby wet bar, ensuring that he was surrounded by a few of his favorite things.

The anal touches fire administered by Decor by Denise, who favored early space age motifs: door handles were housed in miniature sputniks, and the offices soon took on the look of a late 1950s Buick. Although it had been in use, on and off, since January 1960, the new studio was launched in a promotional whirl on September 17. The complex was everything that 706 Union was not: spacious, state-of-the-art, and soulless.

Phillips added to his staff at the new location. By this point, Phillips had separated from his wife, Becky, and was living with Sally Wilbourn, who had joined Sun in late 1955. She moved with him as office manager, as did pro-motion person Barbara Barnes (who left later in 1960, sensing the game was over, to pursue a career in academia). Scotty Moore was brought over from Fernwood Records in June 1960 and named studio manager and chief cutting engineer; Charles Underwood, composer of ''Ubangi Stomp'' was hired as air manager and assistant engineer. Moore and Underwood largely filled the holes created by the departure of Bill Justis and Jack Clement; together they joined Bill Fitzgerald and Cecil Scaife, who had been hired shortly before the new studio was finished.

Bill Fitzgerald had been an early partner in Duke Records before it had been acquired by Don Robey. Fitzgerald then concentrated on building the Music Sales distributorship in Memphis. After nine years in distribution, he took on the ill-defined role of general manager at Sun in August 1959, staying until the bitter end.

Cecil Scaife was born in Helena, Arkansas, and had originally planned to parlay hid looks into a career in movies. He went to Hollywood as a protege of Paramount Pictures, staying a few months before returning to the South Vreft of his illusions about the movie business. Scaife joined Hi Records as promotion manager, becoming their first full-time employee; Sam Phillips was Impressed with his work in getting Carl McVoy off the ground, and phoned him in the wee hours one morning offering him the job of promotion manager that Jud Phillips had just vacated. After dinner the following night, Scaife accepted.

STUDIO A - The main studio on Madison Avenue was roughly twice the size of the old studio floor on Union Avenue, and the console in the control room was arranged in a futuristic V design. It house a four-track recorder and two single-track machines. Scotty Moore would later bring in a three-track recorder so that he could be compatible with the studios in Nashville. Moore and Phillips also installed two state-of-the-art Neumann cutting lathes so that they could cut their own masters, although the lathes never became fully operational.

The difficulties began to mount even before the tapes started rolling. The studio architect was drafted, leaving others to pick up the pieces. ''We had problems from day one'', says Cecil Scaife. ''For a start, the roof leaked because of all the flat surfaces. Every time it rained 1'd have to go over there with buckets and mops. It delayed the opening for six month's''.

That was nothing compared to the real problem with the building, untamed acoustics. ''The room wasn't tuned properly'', asserts Scaife. '' I took some Nashville guys over there to record, and they walked out. The sound was too hot. Too alive''. Phillips' instincts as an audio engineer, which had served him so well at the old studio, deserted him on Madison Avenue. The tightly focused slapback echo at the old studio had been replaced try a cavernous hollow sound, as the audio signals leaped around the huge floor and off the corrugated ceiling. To combat the problem, Phillips ordered baffles that could he recessed into the wall when not in use; but they turned out to he more decorative than functional

The problems ran even deeper than technical and design flaws. The funkiness of the old studio had been replaced by a high-tech environment. ''It was awful hard to create there's'', recalls Scaife. .''06 Union had a terrific atmosphere. A creative atmosphere. There was a naturalness about it. You felt up when you walked in. The new studio had a sterile atmosphere, it was like a doctor's office''.

Phillips himself seems to have been ambivalent about the new facility. In his first flush of enthusiasm, he told Edwin Howard, ''Woodshed recordings have had it You've got to have latitude today, all the electronic devices, built-in high and low frequency equalization and attenuation, echoes, channel splitting and metered on everything''. But it's doubtful that Phillips ever truly learned to love the new technology.

Phillips oldest son, Knox, watched his father at work in the new studio. A single-track machine was run in tandem with the multitrack so that everything could be recorded twice. Phillips would premix through the hoard to the single-track machineries, as he had at the old studio, leaving no latitude for rebalancing. The four-track tapes could he used for stereo middowns and over-dubbing, if necessary. Invariably, though, it was what he captured on the single-track that Phillips regarded as the ''cut''. ''His concern was to get it on the floor and capture it on the single-track'', explained Knox. ''He believed that if the feeling wasn't there on the floor right then, there wasn't any point it in doctoring it up later''.

JULY 1958

Johnny Cash appears on the Bandstand TV show before completing his final recording session for Sun Records. It is announced that he will sign with Columbia Records on August 1. Sun Records continue to issue his recordings successfully into the early 1960s. Carl Perkins and Jerry Lee Lewis tour Texas and the Midwest with other Sun artists.

Johnny Cash left Sun Records on the day that Sun artist Ernie Barton's first single ''Raining The Blues'' b/w ''Stairway To Nowhere'' (PI 3528), was released. Perhaps Sam Phillips hoped that Barton would pick up where Cash left off. It so, it didn't happen, although Brian Setzer liked ''Stairway To Nowhere'' enough to cover it in 2005. Both sides of the record were written by Allen and Jo-Ann Wingate. As Allen Page, Wingate recorded for Sun's Memphis competitor, Moon Records. Like Barton, he came from Daytona, so they probably knew each other way back. In 1963, Wingate became an evangelist and traveled the country performing bogus miracles until his death forty years later.

Johnny Cash and Sonny Burgess tour California and the west coast.

Carl Perkins and Jerry Lee Lewis tour Texas and the mid-west with other Sun artists.

JULY 1958

According to Barbara Barnes, ''One encouraging sign, however, was that more and more mail began coming in as disk jockeys and some others on my mailing list to respond to Sun-Liners, the golden one-sheet newsletter I had initiated in May to send to radio station, trade papers, and our distributors''.

''I had asked for news, and in response, I got letters from disk jockeys in Minneapolis (Tom Lynn, WLOL), Seattle (Dave Neuman, KAYO), Youngstown (Dick Biondi, WHO), Cleveland (Bob Ancell and Phil McLean, WERE), Augusta, Georgia (Bob Ritter, WGUS), and many others, not all of whom I had space to recognize in the newsletter'', said Barbara.

In July, they put out a similar newsletter for Phillips International, with the name Scandal Sheet, this one on white paper with blue type. Again, the jocks wrote in to report on how the releases of Sun were doing and to keep the industry abreast of what they were doing in their market or where they were moving, as disk jockeys so often did. Barbara noted in this issue that Bill Justis had ''another entry in his catalog of nervous instrumentals''. He called the tune ''Cattywampus''. Bill, in an ironic comment on tradepub journalese, said ''It's a new sound for Justis, featuring a soulful sax solo with a rock-solid beat''. He played it on the ABC Saturday night Dick Clark show on July 26. The B side of ''Cattywampus'' featured a solo by Charlie Rich on celesta. The tinkly music of this small keyboard instrument was known to jazz fans, but was really a new sound for Sun.

© - 706 UNION AVENUE SESSIONS - ©

A new arrival at Sun Records, Charlie Rich, had been promised before Jerry's scandal broke that songs he'd written would be used on both sides of the new Lewis single. Rich had "Break Up" and "I'll Make It All Up To You" ready for recording, anticipating that the royalties would keep him in Beefeaters for the next decade. But it was not to be: the single climbed uncertainly up to number 50, then died quickly away.

STUDIO SESSION FOR JERRY LEE LEWIS
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1958

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION 1: EARLY JULY 1958
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - JACK CLEMENT
AND/OR BILL JUSTIS

If ''High School Confidential'' proved hard to pin down, the story behind two subsequent pitches at regaining a place in the pop charts, an ambition now seriously compromised by events in Lewis' private ''life'', is no less convoluted. The first of these, ''Break Up'', forged the first links between the performing talents of Lewis and the writing skills of Charlie Rich. The development of this song over several weeks again raises the question as to whether we are dealing with ''different takes'' or ''different versions'' of a denominated title. Certainly there are several distinctive approaches taken insofar as the opening bars of the song are concerned, including one in which Jerry Lee's intro is lifted cheekily from a contemporary instrumental hit, The Champs' ''Tequila''. Even within the recognisable ''sub-groups'' there is little consistency; Jerry Lee Lewis clearly had difficulty in coming to terms with how best to open proceedings.(*)

The evolution of ''Break Up'' also invites a close examination and re-appraisal of the story of a so-called ''solo session'' in which Jerry Lee Lewis ostensibly performs with no accompaniment, previously identified as having taken place in May 1958, shortly before his departure for England. It is now being argued that several takes of ''Break Up'' had, in fact, already been taped before the song was performed four times during what has hitherto been defined as an isolated session involving Jerry Lee alone. This assertion does, of course, run contrary to the notion, put forward in earlier discographies, that the ''solo'' takes of ''Break Up'' predate all the other alternates of this song. The established chronology id, however, considered highly improbable, certainly if one accepts as valid the dates of July 16, 17, 1958 for the session at which the master of ''Break Up'' was produced, dates which for once were logged in Sun's accounts in accordance with union procedures and which tie-in with the mid-August release date of the record.(*)

As the ensemble first tries to get to grips with ''Break Up'', Jerry Lee at times struggles with fitting the lyrics to the differing tempos applied to the song. However, by the time of the ''solo session'' Lewis is no stranger to ''Break Up''; at this stage in the proceedings he's well versed in the lyrics and he performs the song with great confidence, realising its potential as a medium to show off his pumping piano technique. Moreover, there's also some discussion about the style of the intro itself and apparent approval of a pattern which proves to be close to the arrangement heard on the finished article, as released on Sun 303. In light of this, it's hard to avoid the realisation that the ''solo session'', at least insofar as the recording of ''Break Up'' is concerned, did not take place in May, but was an interregnum during which Jerry Lee was let loose to innovate between sessions involving other musicians.(*)

It's entirely possible that the solo recordings do not, in fact, represent the outcome of one session; much of the evidence points to them being the products of separate engagements when Lewis was alone or was simply rehearsing in advance of the other musicians assembling in the studio. Moreover, several of these tapes, conspicuously those of ''That Lucky Old Sun'', ''Crazy Arms'' and ''Live And Let Live'', testify to the presence of a drummer who is providing some metronomic brushwork to help keep time; they aren't, in the strictest sense, ''solo'' performances as usually credited anyway. The bona fide piano only works do, however, appear to include ''Come What May'' and ''Memory Of You'' and several run-throughs of ''Break Up'', albeit a drummer may still have been present and simply further ''off mike''.(*)

1(1) - "BREAK UP" (1)- B.M.I. - 2:27
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 1
Recorded: - Early July 1958 - Not Originally
Released: - September 1989
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15420-5-4 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-7-13 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

Having questioned the previous assumptions about the unaccompanied work, let's look in detail at the story behind the development of ''Break Up'' itself. As noted above, a number of templates were tried out; first to be heard are successive takes featuring a simple five note cascade down the keyboard for the intro. The two complete takes are differentiated by the drummer switching from a steady beat in the first to a broken beat in the second. What may have been an earlier flirtation with the broken beat rhythm, represented here by a mere fifty seconds of tape, ends unsatisfactorily. Next comes a third complete take with an intro on the same theme but involving double strikes on each of the first four chords, the drummer staying for the time being with the broken beat.(*)

1(2) - "BREAK UP" (1) - B.M.I. - 0:52
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Incomplete Take 2
Probably recorded as an alternative ending for splicing.
Recorded: - Early July 1958 - Not Originally
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-7-14 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(3) - "BREAK UP" (1) - B.M.I. - 2:53
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Chatter - Take 3
Recorded: - Early July 1958 - Not Originally
Released: - April 1993
First appearance: - Charly Records (CD) 500/22rpm Sunbox 4-11-14 mono
JERRY LEE LEWIS - THE ULTIMATE - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-7-15 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(4) - "BREAK UP" (1) - B.M.I. - 2:32
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 4
Recorded: - Early July 1958 - Not Originally
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-7-16 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

The ensuing three attempts, embracing one extended false start, feature the ''Tequila'' intro. It's an imaginative experiment, but destined to fail; Jerry Lee's frustration with the arrangement is made all too obvious as he applies this atypical figure for a third and final time.(*)

1(5) - "BREAK UP" (1) - B.M.I. - 2:29
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Chatter - Take 5
Recorded: - Early July 1958 - Not Originally
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-B3 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-7-17 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(6) - "BREAK UP" (1) - B.M.I. - 0:26
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - IncompleteTake 6
Recorded: - Early July 1958 - Not Originally
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-7-18mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(7) - "BREAK UP" (1) - B.M.I. - 2:25
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 7
Recorded: - Early July 1958 - Not Originally
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-7-19 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

For take 8 we're back to the opening cascade but it is now in a higher key than before and the guitarist initially takes a different course. Following this take, we hear two brief vestiges which share some quirks with complete recordings on either side and which lead us back from the broken beat to the steady rhythm.(*)

1(8) - "BREAK UP" (1) - B.M.I. - 2:24
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 8
Recorded: - Early July 1958 - Not Originally
Unknown Vocal Chorus added at an overdub session on July 1958
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-7-20 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(8d) - "BREAK UP" (1) - B.M.I. - 2:24
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Unknown Take
Recorded: - Early July 1958 - Not Originally
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-18-21 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(9) - "BREAK UP" (1) - B.M.I. - 0:50
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Incomplete Take 9
Probably recorded as an alternative ending for splicing.
Recorded: - Early July 1958 - Not Originally
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-7-21mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(10) - "BREAK UP" (1) - B.M.I. - 0:32
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Incomplete Take 10
Probably recorded as an alternative ending for splicing.
Recorded: - Early July 1958 - Not Originally
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-7-22 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

In takes 11 and 12 the opening motif is given another twist, ending on an ascent; it's then repeated in the same key while the snare drum intercedes and strikes eight beats betwixt the two. The template of the intro used in the master is beginning to emerge. These two rapid-fire takes can be separate not only by the divergent piano solos and the rather uncertain vocals to wards the end of take 12, but also by the fact that exceptionally, in the second verse of this same recording, Jerry Lee sings ''...hold you tight'' rather than the routine ''...squeeze you tight''.(*)

1(11) - "BREAK UP" (1) - B.M.I. - 2:28
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 11
Recorded: - Early July 1958 - Not Originally
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-7-23 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

01(12) - "BREAK UP" (1) - B.M.I. - 2:22
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 12
Recorded: - Early July 1958 - Not Originally
Released: - April 1993
First appearance: - Charly Records (CD) 500/22rpm Sunbox 4-11-15 mono
JERRY LEE LEWIS - THE ULTIMATE - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-7-24 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

It's hoped that the foregoing will help listeners at least to distinguish between groups, or pairs, of takes; the work of further subdividing the recordings shouldn't be too taxing given the various twists in phrasing, both vocally and on the piano, that Jerry Lee employs. It all else fails, simply fast forward to the solos in each performance, generally to be found at around the 1.20 mark.(*)

It is believed that this is the juncture at which we would review Lewis' unaccompanied studio work on ''Break Up''. In all four solo takes, Jerry Lee again starts by repeating the five chord cascade, falling at first then rising on the final two beats, followed by hammering eight beats on the same chord. This time, however, the second sequence of falling and rising chords is in a lower key. The idea seems to win approval.(*)

At this juncture we also encounter another change of some significance, which helps us understand the progress of these sessions. The starting point, in trying to determine the correct order of seventeen complete alternates, culminating in the master, is the opening line in the vocal. Listeners will be accustomed to the way in which, on the master itself, Jerry Lee starts proceedings with ''well, who's that guy''. While this phrase is a defining characteristic both of the 'solo session'' takes and the four takes that have been placed immediately ahead of the master, it is not heard in any of the recordings which anticipate the solo work. All these earlier takes start with ''(well), that little guy'', the form of words that Ray Smith used in his March 19, 1958 demo and which Charlie Rich himself sang when he recorded his own song. This factor alone sets apart the early takes from the ''solo session'' and the several takes recorded subsequently which came before the finished master.(*)

Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal and Piano
Probably Roland Janes or Billy Riley - Guitar
Unknown - Bass
James M. Van Eaton - Drums

For Biography of Jerry Lee Lewis see: > The Sun Biographies <
Jerry Lee Lewis's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on 
> YouTube <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR JERRY LEE LEWIS
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1958

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION 2: BEFORE JULY 9, 1958
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - JACK CLEMENT
AND/OR BILL JUSTIS

1 - "MEMORY OF YOU" - B.M.I. - 2:07
Composer: - Jerry Lee Lewis
Publisher: - Copyright Control
Matrix number: - None - Solo - Unknown Take
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-A1 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-23 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

2 - "COME WHAT MAY" - B.M.I. - 2:01
Composer: - Franklyn Tableporter
Publisher: - Tiger Music
Matrix number: - None - Solo - Unknown Take
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - July 1974
First appearance: - Sun International (LP) 33rpm 6467 029-A10 mono
JERRY LEE LEWIS - ROCKIN' AND FREE
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-24 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

This song recorded here by Jerry Lee Lewis is certainly the most important "forgotten" songs. Written by Franklin Tableporter, the original was recorded by Clyde McPhatter (Atlantic 1185), who had scored a minor hit with it in 1958. McPhatter's recording reached number 43 on Billboard's Hot 100 chart and number 20 on the rhythm and blues chart. The full title of the song is "Come What May (You Are Mine)". Elvis Presley recorded ''Come What May'' on May 28, 1966 at the RCA Studio B. in Nashville, Tennessee, and was the B-side of "Love Letters". Elvis single release never made the charts, but it was listed as "Bubbling Under" at number 109. The song has not yet appeared on an RCA album during Elvis' lifetime. The original master tapes for Elvis' "Come What May" have been lost.

3(1) - "JOHNNY B. GOODE" (1) - B.M.I. - 1:52
Composer: - Chuck Berry
Publisher: - Arc Music Incorporated
Matrix number: - None - Solo - Unknown Take
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-A7 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-30 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

''Johnny B. Goode'', Jerry here first recorded a brilliant version of this solo (without a band) on this July of 1958, though this probably was never intended for release (it wasn’t issued until Charly’s ''The Sun Years'' box-set 25 years later). He recorded the song again 2 months later with a band, and although this isn’t a bad version, it’s marred by some sloppy “stops and starts” and wasn’t made available until 1969’s excellent ‘Rockin’, Rhythm & Blues’ compilation. The 1963 cut is from the ‘Golden Hits’ sessions in September of that year, and was issued on ‘The Return Of Rock’ 2 years later. Again it isn’t bad, but it’s still probably the low-light of the album, lacking the fire of the other Chuck Berry revivals ‘Roll Over Beethoven’ and ‘Maybelline’. Lastly is the 1973 version from ‘The Session’, recorded in London with various United Kingdom “rock” luminaries. Mostly I’m not so keen on the re-cuts on this album as I find them a bit overblown and bombastic, but in this case the treatment worked perfectly, with The Killer sounding genuinely inspired.

Of Course, "Johnny B. Goode" is a 1958 rock and roll song written and originally first performed by Chuck Berry. The song was a major hit among both black and white audiences peaking at number 2 on Billboard magazine's Hot Rhythm And Blues chart and number 8 on the Billboard Hot 100. The song is one of Berry's most famous recordings, has been covered by many artists, and has received several honors and accolades. It is also considered to be one of the most recognizable songs in music history. The song is ranked as number seven on Rolling Stone's list of "the 500 Greatest Songs of All Time".

Written by Berry in 1955, the song is about a poor country boy who plays a guitar "just like ringing a bell'', and who might one day have his "name in lights''. Berry has acknowledged that the song is partly autobiographical, and originally had "colored boy" in the lyrics, but he changed it to "country boy" to ensure radio play. As well as suggesting that the guitar player is good, the title hints at autobiographic elements because Berry was born at 2520 Goode Avenue in St. Louis. The song was initially inspired by Berry's piano player, Johnnie Johnson, though developed into a song mainly about Berry himself. Though Johnnie Johnson played on many other Chuck Berry songs, it was Lafayette Leake who played piano on this song. The opening guitar riff on "Johnny B. Goode" is essentially a note-for-note copy of the opening single-note solo on Louis Jordan's "Ain't That Just Like A Woman" (1946), played by guitarist Carl Hogan. Neither the guitar intro nor the solo are played at once. Chuck Berry played the introducing parts together with the rhythm guitar and overdubbed later the missing solo runs. Berry has written three more songs involving the character Johnny B. Goode, "Bye Bye Johnny", "Go Go Go", and "Johnny B. Blues"; and titled an album, and the nearly 19 min instrumental title track from it, as "Concerto In B. Goode".

Berry's recording of the song was included on the Voyager Golden Record, attached to the Voyager spacecraft as representing rock and roll, one of four American songs included among many cultural achievements of humanity. When Chuck Berry was inducted into the first Rock and Roll Hall of Fame on January 23, 1986, he performed "Johnny B. Goode" and "Rock And Roll Music", backed by Bruce Springsteen and the E Street Band. The Hall of Fame included these songs and "Maybellene" in their list of the 500 songs that shaped Rock and Roll. It was inducted into the Grammy Hall of Fame in 1999, for its influence as a rock and roll single.

In the 1984 film ''Threads'', the song is heard three times. The first time is when core characters Ruth Beckett and Jimmy Kemp discuss the future of their relationship before the outbreak of nuclear war, in his car overlooking Sheffield. The second time is when Jimmy is at a pub, drinking with his mate. The last time is fourteen years after the nuclear holocaust, as Ruth and Jimmy's daughter Jane, heavily pregnant, struggles to find a hospital in which to give birth. The song seems to be emanating from a nightclub, pub or brothel within the devastated post-apocalyptic town.

In the 1985 film ''Back To The Future'', Marty McFly performs the song with the fictional band Marvin Berry and the Starlighters during the "Enchantment Under the Sea" high school dance, set in November 1955. Mark Campbell (of Jack Mack and the Heart Attack fame) sang the vocals and Tim May played the guitar, with Michael J. Fox shown miming to both. This scene was revisited in Back to the Future Part II (1989). During Marty's rendition of the song, Marvin telephones his cousin Chuck, to have him hear what might be the "new sound" Chuck is looking for. During his time in World Championship Wrestling, Marc Mero wrestled under the ring name Johnny B. Badd, an homage to the song. This song plays whenever Calgary Flames player Johnny Gaudreau scores, as well as Tampa Bay Lightning's Tyler Johnson.

Country musician Buck Owens' version of "Johnny B. Goode" topped Billboard magazine's Hot Country Sides chart in 1969. Jimi Hendrix had a posthumous hit with "Johnny B. Goode" peaking at number 35 on the United Kingdom Singles Chart in 1972 and number 13 on the New Zealand Top 50 in 1986. Peter Tosh's version of the song peaked at number 84 on the Billboard Hot 100, number 48 on the United Kingdom Singles Chart, number 10 in the Netherlands, and number 29 in New Zealand. Judas Priest's version reached number 64 on the UK Singles Chart in 1988.

''That Lucky Old Sun'' here Jerry alone at the piano. Not released at the time, the stunning 1958 cut was first issued on the Charly LP ''Rare Jerry Lee Lewis Volume 2'' in 1974. It's hard to imagine him toppung this, but he did just that during the 1988 re-cut for the ''Great Balls Of Fire!'' movie soundtrack album, with his world-weary voice being far more suited to the song. Over 4 and a half munites (compared to just 3 minutes in 1958) of pure heaven!

4 - "THAT LUCKY OLD SUN" - B.M.I. - 3:07
Composer: - Beasly Smith-Haven Gillespie
Publisher: - Robbins Music Corporation
Matrix number: - None - Unknown Take
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - 1974
First appearance: - Charly Records (LP) 33rpm CR 30007-A2 mono
RARE JERRY LEE LEWIS - VOLUME 2
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-1-15 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

Jerry Lee Lewis' version of "That Lucky Old Sun" is a 1949 popular song with music by Beasley Smith and words by Haven Gillespie. Like "Ol' Man River", its lyrics contrast the toil and intense hardship of the singer's life with the obliviousness of the natural world.

The biggest hit version of the song was by Frankie Laine. This recording was released by Mercury Records as catalog number 5316. It first reached the Billboard magazine Best Seller chart on August 19, 1949 and lasted 22 weeks on the chart, peaking at number 1. The recording by Vaughn Monroe & His Orchestra was released by RCA Victor Records as catalog number 20-3531 on 78 rpm and 47-3018 on 45 rpm in the USA and by EMI on the His Master's Voice label as catalog number B 9836. It first reached the Billboard magazine Best Seller chart on September 16, 1949 and lasted 14 weeks on the chart, peaking at number 9. The recording by Louis Armstrong was released by Decca Records as catalog number 24752. It first reached the Billboard magazine Best Seller chart on October 14, 1949 and lasted 3 weeks on the chart, peaking at number 24. Frank Sinatra released his competing version of the song on the Columbia label catalog number 38608. It reached the best sellers chart on October 29, 1949 and peaked at number 16. Included on his ''The Best of The Columbia Years 1943-1952'' album.

Other significant recordings are; Pat Boone on the album ''Howdy''! In 1957; The Buffalo Bills, a barbershop quartet, recorded it as a solo for their tenor, Vern Reed; The rhythm and blues singer LaVern Baker released a version of the song in 1955 as the "A" side of a release on Atlantic Records; Jerry Lee Lewis recorded an unreleased solo version at Sun Studios in July 1959; A version by Sam Cooke appeared on his debut LP ''Sam Cooke'' in 1957; The Velvets released their doo wop version of the song on Monument records around 1960-1961; A version by Ray Charles appeared on his 1963 album ''Ingredients In A Recipe For Soul''. (This recording is also included as a bonus track on post-1988 CD reissues of Charles' landmark 1962 album ''Modern Sounds In Country and Western Music''; Aretha Franklin recorded the song for her album "The Electrifying Aretha Franklin" in 1962; George Benson recorded the song for his album ''Goodies'' in 1969; Paul Williams recorded a version of the song for his 1972 album ''Life Goes On''; Willie Nelson recorded a version on the 1976 album ''The Sound In Your Mind'' which was also released as an extra track on the reissued Stardust, ''30th Anniversary Legacy Edition'''; The Jerry Garcia Band performed a version on the ''Jerry Garcia Band'' live album in 1991; American rhythm and blues and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1994 album ''Yellow Boogie And Blues''; Johnny Cash covered it on the album ''American III: Solitary Man in 2000''; Brian Wilson premiered a song cycle inspired by the song entitled That Lucky Old Sun (A Narrative) at the Royal Festival Hall, London, England on September 10, 2007; A duet with Kenny Chesney and Willie Nelson is included on Chesney's 2008 album ''Lucky Old Sun''. This version reached number 56 on the Hot Country Songs chart, based on unsolicited airplay; Dick Haymes covered an version for his album ''Once In A Lifetime''; Chris Isaak recorded a cover version of the song for his 2011 album ''Beyond The Sun'', and Bob Dylan recorded a version for his 2015 Frank Sinatra covers album ''Shadows In The Night''.

5(2) - "CRAZY ARMS" (2) - B.M.I. - 2:40
Composer: - Charles Seals-Ralph Mooney
Publisher: - Knox Music Incorporated
Matrix number: - None - Solo - Chatter - Unknown Take
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-A8 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-29 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

The A side of Jerry’s very first single and a minor regional United States hit, he also recorded a couple of playful “solo” (without a band) versions during the first couple of years at Sun. Here a re-cut released on Sun Box 102, and for ‘Golden Hits’ in 1963, and then again in 1965 (with an uptempo saxophone-led arrangement) for the ''Country Songs For City Folks'' LP. It was cut yet again in 1988 for the ''Great Balls Of Fire''! movie and soundtrack album: most issues featured an overdubbed duet vocal by Dennis Quaid, though some releases (both official and bootleg) include the undubbed version.

6 - "LIVE AND LET LIVE" - B.M.I. - 0:38
Composer: - Wiley Walker-Gene Sullivan
Publisher: - Copyright Control
Matrix number: - None - Solo - Chatter - Unknown Take
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-A3 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-27 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

7(2) - "CRAZY HEART" (2) - B.M.I. - 3:20
Composer: - Maurice Murray-Fred Rose
Publisher: - Universal Music Publishing
Matrix number: - None - Solo - Chatter - Unknown Take
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-A5 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-26 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

There is some evidence that this title was recorded at the same time as "That Lucky Old Sun". However, it has been placed with the vocal/piano demos. Another possibility is that "Lucky Old Sun" dates from 1958.

Jerry's human jukebox talent was on full display. ''Setting The Woods On Fire'' was recorded during this sequence. Just imagine yourself sitting in Jerry Lee's parlor as he wanders over to the old upright piano with well-worn keys, and tears into this Hank Williams classic. It's a really magic moment, highlighted by Jerry's catching fire during his piano solo. Some additional instrumentation was later overdubbed on this recording on July 9, 1958 by Billy Riley on guitar, Stan Kesler on bass, and James M. Van Eaton on drums, for album release, but here the original undubbed version.

8 - "SETTIN' THE WOODS ON FIRE" - B.M.I. - 2:24
Composer: - Fred Rose-Ed Nelson Sr.
Publisher: - Acuff Rose Music Limited
Matrix number: - None - Solo - Unknown Take
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - 1976
First appearance: - Charly Records (LP) 33rpm CR 30117-B-8 mono
SUN - THE ROOTS OF ROCK - VOLUME 10 - SUN COUNTRY
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-22 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

"Settin' The Woods On Fire" is the name of a single and the A-side song by Hank Williams released in 1952. Although it sounds remarkably like a Hank Williams composition, "Settin' the Woods on Fire" was written by Hank's song publisher and producer Fred Rose with an elderly New Yorker, Ed G. Nelson Sr. Williams recorded it with Rose producing at Castle Studio on June 13, 1952 in Nashville with Jerry Rivers (fiddle), Don Helms (steel guitar), and Harold Bradley (rhythm guitar), while it is speculated that Chet Atkins played lead guitar and Ernie Newton played bass.

The song peaked at number 2 on United States Billboard Hot Country Singles chart, while the B-side, "You Win Again," climbed to number 10 on the chart. Author Colin Escott offers that the song "pointed unerringly toward rockabilly''.

Other significant recordings, Jerry Lee Lewis recorded an unissued version of the song for Sun Records in 1958; Johnny Burnette recorded and released a version in 1958; George Jones covered the song for his 1960 album ''George Jones Salutes Hank Williams''; Porter Wagoner recorded the song for his 1963 LP ''A Satisfied Mind''; and The Tractors recorded the song for their 1994 eponymous debut album.

8 - "SETTIN' THE WOODS ON FIRE" - B.M.I. - 2:24
Composer: - Fred Rose-Ed Nelson Sr.
Publisher: - Acuff Rose Music Limited
Matrix number: - None - Solo - Unknown Take
Recorded: - Before July 9, 1958 - Not Originally Issued
Instrumental Overdubs July 9, 1958. Probably Roland Janes or Billy Riley (guitar), Jimmy M.Van Eaton (drums), Stan Kesler (bass).
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-18-20 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

9(13) - "BREAK UP" (2) - B.M.I. - 2:36
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Solo - Take 1
False Start To "Settin' The Woods On Fire"
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-A9 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-31 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

9(13d) - "BREAK UP" (2) - B.M.I. - 2:36
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Solo
Recorded: - Before July 9, 1958 - Not Originally Issued
Instrumental Overdubs July 9, 1958. Probably Roland Janes or Billy Riley (guitar), Jimmy M.Van Eaton (drums), Stan Kesler (bass).
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-18-22 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

There are a couple more issues worthy of examination in the story of ''Break Up''. First, several tapes in the Sun vaults reveal an assortment of overdubs applied to one of the four solo renditions of the song. Additionally, take 8 was subjected to an experimental overdub, with a male chorus providing a ''shoo-shoowop-bop'' refrain, although the pre-penultimate attempt was embellished not only with a vocal chorus but, in a separate exercise, with supplementary drums, bass and guitar; the latter has found its way into the public domain courtesy of Rhino and Sun Entertainment on random compilations in recent years and is presented on BCD 17254-18-22-23-24. These overdubs may have been no more than trials to prove the integrity of the arrangement ultimately chosen for the production of the release master, before studio time was then booked with all in attendance to complete the recording. Consideration may even have been given to fabricating a master out of the ''solo session'' work by applying an overdub track before a last attempt was made to cut the definitive version in a conventional manner. Conceivably, the master itself may be an example of the overdubbing of bass and/or guitar, with the original tape having been discarded; while thought unlikely, the proposition can't be ruled out.(*)

9(13d) - "BREAK UP" (2) - B.M.I. - 2:36
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Solo
Recorded: - Before July 9, 1958 - Not Originally Issued
Instrumental Overdubs July 9, 1958. Probably Roland Janes or Billy Riley (guitar), Jimmy M.Van Eaton (drums), Stan Kesler (bass).
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-18-23 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

9(13d) - "BREAK UP" (2) - B.M.I. - 2:36
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Solo
Recorded: - Before July 9, 1958 - Not Originally Issued
Instrumental Overdubs July 9, 1958. Probably Roland Janes or Billy Riley (guitar), Jimmy M.Van Eaton (drums), Stan Kesler (bass).
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-18-24 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

9(2) - "BREAK UP" (2) - B.M.I. - 2:18
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Solo- Take 2
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - November 1986
First appearance: - Charly Records (LP) 33rpm Sunbox 106-8-5 mono
SUN RECORDS - THE ROCKING YEARS - WHOLE LOTTA SHAKIN'
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-7-34 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

The most appropriate format for the intro having been arrived at and with the phrasing of the opening line resolved the next session sees the drummer back in evidence. However, on this occasion Sam Phillips may well have insisted that Jerry Lee should initially concentrate on getting the vocal right. Accordingly, at first, he does nothing very flamboyant and he temporarily forsake the opening ''cascade'' riff, making do with setting a ''steady rolling beat'' in its place. It's all a bit tentative as they get used to the new shuffle rhythm, in sharp contrast to the hell-for-leather pace evident in the final two takes at the earlier session with the band. But slowing down the tempo does bring about the benefits sought by Sam. Whereas that earlier session had ended unproductively, with Jerry Lee going at such a rate that he lost his way and stumbled over the lyrics, he now remains firmly in control.(*)

With the moderate pace being adhered to, on the next complete take Jerry Lee sticks to the new beat. But it is immediately apparent how much more action there is with the right hand, hitherto somewhat restrained. The increased intensity and speed is similarly noticeable in fragments of the closing moments of two ''lost'' takes included here. On the fourth complete take Jerry Lee chooses to reintroduce the trademark opening motif. In both this, the penultimate recording, and the finished master itself the drums stay silent in the second part of the intro and all the work is done by the piano, it having been confirmed in the ''solo session'' that this could provide a full enough sound on its own, without the intercession of the drums evident on earlier takes. Also listen to how, in the penultimate take, the drummer comes in with shuffle overlaying the repeat of the opening motif rather than taking up the beat once the intro is nearly over. Apart from this, in most other respects this take is in the same vein as the finished article where, at the last, the sound is filled out by the presence of both bass and guitar. In both examples, unlike on the solo cuts, the repeat of the opening motif is kept in the same register as the initial strikes, but on the master the intermediate series of notes is taken up an octave before the lower range of tones is re-established with the second part of the intro, at the moment the band joins in. We're a long way removed now from the ''steady old rut'' complained of some weeks earlier when trying out the ''Tequila'' arrangement; after all the trials and tribulations it's an unmatched delivery amongst all the various directions taken in recording the song.(*)

9(3) - "BREAK UP" (2) - B.M.I. - 2:25
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Solo - Chatter - Take 3
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-A4 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-25 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

Apart from the rush-released “comedy” record ''The Return Of Jerry Lee''(with ‘Lewis Boogie’ wasted as a B-side), this was Jerry’s first A-side since the big scandal over his marriage almost ended his career. A top-notch Charlie Rich composition, it deserved to do so much better commercially. The 1963 re-cut (from his debut Smash album ''Golden Hits'') is a bit more driving, and would probably have the edge if it wasn’t for the over-production.

9(4) - "BREAK UP" (2) - B.M.I. - 0"37
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Solo - Incomplete Take 4
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-7-36 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

9(5) - "BREAK UP" (2) - B.M.I. - 2:18
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Solo - Take 5
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-7-37 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

The final matter is the intriguing possibility that the surviving fragments of ''Break Up'', i.e. the ''incomplete takes'', may have been left aside in anticipation of their possible use in forging saleable merchandise from component parts of two or more alternates. It had proved successful in the case of ''High School Confidential'' and the practice may have been still been in mind when it came to ''Break Up'', although it must be conceded that no hard evident has been found in this instance.(*)

10(1) - "I'LL MAKE IT ALL UP TO YOU" (1) - B.M.I. - 0:24
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Solo - Incomplete Take 1
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-A6 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-8-1 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(2) - "I'LL MAKE IT ALL UP TO YOU" (1) - B.M.I. - 2:53
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Solo - False Start - Take 2
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-A6 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family records (CD) 500/200rpm BCD 15420-4-28 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

10(3) - "I'LL MAKE IT All UP TO YOU" (1) - B.M.I. - 2:48
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Solo - Chatter - Take 3
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-7-A6 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-8-3 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(3d) - "I'LL MAKE IT ALL UP TO YOU" (1) - B.M.I. - 2:48
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Unknown Take
Unknown Vocal Chorus Dubbed, July 1958
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-18-26 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(4) - "I'LL MAKE IT ALL UP TO YOU" (1) - B.M.I. - 0:26
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Incomplete Take 4 - False Start
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-8-4 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(5) - "I'LL MAKE IT ALL UP TO YOU" (1) - B.M.I. - 2:44
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 5
Guitar and bass overdubbed
Recorded: - Before July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-8-5 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

Note: 10(4) and 10(5) may have been recorded at the preceding session but with guitar, bass and drums added at an overdub session on July 9.

8 and 9(13) had an instrumental overdub (probably Roland Janes or Billy Riley, guitar; Jimmy Van Eaton, drums; Stan Kesler, bass) added on July 9.

10(3) and 10(5) had a vocal chorus (unknown) added at an overdub session, probably on July 21, 1958.

Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal and Piano
Unknown - Percussion

For Biography of Jerry Lee Lewis see: > The Sun Biographies <
Jerry Lee Lewis's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on 
> YouTube <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

A concurrent task in hand during these sessions was the recording of the B-side for the release of ''Break Up'', a Charlie Rich ballad entitled ''I'll Make It All Up To You''. At this juncture, Jerry Lee Lewis has made the listener's task a little easier in the appreciation of differences, by starting just about every rehearsal take on which he is at the keyboard with a changed opening chord or flourish. If that alone isn't enough, one doesn't have to proceed too far into the song before coming across a twist in the phrasing, be it in Jerry Lee's vocal or his playing. Although things eventually settled down to the extent that the penultimate take is a reasonably close match to the master, Lewis still obliges with the insertion of a superfluous ''but'' ahead of ''someday'' in the fourth line of the opening verse. However, in the wake of a number of unfulfilling efforts, Charlie Rich has by this been installed on the piano bench, that is to say with effect from take 9, bringing greater consistency to the proceedings and allowing Jerry Lee to concentrate wholly on his vocal.(*)

The order in which the first eight readings of ''I'll Make It All Up To You'' were recorded remains far from certain, the source tapes having been found scattered across a number of boxes. However, while the initial three takes are ''solo'' performances (before July 9, 1958 session), those identified here as take 4 of which, regrettably, a mere twenty-six seconds has endured, and the complete take 5 both feature a style of drumming that distinguishes them in turn from takes 6, 7 and 8 (probably July 9, 1958 session). The latter three all exhibit a level of polish and continuity which suggests they are the immediate predecessors to the final three cuts featuring Charlie Rich.(*)

Although it's clear that an immense amount of painstaking work into the creation of ''Break Up'' and ''I'll Make It All Up To You'', these recording dates in mid-1958 were not without moments of relaxation along the way. Witness Jerry Lee's insouciant romp through ''Lovesick Blues'' , the ease with which he remodels Chuck Berry's guitar opus ''Johnny B. Goode'' for his own instrument; the irreverent explicitness of ''Big Legged Woman'' (all three early July 1958 session). With or without other musicians in attendance, Jerry Lee Lewis shows us, in these diversion, that he is the master of his art. The solo recordings offer us a precious glimpse of what family and friends would have enjoyed in private over the preceding decade or so, with Jerry Lee, freed of any restraints, putting his own stamp on a wide range of material. There's no drummer here potentially facing condemnation for ''dragging'', no bass to compete with the left hand, neither a guitar with the right; a full rhythm section is brought into being by Lewis's fingers.(*)

STUDIO SESSION FOR JERRY LEE LEWIS 
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1958

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION 3: JULY 9, 1958 
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - JACK CLEMENT
AND/OR BILL JUSTIS

1(1) - "I'LL MAKE IT ALL UP TO YOU" (2) - B.M.I. - 2:58
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 1
Recorded: - July 9, 1958 - Not Originally Issued
Released: - September 1989
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15420-5-3 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-8-6 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

''I'll Make It All Up To You'', a beautiful Charlie Rich ballad, this was recorded at Jerry’s first recording session following the big scandal over his marriage to Myra, and was released as the B-side to ‘Break Up’ (also a Charlie Rich song and also recorded at this session). Unusually the piano on this is played by the song’s composer instead of Jerry: long-term fans (such as Chas Hodges of ''Chas & Dave'' fame) always knew this due to the fact that the song is performed in “Eb”, not a key he plays in. The 1963 recut is a little faster and a little higher (key of “G”), and this time most definitely features The Killer himself on piano.

01(5d) - "I'LL MAKE IT ALL UP TO YOU" (2) - B.M.I. - 2:58
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Unknown take
Unknown Vocal Chorus Overdub, July 1958
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-18-27 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(2) - "I'LL MAKE IT ALL UP TO YOU" (2) - B.M.I. - 2:48
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 2
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-8-7 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(3) - "I'LL MAKE IT ALL UP TO YOU" (2) - B.M.I. - 2:48
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - False Start - Take 3
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-8-8 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(4) - "I'LL MAKE IT ALL UP TO YOU"* (2) - B.M.I. - 2:01
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Incomplete Take 4 - Charlie Rich piano
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-8-9 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(5) - "I'LL MAKE IT ALL UP TO YOU"* (2) - B.M.I. - 3:06
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 5 - Charlie Rich piano
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-8-10 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(6) - "I'LL MAKE IT ALL UP TO YOU"* (2) - B.M.I. - 3:04
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Undubbed Master Take 6 - Charlie Rich piano
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-8-11 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(6d) - "I'LL MAKE IT ALL UP TO YOU" (2) - B.M.I. - 3:04
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Alternative Guitar Overdub, July 1958
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-18-10 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(6d) - "I'LL MAKE IT ALL UP TO YOU" (2) - B.M.I. - 3:04
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Guitar Overdub, July 1958
Unknown Vocal Chorus Dubbed
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-18-11 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

Charlie Rich took over the helm on "Break Up" and "I'll Make It All Up To You", both sides of Jerry Lee's make-or-break single (Sun 303) which appeared in August, 1958. There is no selfconscious gimmickry here or leftover studio jam boogies. These are both solid outings geared for the marketplace Jerry had been establishing before personal disaster overtook his fortunes.

1(11) - "I'LL MAKE IT ALL UP TO YOU" (2) - B.M.I. - 3:03
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 319 - Overdubbed Master - Charlie Rich piano
Vocals, Additional Guitar Part also Overdubbed
Recorded: - Problaby July 9, 1958 - Overdub July 21, 1958
Released: - August 10, 1958
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 303-B < mono
I'LL MAKE IT ALL UP TO YOU / BREAK UP
Reissued: - 1996 Bear Family Records (CD) 500/200rpm BCD 15803-2-26 mono
THE SUN SINGLES COLLECTION - VOLUME 3

''I'll Make It All Up To You" worked the adult country and western style Jerry Lee Lewis was progressively carving as his niche. The ballad featured some unusual modulations that are now recognizable as the trademark composer style of Charlie Rich. The piano work here was provided by Charlie Rich himself, thus allowing Jerry Lee to concentrate on his impassioned ballad style.

Note: instrumental overdub (probably Roland Janes or Billy Riley, guitar; Jimmy van Eaton, drums; unknown bass) added at an overdub session in July 1958 and a unknown vocal chorus added at an overdub session also in July, 1958, probably July 21, also had a vocal chorus.

2(1) - "BREAK UP" (3) - B.M.I. - 2:43
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Chatter - Take 1 - Jerry Lee Lewis piano
Recorded: - July 9, 1958 - Not Originally Issued
Released: - April 1993
First appearance: - Charly Records (CD) 500/22rpm Sunbox 4-9-5 mono
JERRY LEE LEWIS - THE ULTIMATE - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-8-12 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(2) - "BREAK UP" (3) - B.M.I. - 2:39
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Chatter - Take 2
Recorded: - July 9, 1958 - Not Originally Issued
Released: - September 1989
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15420-5-2 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-8-13 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(3) - "BREAK UP" (3) - B.M.I. - 0:19
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Incomplete Take 3
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-8-14 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(4) - "BREAK UP" (3) - B.M.I. - 0:26
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Incomplete Take 4
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-8-15 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(5) - "BREAK UP" (3) - B.M.I. - 2:35
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 5
Recorded: - July 9, 1958 - Not Originally Issued
Released: - July 1984
First appearance: - Charly Records (EP) 45rpm JLL EP 001-A1 mono
THE FABULOUS JERRY LEE LEWIS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-8-16 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(5d) - "BREAK UP" (3) - B.M.I. - 2:35
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Unknown Take
Plus Fragment of Earlier Guitar Overdub, July 1958
Recorded: - July 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-18-25 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(6) - "BREAK UP" (3)- B.M.I. - 0:13
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Incomplete Take 6
Recorded: - July 9, 1958 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-8-17 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(7) - "BREAK UP" (3) - B.M.I. - 2:35
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 7
Recorded: - July 9, 1958 - Not Originally Issued
Released: - December 1989
First appearance: Sun International (LP) 33rpm LP 1051-A3 mono
JERRY LEE LEWIS - THE KILLER'S BIRTHDAY CAKE
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-8-18 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal and Piano except*
Charlie Rich - Piano (some takes of "I'll Make It All Up To You"
Otis Jett - Drums

For Biography of Jerry Lee Lewis see: > The Sun Biographies <
Jerry Lee Lewis's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on 
> YouTube <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR JERRY LEE LEWIS
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1958

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION 4: JULY 1958
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - JACK CLEMENT
AND/OR BILL JUSTIS

1(4) - BREAK UP" (4) - B.M.I. - 2:37
Composer: - Charlie Rich
Publisher: - Knox Music Incorporated
Matrix number: - U 318 - Master
Recorded: - July 1958
Released: - August 10, 1958
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 303-A < mono
BREAK UP / I'LL MAKE IT ALL UP TO YOU
Reissued: - 1996 Bear Family Records (CD) 500/200rpm BCD 15803-2-25 mono
THE SUN SINGLES COLLECTION - VOLUME 3

2 - "BIG LEGGED WOMAN" - B.M.I. - 2:25
Composer: - Jerry Lee Lewis
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - July 1958
Released: - December 1969
First appearance: - Sun International (LP) 33rpm LP 107-A2 mono
JERRY LEE LEWIS - ROCKIN' RHYTHM & BLUES
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-3-30 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

''Johnny B. Goode'', Jerry first recorded a brilliant version of this solo (without a band) on the first July of 1958 session (see above), though this probably was never intended for release (it wasn’t issued until Charly’s ''The Sun Years'' box-set 25 years later). He recorded the song again 2 months later on July here with a band, and although this isn’t a bad version, it’s marred by some sloppy “stops and starts” and wasn’t made available until 1969’s excellent ‘Rockin’, Rhythm & Blues’ compilation. The 1963 cut is from the ‘Golden Hits’ sessions in September of that year, and was issued on ‘The Return Of Rock’ 2 years later. Again it isn’t bad, but it’s still probably the low-light of the album, lacking the fire of the other Chuck Berry revivals ‘Roll Over Beethoven’ and ‘Maybelline’. Lastly is the 1973 version from ‘The Session’, recorded in London with various United Kingdon “rock” luminaries. Mostly I’m not so keen on the re-cuts on this album as I find them a bit overblown and ombastic, but in this case the treatment worked perfectly, with The Killer sounding genuinely inspired.

3(2) - "JOHNNY B. GOODE" (2) - B.M.I. - 2:39
Composer: - Chuck Berry
Publisher: - Arc Music Incorporated
Matrix number: - None – Unknown Take
Recorded: - July 1958 - Not Originally Issued
Released: - December 1969
First appearance: - Sun International (LP) 33rpm LP 107-A6 mono
JERRY LEE LEWIS - ROCKIN” RHYTHM & BLUES
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-5-5 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

The effect of the scandal on Lewis' record sales was devastating. The virtual airplay backout ensured that records already out in the marketplace would come back by the truckload, and that new ones would be hard to move. After "Break Up" fell stillborn from the presses, Jud Phillips tried to spark some action on the next single, a revival of Moon Mullican's "I'll Sail My Ship Alone", by offering the first 100,000 at the royaltyfree price of 16c, but there were few takers.

"Break Up" was a particularly potent item for the back-to-school crowd; without explicitly pandering to teenage problems, it managed to deal with the fate of many summer romances.

Billboard of September 1, 1958 liked both sides "Break Up" and "I'll Make It All Up To You", calling "Break Up" "a rocker that Lewis sells with great drive and spirit". The ballad side was described as "a strong contender and a likely tri-market click". That either side of this disc might have nestled on the Rhythm and Blues charts tells us how far music culture has changed since the fall of 1958.

4(1) - ''I CAN'T HELP IT'' (1) - B.M.I. - 2:52
Composer: - Hank Williams
Publisher: - Acuff Rose Music
Matrix number: - None - Unknown Take
Recorded: July 1958 - Not Originally Issued
Released: 1972
First appearance: Mule Records (LP) 33rpm MRB-LP 201-A4 mono
JERRY LEE LEWIS - ROCKIN' JERRY LEE LEWIS
Reissued: - September 1989 Bear Family Records (CD) 500/200rom BCD 15420-1-20 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

Jerry cut several Hank Williams classics at Sun (and quite a few for other labels), including this ''I Can't Help It'' heartfelt performance from this July 1958 session. For several years only available on an 1970s bootleg, it was finally made available officially on Charly's 1977 ''Nuggets Volume Two'' compilation. At one of his final Sun Sun sessions at 639 Madison Avenue in January 1960 Jerry cut several speeded up takes, altering the lyrics ''I Can't Help It (If I'm Still In Love With You)'' to ''You Can't Help It (If You're Still In Love With Me)''! An interesting (and egotistical experiment, they didn't see the light of that until late 1980s.

"I Can't Help It (If I'm Still in Love with You)" is a song, of course, written and originally recorded by Hank Williams on MGM Records. It hit number two on the Billboard country singles chart in 1951. According to Colin Escott's 2004 book ''Hank Williams: The Biography'', fiddler Jerry Rivers always claimed that Hank wrote the song in the touring Sedan, and when he came up with the opening line, "Today I passed you on the street'', and then asked for suggestions, steel guitarist Don Helms replied, "And I smelled your rotten feet''. The song was recorded at Castle Studio in Nashville, Tennessee, on March 16, 1951, the same session that yielded "Hey Good Lookin'", "My Heart Would Know", and "Howlin' At The Moon". Williams was backed on the session by members of his Drifting Cowboys band, including Jerry Rivers, Don Helms, Sammy Pruett (electric guitar), Jack Shook (rhythm guitar), Ernie Newton or "Cedric Rainwater", aka Howard Watts (bass), and either Owen Bradley or producer Fred Rose on piano. It was released as the B-side of "Howlin' At The Moon" but on the strength of its simple language and passionate singing, soared to number two on the Billboard country singles chart. Hank Williams sang the song with Anita Carter on the Kate Smith Evening Hour on April 23, 1952. The rare television appearance is one of the few film clips of Williams in performance.

Other significant recordings are by Ray Price cut the song on Columbia in 1957; Ricky Nelson recorded a version for Imperial in 1958; Kitty Wells recorded it for Decca; Marty Robbins covered the song for Columbia in 1961; Tennessee Ernie Ford cut the song in 1961; George Jones included the song on his 1960 album ''George Jones Salutes Hank Williams''. In his autobiography, Jones printed the first six lines of the song and stated, "Its lyrics couldn't be more simple, or profound''; Sun Records released an recording version by Johnny Cash for his 1960 album ''Sings Hank Williams''; Jerry Lee Lewis recorded a version for Sun Records, with characteristic bravado, he changed it to "You Can't Help It (If You're Still In Love With Me)''; Patsy Cline cut the song for Decca; Burl Ives recorded the tune for Decca, and Ferlin Husky recorded it in 1961.

In 1962, Connie Stevens recorded ''I Can't Help It'' for the 1962 album ''The Hank Williams Songbook'', and the son of Williams Sr., Hank Williams Jr. recorded it for his 1963 album LP ''Sings The Songs Ff Hank Williams''; Charlie Rich covered the song in 1963; Dean Martin cut the song for Reprise; Eddy Arnold recorded the song in 1964; Marty Robbins included it on his 1968 LP ''I Walk Alone''; Ernest Tubb covered the song in 1968; Stonewall Jackson recorded the song for Columbia in 1969; ''I Can't Help It'' appears on Roy Orbison's 1970 LP ''Hank Williams The Roy Orbison Way''; Glen Campbell recorded it for his 1973 album ''I Remember Hank Williams''; Linda Ronstadt and Emmylou Harris covered the song in 1974, and the song is featured on the reissue of Willie Nelson's 1975 LP ''Red Headed Stranger'' album as a bonus track. Charlie McCoy recorded it as an instrumental in 1977; Charlie Pride recorded it on his 1980 tribute ''There's A Little Bit Of Hank In Me'' with Loretta in a duet. Conway Twitty recorded ''I Can't Help It'' and was released as flip-side of the 1993 single "Divine Hammer''.

5 - "LOVESICK BLUES" - B.M.I. - 2:08
Composer: - Irving Mills-Cliff Friend
Publisher: - EMI Music Publishing
Matrix number: - None - Unknown Take
Recorded: - Early July 1958
Released: - April 1971
First appearance: - Sun International (LP) 33rpm LP 125-B1 mono
JERRY LEE LEWIS & JOHNNY CASH - SING HANK WILLIAMS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-4 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

''Lovesick Blues" recorded here by Jerry Lee is a show tune written by Cliff Friend and Irving Mills. The song first appeared in the 1922 musical Oh, Ernest. It was recorded by Emmett Miller in 1928 and later by country music singer Rex Griffin. The recordings by Griffin and Miller inspired Hank Williams to perform the song during his first appearances on the Louisiana Hayride in 1948. Receiving an enthusiastic reception from the audience, Williams decided to record his own version despite initial push back from his producer Fred Rose and his band.

MGM Records released "Lovesick Blues" in February 1949, and it became an overnight success, quickly reaching number one on Billboard's Top Country & Western singles and number 24 on the Most Played in Jukeboxes list. The publication named it the top country and western record of the year, while Cash Box named it "Best Hillbilly Record of the Year". Several cover versions of the song have been recorded. The most popular, Frank Ifield's 1962 version, topped the UK Singles Chart. In 2004, Hank Williams' version was added to the National Recording Registry.

"Lovesick Blues" was originally entitled "I've Got the Lovesick Blues" and published by Jack Mills, Inc. in 1922; Irving Mills authored the lyrics and Cliff Friend composed the music. It was first performed by Anna Chandler in the Tin Pan Alley musical Oh! Ernest and first recorded by Elsie Clark on March 21, 1922 with Okeh Records. Following the recording, Cliff and Friend copyrighted the song on April 3, 1922. It was featured in a show at the Boardwalk Club in New York City in June 1922 and also recorded by Jack Shea on Vocalion Records later that summer.

On September 1, 1925, OKeh Records sent scout Ralph Peer and a recording crew to Asheville, North Carolina. Among the aspiring artists recorded by Peer was Emmett Miller. Accompanied by Walter Rothrock on the piano, Miller cut four sides for the label, including "Lovesick Blues". The single was paired with "Big Bad Bill (is Sweet William Now)" and released in November 1925. On June 12, 1928 accompanied by the Georgia Crackers (Tommy Dorsey, Jimmy Dorsey, Eddie Lang, and Leo McConville), Miller re-recorded the song, which was subsequently released to weak sales. Miller's version was covered by country music singer Rex Griffin in December 1939 on Decca Records. Griffin rearranged the song by using the original chorus - "I got a feeling called the blues", as a verse and turning the verse "I'm in love, I'm in love, with a beautiful gal" into the new chorus.

Hank Williams, who heard both the Miller and Griffin versions, started performing the song on the Louisiana Hayride shortly after joining in August 1948. Horace Logan, the show's producer and programming director for KWKH, reported that the audience "went crazy" the first time Williams performed the song on the show. In light of the live audience's strong positive reaction, Williams decided to record the song. His decision was questioned by his musicians and also his producer, Fred Rose, who felt that the song did not merit a recording. Williams, mindful of the reaction he received live, persisted, and the recording took place during the final half hour of a session recorded at Herzog Studio in Cincinnati, Ohio, on December 22, 1948. For this recording, Williams replaced the jazz musicians with a modern country music band, using a rhythm guitar, mandolin, string bass, drums and a steel guitar. Williams' session band was composed of Clyde Baum (mandolin), Zeke Turner (electric guitar), Jerry Byrd (steel guitar), Louis Innis (rhythm guitar), Tommy Jackson (fiddle) and Willie Thawl (bass). With little time left, Byrd and Turner replicated the musical arrangement they previously used on an Ernest Tubb session for a cover of Jimmie Rodgers' "Waiting For A Train". In the episode of American Masters about Williams, Drifting Cowboy Don Helms recalls, "When they recorded ''Lovesick Blues'', Fred told Hank, 'That song's out of meter! Got too many bars in it. And you hold that note too long'. And Hank said, 'Well, when I find a note I like, I wanna hold on to it as long as I can,' you know, just tryin' to be funny. And Fred said, 'Well, I'll tell you what I'm gonna do. That thing is so much out of meter, I'm gonna get me a cup of coffee and when I get back maybe ya'll have that thing cut.' And they did, but it was still out of meter. So Fred lived with that the rest of his life''. Williams combined Griffin's lyrical arrangement with a two-beat honky-tonk track, borrowing the yodeling and beat drops from Miller's recording. "Lovesick Blues" was recorded in two takes.

MGM released "Lovesick Blues" on February 11, 1949, coupling it with "Never Again (Will I Knock On Your Door)". The single sold 50,000 copies in the first two weeks. On its February 26, 1949 review, Billboard: "Hank's razz-mah-tazz approach and ear-catching yodeling should keep this side spinning". Based on votes sent to Billboard, the record was rated with 85 points by disc jockeys, 82 by record dealers and 85 by jukebox operators. Between the three, the track scored an overall of 84. In reference to its 100-point scale, Billboard regarded the record as "Excellent". It reached number one on Billboard's Top Country & Western singles, where it remained for sixteen weeks and reached number twenty-four on Most Played in Jukeboxes. The magazine listed it as the "number one country and western record of 1949" while Cash Box named it "Best Hillbilly record of the year". In March 1949, Wesley Rose requested Williams to send him the records by Griffin and Miller to prove that the song was in the public domain. Irving Mills, the original lyricist, sued Acuff-Rose. The suit was settled on November 1, 1949 and it was agreed that Mills and Acuff-Rose would share the publishing of Williams' recording. Mills retained the rest of rights to the song as he had also purchased Friend's rights during the Great Depression.

Following the success of the song, Williams was invited to appear as a guest on the Grand Ole Opry, on June 11, 1949. After the performance, Williams received a standing ovation. "Lovesick Blues" became his signature song, which he used to close his shows. It was also his first number one hit, and garnered Williams the stage nickname of "The Lovesick Blues Boy". In 1949, the singer received second billing behind Eddy Arnold on the list of the "Year's Top Selling Folk Artists". Williams' version of the song was featured in the films The Last Picture Show (1971), Forrest Gump (1994) and The Shawshank Redemption (1994). In 2004, "Lovesick Blues" was added to the National Recording Registry by the Library of Congress.

Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal and Piano
Probably Roland Janes, Brad Suggs, or Billy Riley - Guitar
Unknown - Bass
James M. Van Eaton - Drums

For Biography of Jerry Lee Lewis see: > The Sun Biographies <
Jerry Lee Lewis's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on 
> YouTube <

© - 706 UNION AVENUE SESSIONS - ©

JULY 1958

Scandal Sheet editor Barbara Barnes from Sun Records published some adds: News From Phillips Label - Beginning with this issue, Phillips International Records will publish every few weeks this newsletter. It is physically impossible for us at Phillips to get around in person to see all the friends we value so much - so this sheet is an effort to keep in tough. We welcome news of YOU at anytime. Just send it to your editor - who hopes some day to scoop even BILLBOARD and CASH BOX.

Comment-Able Items:

Recent anniversary celebration of KFJB, Marshalltown, Iowa, lasted one whole week. Barry Norris and gang quite enthusiastic over 35 years of the best in broadcasting... Michael Ruppe, Jr., reports the dirt from WCUE, Akron, Ohio, via a very snappy newsletter... Smokey Smiths joins KWDM, Des Moines, Iowa. Informs us that he's building a studio in his home and will do his shows from there... Latest (the not so new) addition to the impressive line-up of disc jockey talent at WJW, Cleveland, Ohio, is Dick Drury... KONO's Paul Shaefer informs us that new disc jockey Bill Davis is winning listening friends every day in the San Antonio area. Bill was formerly with a station in Wichita Falls, Texas. Another KONO disc jockey Bob Murray, wed the former Miss Jeannine Thompson of Mainsfield, Ohio, in June... John Drozo writes that WEED, Rocky Mount, North Carolina, is celebrating 25 years of broadcasting this month... We understand Barbara Wood is doing a fine job as editor of the Nashville publication, Music Reporter... Mall-time is fun-time, especially when we get letters from nice people like Jack Morse of WINR, Binghamton, New Yersey. He shot the breeze a bit, then reported on our tunes, and it would certainly be nice if YOU would take a minute to do the same... The latest addition to the Lou Oxman family (Pan American Distributors, Denver) hadn't arrived at the time this goes to the printer, but is expected soon. Now - isn't THAT nice!

CATTYWAMPUS

Cattywampus is an old Southern usage meaning sort of cockeyed or hap-hazard - and another entry from the Bill Justis catalog of nervous instrumentals. The maestro says in trade pub journalese: "It's a new sound for Justis, featuring a soulful sax solo with a rock solid beat". Yeah, o.k. It's got a melody you can hum, too.

The entire Phillips International staff and kibitzers - local disc jockeys, waitresses in the restaurant next door, postman, and others who get in their opinions - agree its strong material - and you'll get to judge for yourself on the Dick Clark Show on ABC-TV Network, Saturday night of July 26.

On the flip side of PI 3529, there's SUMMER HOLLIDAY - which is sweet and cool and welcome for a summer refresher, (sound like a frozen daiquiri?). Charlie Rich chimes in with a celeste solo that gives SUMMER HOLIDAY a distinctive flavor.

Charlie Rich, by the way, is an up-and-coming song writer, vocalist, and pianist, and you'll be hearing more from him. Sid Manker, co-author of RAUNCHY, is heard on his usual fine guitar. Billy Riley, guitar, and J.M. Van Eaton, drums, round out the Justis band.

Barbara Pittman
Ernie Barton
Carl McVoy

Phillips International has recently introduced three new artists who should
become increasingly popular as the public learns of their special talents.

Barbara Pittman is a sultry, feline type of redhead who can sob a tune, or belt one, with equal conviction. She does so on her recent release (PI 3527) which is COLD COLD HEART b/w EVERLASTING LOVE

Ernie Barton's record (PI 3528) looks like a two-sided hit, if indications from Detroit, Houston, Memphis, and other key markets are to be counted upon. STAIRWAY TO NOWHERE is a lively sort of gospel-sounding thing. RAINING THE BLUES gets a message across, with Ernie singing sort of lonesome-like and a vocal group echoing the refrain.

The kids when wild after Carl McVoy gave his rendition of YOU ARE MYY SUNSHINE on the Dick Clark Saturday night show some time back. This tune (PI 3526) was first released on Hi label - and we hope to get out an original record on Carl soon, at which time a big promotion push will be in the offing.

BUDDY MAC GREGOR

"The Young Scotchman" of KLIF, Dallas, claims the distinction of having the nation's highest Hooper rating - a whopping 60.1 on a recent survey. This achievement speaks for itself when the question of Buddy MacGregor's popularity comes up. And the crowds of youngsters who follow Buddy to his record hops (2000 at a recent bash) further recommend the personality and appeal of KLIF's three to six man.

Buddy spent several years in radio in his hometown of Kansas City - has been in the business almost a decade. He lives the life of a contended bachelor and finds relaxation aboard his cabin cruiser, which is launched on a lake 70 miles from Big D.

We asked Buddy if he were like the Scotchman who found a cough drop and promptly sat in a draft, and he said, "I'm Scotch all right - but not quite that tight".

JULY 1958

As soon as Johnny Cash confirmed that he had signed with Columbia and was moving to the West Coast in August, Sam Phillips determined to get the most he could from the remainder of his contract. A marathon session in May and one in July were booked, but with a lack of enthusiasm on the part of Johnny Cash. He continued to be friendly with Jack Clement, but when he strode through the office, Cash did so with a very aloof bearing and a grim countenance. Regina Reese termed his carriage and blue-black hair ''dramatic'', but besides that quality, Barbara Barnes saw stiff-necked Anglo-Saxon pride. He had what appeared to be a scar on his left check, which made him look a little dangerous and mysterious.

Jack Clement could be counted on to write some original material for the sessions, and a new songwriter that Bill Justis was working with Charlie Rich, was also recruited for this effort. Charlie had studied music at the University of Arkansas and was well qualified to prepare lead sheets to go with some of Sun's releases, as well as playing piano on sessions. He even played piano on some of Jerry Lee Lewis's records when the chord patterns were too complex for the Killer.

According to Barbara Barnes, ''They were getting used to seeing Charlie quietly noodling at the piano, and he was ready with some Cash material. Johnny was reluctant to record his own new song, intending them to launch his Columbia career. They didn't doubt that Johnny would perform well, because he didn't want any bad records out there any more than we did''.

Sam Phillips was not only determined to call Cash in for the number of sessions specified in his contract, but also to capitalize on single sales before Columbia could get any product on the market. While ''Guess Things Happen That Way'' was still selling, Sun put out one Charlie Rich had written for him, ''The Ways Of A Woman In Love'', in late May. Sun continued to issue Cash singles through the remainder of 1958 into 1960. Some, if not most, were only moderately memorable, but both Sun and Columbia had entries on the charts, sometimes were ahead.

Early in the summer, Sun also put out the first of several extended-play albums on Johnny Cash, and it was quite a good one, ''Johnny Cash Sings Hank Williams'' (EPA 111). The content consisted of four numbers, and the disk looked just like a 45, but it had more grooves. Sun used a hard cover with Johnny in concert on the front, and it looked nice. The initial orders were for 17,5000 albums, impressive enough to warrant a notice in the trade papers.

Barbara said, ''I could see phenomenal growth in Johnny cash as an artist in the year that I had observed him and listening to his music. For one this'', she said, ''he was learning how to relate to an audience. When Jud Phillips accompanied him to New York for the Dick Clark show in July, I wasn’t worried about how he would handle being on camera. For earlier shows, I had suggested to Jud that he try to get the producers to have him shown with waist or face shots, because he was so rigid. Whether it was stage fright, inexperience, or an intrinsic inhibited nature, in those days he seemed to move only his mouth and his finger on the guitar strings when he performed. Being so tall, he almost looked like a statue, and a rather grim one at that''.

His problem had been the opposite of Elvis's. The reason Ed Sullivan wanted that dynamo photographed from the waist up because of his gyrations. Cash was getting more animated now, so full-body shots could be effective. He was smiling more, kicking up his heels a bit. He would never be a particularly graceful man, they thought, but he was loosening up so that he could enjoy audiences and they could enjoy him.

Back in her little office, Barbara had grown accustomed to the sounds of Johnny Cash and his sessions. Marshall Grant's bass came through the walls in its steady beat even when that's all they could hear. Cash's recording dates during the last months with Sun Records had yielded ample material for release, and Sam notified the market of this fast. They were certainly going to miss Johnny cash because they all thought he was a great talent. Sam said he had more depth than most of the other artists he had worked with and great potential personally and professionally.

JULY 8, 1958 TUESDAY

Webb Pierce recorded ''Tupelo County Jail'' in Nashville during an afternoon session at the Bradley Recording Studio.

Drummer Fred Young is born in Glasgow, Kentucky. He joins The Kentucky Head Hunters, whose energetic, influential blend of country and rock brings them the Country Music Association's Vocal Group of the Year in 1990 and 1991.

JULY 10, 1958 THURSDAY

Banjo player Bela Fleck is born in New York City. A member of the progressive bluegrass band New Grass Revival and the jazz act Bela Fleck and The Flecktones, he plays on recordings by Garth Brooks, Kathy Mattea, Randy Travis and Ricky Skaggs.

The Everly Brothers recorded a pair of hits, ''Bird Dog'' and ''Devoted To You'', at RCA Studio B in Nashville.

Johnny cash recorded ''The Ways Of A Woman In Love'', ''Fools Hall Of Fame'', and ''Thanks A Lot'' at Memphis' Sun studio at 706 Union Avenue.

''Johnny B. Goode'' songwriter, Chuck Berry, driving his pink Cadillac, is arrested for ''careless and imprudent driving'' in St. Louis, Missouri. He pays a $15 fine.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR JOHNNY CASH
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1958

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: THURSDAY JULY 10, 1958
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - JACK CLEMENT

Johnny Cash spent most of July, 1958 doing marathon sessions at 706 Union, fulfilling contractual obligations to Sun. Sam Phillips, who intended to continue releasing Johnny Cash records for a long time, despite the artist's defection to Columbia, was busy stockpiling releasable material. It was a bonanza for Sun's stable of composers like Jack Clement and Charlie Rich. The rules were simple: Cash refused to record his best new compositions for Sun because he was saving them for his move to a major label. That meant the call was out for Cash-sounding originals.

Cash's penultimate session for Sun on this day, resulted in three masters being recorded. "The Ways Of A Woman In Love" was the first of three songs composed by Charlie Rich that Cash would record during the last few months of this time with Sun Records. The alternate is boosted by a more rhythmic beat from the drummer and has a couple of noticeable lyric changes. On the released version the line "Friends come by to pick you up" replaced "the girls come by to pick you up" and possibly in an effort to tame the song down the line "the guy who's got you in a spin" replaced this versions "the guy who's got you all worked up".

01(1) - "THE WAYS OF A WOMAN IN LOVE" - B.M.I. - 2:24
Composer: - Charlie Rich-Bill Justis
Publisher: - Knox Music Incorporated
Matrix number: - None - Not Originally Issued
Recorded: - July 10, 1958
Released: - 1984
First appearance: - Charly Records (LP) 33rpm Sunbox 103 mono
JOHNNY CASH - THE SUN YEARS
Reissued: - 1990 Bear Family Records (CD) 500/200rpm BCD 15517-3-20 mono
JOHNNY CASH - THE MAN IN BLACK 1954 - 1958

01(2) - "THE WAYS OF A WOMAN IN LOVE"** - B.M.I. - 2:13
Composer: - Charlie Rich-Bill Justis
Publisher: - Knox Music Incorporated
Matrix number: - U 316 - Master
Recorded: - July 10, 1958 - Master Overdubbed with Chorus
Released: - August 1958
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 302-A < mono
THE WAYS OF A WOMAN IN LOVE - YOU'RE THE NEAREST THING TO HEAVEN
Reissued: - 1996 Bear Family Records (CD) 500/200rpm BCD 15803-2-23 mono
THE SUN SINGLES COLLECTION - VOLUME 3

"The Ways Of A Woman In Love" comes closer to the mark, but even here, something has gone wrong. For one thing, Luther's guitar lines need vocal enhancing like a fish needs a bicycle. For another, Jimmy Wilson's piano removes whatever edge this song might have had. It wasn't until later when composer Charlie Rich included this song on his first RCA album that we got an insight into how bluesy and powerful the material could be.

02(1) - "FOOLS HALL OF FAME" - B.M.I. - 2:24
Composer: - Danny Wolfe
Publisher: - Golden West Music
Matrix number: - None - Take 1 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 1990
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15517-3-21 mono
JOHNNY CASH - THE MAN IN BLACK 1954 - 1958
Reissued: - 2007 Bear Family Records (CD) 500/200rpm BCD 16325-3-10 mono
JOHNNY CASH - THE SUN OUTTAKES

Documentation from the American Federation of Music shows a comment from Sam Phillips that "Fools Hall Of Fame" should never be released. It is unclear why he would make such a comment although it is possible that it has more to do with publishing rights than Cash's actual performance. The outtakes presented here do not include the guitar overdub which was added much later. Cash must have liked the song as he recorded it again for Columbia the week after he joined the label.

02(2) - "FOOLS HALL OF FAME" - B.M.I. - 2:30
Composer: - Danny Wolf
Publisher: - Golden West Music
Matrix number: - None - False Start & Complete Take 2 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-11 mono
JOHNNY CASH - THE SUN OUTTAKES

03(1) - "THANKS A LOT" - B.M.I - 2:41
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 1 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-12 mono
JOHNNY CASH - THE SUN OUTTAKES

With Cash's recording of Charlie Rich's "Thanks A Lot" we get to hear how the song came together. This session includes eleven takes, not all complete, that includes various attempts at the original undubbed recording, further attempts at overdubbing the vocal chorus and some studio antics with the chorus working on some unused different endings to the song. Also included is the undubbed master. Cash may have been uninterested at this stage of his career with Sun Records but it certainly doesn't show as his commitment to producing good quality material is evident.

03(2) - "THANKS A LOT" - B.M.I. - 0:26
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - 2s False Start Incomplete Take 2 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (VD) 500/200rpm BCD 16325-3-13 mono
JOHNNY CASH - THE SUN OUTTAKES

03(3) - "THANKS A LOT" - B.M.I. - 2:37
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Chatter, Take 3 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-14 mono
JOHNNY CASH - THE SUN OUTTAKES

03(4) - "THANKS A LOT" - B.M.I. -2:54
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Chatter, Take 4 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-15 mono
JOHNNY CASH - THE SUN OUTTAKES

03(5) - "THANKS A LOT" - B.M.I. - 2:36
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Undubbed Master Take 5 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-16 mono
JOHNNY CASH - THE SUN OUTTAKES

03(6) - "THANKS A LOT" - B.M.I. - 2:34
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Vocal Overdub (1) Take 5 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-17 mono
JOHNNY CASH - THE SUN OUTTAKES

03(7) - "THANKS A LOT" - B.M.I. - 2:33
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Vocal Overdub (2) Take 5 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-18 mono
JOHNNY CASH - THE SUN OUTTAKES

03(8) - "THANKS A LOT" - B.M.I. - 0:17
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Ending Only Vocal Overdub (1) Incomplete Take 5 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-19 mono
JOHNNY CASH - THE SUN OUTTAKES

03(9) - "THANKS A LOT" - B.M.I. - 0:31
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Ending Only Vocal Overdub (2) Incomplete Take 5 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-20 mono
JOHNNY CASH - THE SUN OUTTAKES

03(10) - "THANKS A LOT" - B.M.I. - 0:34
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Ending Only Vocal Overdub (3) Incomplete Take 5 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-21 mono
JOHNNY CASH - THE SUN OUTTAKES

03(11) - "THANKS A LOT" - B.M.I. - 0:14
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Ending Only Vocal Overdub (4) Incomplete Take 5 - Not Originally Issued
Recorded: - July 10, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 163253-22 mono
JOHNNY CASH - THE SUN OUTTAKES

03(12) - "THANKS A LOT" - B.M.I. - 2:33
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 350 - Master Take 5
Recorded: - July 10, 1958 - Overdubbed with chorus (the Confederates) before release
Released: - February 15, 1959
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 316-A < mono
THANKS A LOT / LUTHER PLAYED THE BOOGIE
Reissued: - 1996 Bear Family Records (CD) 500/200rpm BCD 15803-3-25 mono
THE SUN SINGLES COLLECTION - VOLUME 3

Charlie Rich responded to the call with "Thanks A Lot", a well constructed self-piying weeper. Cash turned in a solid reading of Rich's material and even the choral overdub was respectable. About the only laughable thing associated with this side is Charlie Rich's original demo of the song. Obviously, some serious attention was directed to Rich's original lyrics, which were worked over before the session. Otherwise, Cash might have following Rich's lead and sung, "You went to see the lawyer / told him I was oh so mean / You told him I was the most no good thing / you had ever seen / He's suing me for everything I've got / Thanks a lot, thanks a lot".

Name (Or. No. Of Instruments)
Johnny Cash - Vocal and Guitar
Luther Perkins - Guitar
Billy Riley - Guitar
Marshall Grant - Bass
James M. Van Eaton - Drums
Jimmy Wilson - Piano

** - Overdubbed session probably July 1958, Sun Studio, 706 Union Avenue, Memphis, Tennessee

The Confederates were a barbershop quartet that performed in the 1950s and 1960s. The group formed in September 1953 at a SPEBSQSA chapter meeting in Memphis, Tennessee.

They consisting of
George Evans - Tenor
Dave LaBonte - Lead
Bill "Bus" Busby – Baritone
Wally Singleton - Bass

The Confederates took first place in the 1956 SPEBSQSA International Quartet Championship after finishing second the year before. They were notable not only for their championship-caliber harmonies, but also for performing in Confederate officer uniforms. The group stopped performing in 1969.

For Biography of Johnny Cash see: > The Sun Biographies <
Johnny Cash's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

JULY 11, 1958 FRIDAY

Chuck Berry, a future member of the Nashville Songwriters Hall of Fame, purchases a two-story house in St. Louis, Missouri, symbolic of his success with such songs as ''Johnny B. Goode'', ''Maybellene'' and ''Thirty Days (To Come Back Home)''.

As for the Sun label, it was, necessarily, a time of retrenchment. Jud Phillips was the first to go. He collected his last paycheck and moved back to Florence, taking with him the customized Greyhound bus that had been such a nagging bone of contention between him and his brother. The bus was a dream that Jud had long had, a kind of rolling hospitality center on which he could freely dispense drinks and favors in all the cities he visited on his never-ending round of promotion tours. So far it had cost Sam close to $8,000 in its two-month life span, which included the installation of velvet-red draperies and carpeting, a lounge equipment with a full-sized television set, an elaborate sound system, two big captain's chairs upfront, a fully stocked bar, and various other sundries and amenities that continued to be added even as the bus continued to undergo one costly repair after another. It was a total, first-class bad bus.

JULY 13, 1958 SUNDAY

June Carter and Edwin ''Rip'' Nix have a daughter, Rosie.

JULY 14, 1958 MONDAY

Decca released Ernest Tubb's ''Half A Mind''.

Charlie Rich has his first recording session for Sun Records in Memphis, Tennessee.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR CHARLIE RICH
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1958

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: MONDAY JULY 14, 1958
PRODUCER - BILL JUSTIS
AND/OR CHARLIE RICH
RECORDING ENGINEER - SAM C. PHILLIPS

01 - "MY BABY DONE LEFT ME" - B.M.I. - 2:48
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - July 14, 1958
Released: - November 1986
First appearance: - Charly Records (LP) 33rpm Sunbox 106-8-8 mono
SUN RECORDS - THE ROCKING YEAR - WHOLE LOTTA SHAKIN'
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 16152-3-16 mono
LONELY WEEKENDS - THE SUN YEARS 1958 - 1962

02 - "I'LL MAKE IT ALL UP TO YOU" - B.M.I.
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued / Tape Lost
Recorded: - July 14, 1958

03 - "THOSE PLACES AROUND TOWN" - B.M.I. - 2:37
Composer: - Charlie Rich
Publisher: - Sun Entertainment
Matrix number: - None - Demo - Not Originally Issued
Recorded: - July 14, 1958
Released: - 2009
First appearance: - Charly Records (CD) 500/200rpm SNAJ 744 CD-2/19 mono
CHARLIE RICH - THE COMPLETE SUN MASTERS

Name (Or. No. Of Instruments)
Charlie Rich - Vocal and Piano

For Biography of Charlie Rich see: > The Sun Biographies <
Charlie Rich's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube < 

© - 706 UNION AVENUE SESSIONS - ©

(Above) One of Charlie Rich's earliest musical experiences involved a sharecropper by the name of C.J. Allen who worked the Rich family land. C.J. was a blues piano player. Charlie used to sit and watch him play for hours. "He was the honky tonk piano player for the time, and, of course, there were still quite a few blues things around Memphis, the plantation was over in Benton, Arkansas, but it was only about 30 miles from Memphis'', said Charlie Rich.

JULY 1958

By now Charlie Rich and his wife, Margaret Ann had moved to Benton, Arkansas. Their upgraded facilities included a makeshift studio out in the garage. Margaret Ann recalls, ''We didn't have a music room or anything. Just a piano and tape recorder in the garage. We used to go out there in the evenings and sing together. We'd write and harmonize and make tapes. The were pretty rough but we were having fun.

The home sessions Margaret Ann describes persisted at least until Charlie's final days at Sun. One of these tapes survives in the Sun vaults. It features surprisingly amateurish harmonizing on ''My Mountain Dew'' and ''It Just Goes To Show You Don't Know About Love''. Both songs, demoed at home during Rich's final months at Sun, appeared on his first RCA album released in 1963.

Charlie would often bring these rough demos into Sun and play them for Bill Justis, Jack Clement or Sam Phillips. If there was anything of promise, they would almost immediately recut it in the Sun studio as a demo featuring Rich's vocal and piano, perhaps aided by whoever happened to be hanging around in the studio at the moment. It is this spontaneous spirist that accounts for the unprofessional and often tentive instrumental support behind Charlie and his piano on some recordings. Demos made under these conditions can easily be distinguished from more formal studio efforts featuring Roland Janes on guitar and/or Jimmy M. Van Eaton on drums.

Jimmy Van Eaton recalls, ''A lot of time we'd get to the session and while we were waiting for all the guys to show up or while the engineer was taking levels we'd start jamming just to get loose. Part of that was the way Sun operated. There was no clock. If a session took six hours, so be it. Nobody cared''.

Jimmy M. Van Eaton recalls, ''A lot of stuff, some of which you've probably discovered going through the tapes, was never intended to be released. With Jerry Lee, that was how we did 80%, maybe more of the sessions. You'd just start jamming and Sam has the tape running. That's why with Jerry Lee there were often no arrangements, no beginnings, no endings.

Charlie's sessions were never that unstructured, but even with him we had that jamming at the start that could lead to anything''. The popular conception of the Sun house band as a big happy family has much truth to it. But there was also a glimmer of trouble in paradise. Some of it indirectly involved Charlie Rich. As Jimmy M. Van Eaton recalls, ''We had a special nucleus of musicians there: myself, Roland, Billy Riley, Jerry Lee. We were all about the same age. We really clicked. Charlie wasn't quite like that.

First of all, he was shyer than any of us. But he was also a bit older, a different kind of musician. Maybe a little more mature, more educated than us. I was still in high school when I was doing a lot of this. Charlie probably put more thought into what he was doing than we did''.

''Neither Charlie nor Bill Justis ever said anything to me, but I think both of them thought they were above what they were cutting. I know Justis did. He thought he had really lowered himself to record ''Raunchy'', but in fact, that's his claim to fame. If you can get fame in this world for anything legally, you ought to be glad to have it. Fame isn't easy to come by so it's ironic that Justis didn't think much of what brought him fame. I don't know if Charlie felt exactly the same way. I do know he hung around more with Justis than he did with us. Sid Manker was part of that too. I know they wanted me to put that funky rock and roll beat behind what they were doing, but they still wanted to be playing more uptown stuff whenever they could. Even today, jazz musicians look at pop musicians as being a notch or two below them. The jazz guys still think they're the coolest''.

© - 706 UNION AVENUE SESSIONS - ©

HOME RECORDINGS FOR CHARLIE RICH

CHARLIE RICH HOME, BENTON, ARKANSAS
SESSION: POSSIBLY JULY 1958
PRODUCER - CHARLIE RICH
RECORDING ENGINEER - PROBABLY MAGARET ANN RICH

01 - ""SAIL AWAY" - B.M.I. - 1:47
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Possibly July 1958
Released: - 1998
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16152-3-17 mono
LONELY WEEKENDS - THE SUN YEARS 1958 - 1962

What we have here is the original home demo of the tune later recorded by Ray Smith, as well as by Charlie and Jerry Lee. This demo, previously thought lost, reveals Charlie overdubbing (rather loosely) a harmony vocal that set the tone for Smith's release. Apparently this tune was conceived as a duet, even in its earliest days. At this point in his career, Charlie was spinning out demos by the dozen and the melodies, lyrics and instrumental licks were starting to blur together. In an unguarded moment, Charlie laughs at the lack of originality in his opening piano figure. Nevertheless, this tune remains one of the best early compositions Rich contributed to the Sun catalogue, even if it is a near perfect anti-love song.

''Give In'', this track is a total surprise: a home demo featuring Charlie's multitracked vocal on a song that has never appeared on any Rich discographies to date. The song is pure Charlie, from its theme to its melodic structure. Most of Rich fans will notice more than a passing melodic resemblance to ''Sail Away''.

02 - "GIVE IN" - B.M.I. - 1:46
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Possibly July 1958
Released: - 1998
First appearance: - 1998 Bear Family Records (CD) 500/200rpm BCD 16152-3-10 mono
LONELY WEEKENDS - THE SUN YEARS 1958 - 1962

03 - "I'VE LOST MY HEART TO YOU"
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued/Lost
Recorded: - Unknown Date

04 - "BIG JACK"
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued/Lost
Recorded: - Unknown Date

05 - "MISERY"
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued/Lost
Recorded: - Possibly July 1958

06 - "LET ME GO MY MERRY WAY"
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued/Lost
Recorded: - Unknown Date

07 - "THE INVITATON"
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued/Lost
Recorded: - Unknown Date

08 - "WHY OH WHY"
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued/Lost
Recorded: - Unknown Date

09 - "THANKS FOR STOPPING BY"
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued/Lost
Recorded: - Unknown Date

10 - "MY MOUNTAIN DEW"
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Date
Released: - November 1985
First appearance: - Charly Records (LP) 33rpm CDX 10 mono
CHARLIE RICH - ORIGINAL HITS AND MIDNIGHT DEMOS

11 - "IT JUST GOES TO SHOW"
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Dates
Released: - November 1985
First appearance: - Charly Records (LP) 33rpm CDX 10 mono
CHARLIE RICH - ORIGINAL HITS AND MIDNIGHT DEMOS

Name (Or. No. Of Instruments)
Charlie Rich - Vocal and Piano
Margaret Ann Rich - Harmony Vocal

For Biography of Charlie Rich see: > The Sun Biographies <
Charlie Rich's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube < 

© - 706 UNION AVENUE SESSIONS - ©

JULY 1958

About the same time Carl McVoy started coming in and cutting a few more tunes for Sun, Sam got a call from Audrey Williams asking if we had any good candidates to play her late husband, Hank Williams, in a proposed movie. Sam urged her to come to Memphis to look over Carl as a prospect. Never mind that he was a pianist, not a guitar picker.

Sam asked Barbara Barnes to meet Carl McVoy at the Variety Club to help entertain Audrey. Carl told her about his experience with the Bill Black Combo and other work he'd done, and then he went to the piano to sing and play for her. He attempted a little patter between numbers, announcing he was going to do the honeymoon song, ''It Don't Hurt Anymore''. No yuks on that one. They drifted apart as the evening was ending, and the next day the word was out that Audrey had ''auditioned'' Carl privately at her hotel.

According to Barbara Barnes, ''It was still early the next day when she came in and plopped herself down in my office. I just couldn't grasp that I was sitting three feet away from the woman who had inspired all those wonderful Hank Williams weepers. She wasn't old, in her mid-30s at the time, but her face showed many miles. Her heavy make-up and bleached hair cancelled out the positive appearance of her nice figure, and the girlish ruffles and flounces she was wearing were strangely incongruous with her jaded expression. Her conversation had a flat quality, as if she was there in body only'' Barbara said.

After Audrey Williams went back to Nashville the next day, they never heard any more from her about the Hank Williams movie. Sam Phillips said in a sort of sheepish way that Audrey had indicated she wanted to ''audition'' him, too, but he wasn't willing to go that far to advance Carl's career. The tunes Jack Clement cut with Carl as a followup to ''Tootsie'' were never released, as the first record was a flop. But, Barbara remained a Carl McVoy fan, partly because in December, only he, among all the artists, thoughtfully sent her a Christmas card.

JULY 15, 1958 TUESDAY

Julia Lennon, the mother of John Lennon, dies in a car accident in Liverpool, England. The event comes just nine days after Lennon met future fellow Beatle Paul McCartney, with whom he shares songwriting credits on several country hits.

JULY 16, 1958 WEDNESDAY

Marvin Rainwater recorded ''Nothin' Needs Nothin' (Like I Need You)'' in the afternoon at the Bradley Film and Recording Studio in Nashville.

© - 706 UNION AVENUE SESSIONS -©

STUDIO SESSION FOR CARL MCVOY
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1958

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: JULY 17, 1958
SESSION HOURS: UNKNOWN
PRODUCER - SAM C. PHILLIPS
RECORDING ENGINEER - JACK CLEMENT

In July, 1958, Carl McVoy cut "Right Behind You Baby", three months after Ray Smith's record had come out. At that same session, he recorded the Charlie Rich song "Little Girl", presented on his compilation in a version by Ray Smith. That same July, 1958 session resulted in McVoy cutting "A Woman's Love" - a song bass player Stan Kesler later placed with Elvis Presley (retitled "The Thrill Of Your Love") on the 1960 Elvis Is Back album. Again, close, but no cigar.

01 - ''LITTLE GIRL'' – B.M.I. - 2:32
Composer: - Charlie Rich
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - July 17, 1958
Released:- 1998
First appearance: - Charly Records (CD) 500/200rpm CPCD 8137-16 mono
UNISSUED SUN MASTER

02 - ''A WOMAN'S LOVE (THRILL OF YOUR LOVE)'' – B.M.I. - 2:55
Composer: - Stan Kesler
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2002
Charly Records (CD) 500/200rpm SNAJ 713-58 mono
THE SUN RECORDS STORY
Reissued: - 2009 Charly Records (CD) 500/200rpm SNAJ 743-3-33 mono
SUN ROCKABILLY MELTDOWN

03 - ''RIGHT BEHIND YOU BABY'' – B.M.I.
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None – Sun Unissued
Recorded: - July 17, 1958

04 - ''LITTLE JOHN'S GONE'' – B.M.I. - 2:30
Composer: - Carl McVoy
Publisher: - Copyright Control
Matrix number: - None – Not Originally Issued
Recorded: - July 17, 1958
Released: - May 1, 2011
First appearance: - M.A.T. Music (MP3) Internet Sample mono
VARIOUS ARTISTS - ROCK-A-BILLY - VOLUME 4

Name (Or. No. Of Instruments)
Carl McVoy - Vocal and Piano
Tiny Dixon - Guitar
Stan Kesler - Bass
Jimmy M. Van Eaton - Drums
Johnny Ace Cannon - Saxophone

For Biographies of Carl McVoy see: > The Sun Biographies <
Carl McVoy's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

JULY 17, 1958 THURSDAY

Johnny Cash held his last recording session at Sun before moving on to Columbia Records. Sam Phillips placed advertisements in the trade papers assuring disc jockey's and distributors that he had sufficient Cash product to keep the pipeline full for "at least two year". In fact, prodigious recycling by both Sam Phillips and Shelby Singleton ensured that no one would ever want for one of Cash's Sun sides again.

Sam Phillips had apparently asked for a chance to match any offer that another company might make, and he felt betrayed because he had been denied that chance. Bob Neal said in 1973, however, that he had at least informed Sam Phillips of his intentions.

"Sam's arrangement with all of his artists involved a royalty rate of 3 percent of 90 percent of retail. When Johnny's contract was set to expire we talked to him. Johnny wanted to get the standard 5 percent royalty, but Sam maintained that he could not afford to pay it. When the deal was announced, he was very upset. He said he would have done the whole deal if he'd thought we'd meant it".

His relationship with Phillips in tatters, Bob Neal folded his management company, Stars Incorporated, located at 1916 Sterick Boulevard, Memphis, Tennessee, and managed Johnny Cash and Carl Perkins from his house. Two weeks after leaving Sun, Bob Neal announced that Johnny Cash was quitting the Opry and that everyone was packing up and moving to the West Coast, feeling that they could storm Hollywood. As it happened, Cash would have to wait almost ten years for a decent dramatic role.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR JOHNNY CASH
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1958

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: THURSDAY JULY 17, 1958
SESSION HOURS: 12:00-15:00 / 15:00-18:00
DOUBLE SESSION FILED WITH AFM
PRODUCER AND RECORDING ENGINEER - JACK CLEMENT & CHARLIE RICH

01(1) - "IT'S JUST ABOUT TIME" - B.M.I. - 1:08
Composer: - Jack Clement
Publisher: - Jack Clement Music Incorporated
Matrix number: - None - Incomplete Take 1 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-23 mono
JOHNNY CASH - THE SUN OUTTAKES

Jack Clement's "It's Just About Time" is dominated by piano and on the released version features an overdubbed chorus which added little to the recording. The various undubbed version show how well crafted the song was. It was considered good enough to release, along with "I Just Thought You'd Like To Know", as a single and just scraped into the top thirty on the country charts.

01(2) - "IT'S JUST ABOUT TIME" - B.M.I. - 2:04
Composer: - Jack Clement
Publisher: - Jack Clement Music Incorporated
Matrix number: - None - Take 2
Recorded: - July 17, 1958
Released: - 1990
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15517-3-24 mono
JOHNNY CASH - THE MAN IN BLACK 1954 - 1958
Reissued: - 2007 Bear Family Records (CD) 500/200rpm BCD 163253-24 mono
JOHNNY CASH - THE SUN OUTTAKES

01(3) - "IT'S JUST ABOUT TIME" - B.M.I. - 2:03
Composer: - Jack Clement
Publisher: - Jack Clement Music Incorporated
Matrix number: - None - Take 3 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-25 mono
JOHNNY CASH - THE SUN OUTTAKES

01(4) - "IT'S JUST ABOUT TIME" - B.M.I. - 2:03
Composer: - Jack Clement
Publisher: - Jack Clement Music Incorporated
Matrix number: - None - Take 4 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 163253-26 mono
JOHNNY CASH - THE SUN OUTTAKES

01(5) - "IT'S JUST ABOUT TIME" - B.M.I. - 1:37
Composer: - Jack Clement
Publisher: - Jack Clement Music Incorporated
Matrix number: - None - Incomplete Take 5 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 163253-27 mono
JOHNNY CASH - THE SUN OUTTAKES

01(6) - "IT'S JUST ABOUT TIME" - B.M.I. - 2:06
Composer: - Jack Clement
Publisher: - Jack Clement Music Incorporated
Matrix number: - None - Take 6 – Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-28 mono
JOHNNY CASH - THE SUN OUTTAKES

01(7) - "IT'S JUST ABOUT TIME" - B.M.I. - 2:05
Composer: - Jack Clement
Publisher: - Jack Clement Music Incorporated
Matrix number: - U 331 - Master
Recorded: - July 17, 1958 - Overdubbed with chorus before release
Released: - November 12, 1958
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 309-B < mono
IT'S JUST ABOUT TIME / I JUST THOUGHT YOU'D LIKE TO KNOW
Reissued: - 1996 Bear Family Records (CD) 500/200rom BCD 15803-3-11 mono
THE SUN SINGLES COLLECTION - VOLUME 3

She's back in town for the Jack Clement side of the date, although things have toned down somewhat from the "Teenage Queen" days. "It's Just About Time" is not one of Cash's better outings at Sun Records, nor is it one of Clement's stronger compositions. Cash was on a roll, however, and Billboard gave these sides a Pick Hit, calling both (Sun 309) "strong pop and country and western contenders".

"I FORGOT TO REMEMBER TO FORGET" - B.M.I. - 1:17
Composer: - Charlie Feathers-Stanley Kesler
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Incomplete Take 1 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-29 mono
JOHNNY CASH - THE SUN OUTTAKES

"I Forgot To Remember To Forget" is a song that had previously been recorded by Elvis Presley and would go on to be covered by many more artists. Cash's version features some great piano work and, after Elvis, is probably the best version of this Stan Kesler/Charlie Feathers composition. Along with two complete alternate versions which are close to the released master we also get to hear an early aborted take followed by a brief false start.

02(2) - "I FORGOT TO REMEMBER TO FORGET" - B.M.I. - 0:17
Composer: - Charlie Feathers-Stanley Kesler
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - False Start Incomplete Take 2 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-30 mono
JOHNNY CASH - THE SUN OUTTAKES

02(3) - "I FORGOT TO REMEMBER TO FORGET" - B.M.I. - 2:07
Composer: - Charlie Feathers-Stanley Kesler
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 3 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 1990
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15517 EH-3-25 mono
JOHNNY CASH - THE MAN IN BLACK 1954 - 1958
Reissued: - 2007 Bear Family Records (CD) 500/200rpm BCD 16325-3-31 mono
JOHNNY CASH - THE SUN OUTTAKES

02(4) - "I FORGOT TO REMEMBER TO FORGET" - B.M.I. - 2:04
Composer: - Charlie Feathers-Stanley Kesler
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 4 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-32 mono
JOHNNY CASH - THE SUN OUTTAKES

02(5) - "I FORGOT TO REMEMBER TO FORGET" - B.M.I. - 1:50
Composer: - Charlie Feathers-Stanley Kesler
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 358 - Master
Recorded: - July 17, 1958 - Overdubbed with chorus before release
Released: - June 2, 1959
First appearance: - Sun Records (S) 45rpm standard single > Sun 321-B < mono
I FORGOT TO REMEMBER TO FORGET / KATY TOO
Reissued: - 1996 Bear Family Records (CD) 500/200rpm BCD 15803-4-10 mono
THE SUN SINGLES COLLECTION - VOLUME 3

About the most interesting thing one can observe is that "I Forgot To Remember To Forget" is the last song Johnny Cash recorded at Sun Records. It appears that the search for material had come up dry. When in doubt, resurrect an old Hi-Lo copyright. Economically, this made sense, but artistically, it was not a happy moment. Cash virtually sleepwalks through the take. Instrumentally, it is Charlie Rich's piano and the Gene Lowery Singers that come to the fore. If nothing else, this undistinguished bit of saccharin was enough to keep disc jockey's spinning "Katy Too".

03(1) - "I JUST THOUGHT YOU'D LIKE TO KNOW" - B.M.I. - 1:26
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Incomplete Take 1 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-33 mono
JOHNNY CASH - THE SUN OUTTAKES

03(2) - "I JUST THOUGHT YOU'D LIKE TO KNOW" - B.M.I. - 2:19
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 2 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-34 mono
JOHNNY CASH - THE SUN OUTTAKES

This Rich composition is a medium tempo number which stands up well with the material he was recording at this time. Jimmy Wilson plays the piano on the alternate takes and it has all the hallmarks or other Charlie Rich material like "I'll Make It All Up To You". Once again all of the alternate takes are minus the chorus which was overdubbed before release.

03(3) - "I JUST THOUGHT YOU'D LIKE TO KNOW" - B.M.I. - 0:53
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Incomplete Take 3 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-35 mono
JOHNNY CASH - THE SUN OUTTAKES

03(4) - "I JUST THOUGHT YOU'D LIKE TO KNOW" - B.M.I. - 2:20
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 4 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-36 mono
JOHNNY CASH - THE SUN OUTTAKES

03(5) - "I JUST THOUGHT YOU'D LIKE TO KNOW" - B.M.I. - 2:20
Composer: - Charlie Rich
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 330 - Master
Recorded: - July 17, 1958 - Overdubbed with chorus before release
Released: - November 12, 1958
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 309-A < mono
I JUST THOUGHT YOU'D LIKE TO KNOW / IT'S JUST ABOUT TIME
Reissued: - 1996 Bear Family Records (CD) 500/200rpm BCD 15803-3-12 mono
THE SUN SINGLES COLLECTION - VOLUME 3

At this point in his career with Sun, Johnny Cash's sessions were in the hands of producers Jack Clement and Charlie Rich. Each has contributed a song here and, in Rich's case, the piano work as well. In fact, Charlie Rich's piano is the dominant force on "I Just Thought You'd Like To Know". Luther's guitar is barely audibly, and what there is of it has been co opted by the bass singer in the chorus. Thankfully, the choral overdub is restrained here, and the bleating soprano seems to have stayed home.

04(1) - "DOWN THE STREET TO 301" - B.M.I. - 2:03
Composer: - Jack Clement
Publisher: - Jack Clement Music Incorporated
Matrix number: - None - Take 1 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-37 mono
JOHNNY CASH - THE SUN OUTTAKES

"Down The Street Of 301" was the last song Johnny Cash recorded for Sun Records and was not the best song to end his short career with the label. Written by Jack Clement it followed a similar theme to "Ballad Of A Teenage Queen" whilst not being in the same class as that particular track. The two takes, and false start, featured here are attempts at adding piano and there are noticeable differences in the style of playing and tempo of each version. They certainly benefit from the lack of the sugary vocal overdubs that ruined the released version.

04(2) - "DOWN THE STREET TO 301" - B.M.I. - 2:11
Composer: - Jack Clement
Publisher: - Jack Clement Music Incorporated
Matrix number: - None - Count-In - False Start - Take 2 - Not Originally Issued
Recorded: - July 17, 1958
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16325-3-38 mono
JOHNNY CASH - THE SUN OUTTAKES

04(3) - "DOWN THE STREET TO 301" - B.M.I. - 2:02
Composer: - Jack Clement
Publisher: - Jack Clement Music Incorporated
Matrix number: - U 405 - Master
Recorded: - July 17, 1958
Released: - July 14, 1960
First appearance: - Sun Records (S) 45rpm standard single > Sun 343-B < mono
DOWN THE STREET TO 301 / THE STORY OF A BROKEN HEART
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-2-4 mono
THE SUN SINGLES COLLECTION - VOLUME 4

This contain some vintage Jack Clement material. Its apparent that had things worked out better, this song would have captured the momentum of "Teenage Queen" and taken Cash for a posthumous payday at Sun. But such things were not in the cards. Although the production is classic middle America-friendly Clement, the material just doesn't pack the punch of "Teenage Queen". The record caused barely a stir. Sadly, this title was the last thing Cash recorded for Sun before departing for greener pastures at Columbia Records.

When Johnny Cash recorded the last songs for Sun Records he probably hoped that they would never see the light of day and was probably upset to find new Sun singles being released around the same time as his own material for Columbia was being issued.

Name (Or. No. Of Instruments)
Johnny Cash - Vocal and Guitar
Luther Perkins - Guitar
Billy Riley - Guitar
Marshall Grant - Bass
James M. Van Eaton - Drums
Charlie Rich - Piano

Johnny Cash's reasons for wanting to leave were complex. He probably saw a pact with Columbia as a hallmark of legitimacy. Columbia also offered him a chance to do a religious album, something Phillips resisted as strongly in 1958 as he had in 1954. The increased royalty was also undoubtedly a factor. A 5 percent royalty would have meant over ten thousand dollars additional income for Johnny Cash in the first six months of 1958 alone. Sam Phillips suggests another potential source of dissatisfaction: "I had given, Carl and Johnny, a lot of time, when they were, getting started. Then I gave Jerry Lee Lewis a lot of time, and they saw it as if we were petting Jerry Lee. They had forgotten that we had brought them along in the same way. They were young people and there was an awful lot of jealousy".

Although Columbia recorded Johnny Cash with the same instrumentation that Sam Phillips used at Sun Records, he never sounded quite as good again. Aberrations like "Teenage Queen" aside, Sam Phillips instinctively knew how to record Cash to minimize the group's shortcomings and take advange of their immense potential. "Luther was the vital player", Phillips contends. "He had real difficulty keeping time; he would lose time or completely mess up during a song, and Johnny would become upset. But I saw something in the plaintiveness of Luther's picking. I said, 'John, it's worth it, you know'. I wanted to make sure that we captured the Luther feel on records and then strengthen it with the slap bass and rhythm. For rhythm we just threaded a little paper through the neck of the guitar and we got a brush-and-snare-drum effect. It was good for Johnny to pick while he sang, because he was innately a high-energy person and he worked much better with that guitar in his hand. It was an energy release. I tried to make Johnny's voice outstanding. The three instruments complemented it. I didn't want anything to detract from the command that Johnny had with just the sound of his voice".

Memphis record producer Jim Dickinson has offered another insight into Phillips' work with Johnny Cash. "Sam told me that the key to producing Johnny Cash was to 'take it off Luther'. Luther was the brunt of all the jokes: if anyone made a mistake, they'd turn and blame it on Luther, which was not totally fair. Luther only played two strings, but he mostly had those covered. Sam said the pressure made Luther tense, and he said that all you had to do was to take that tension off Luther and you had Johnny Cash produced".

No artist, Johnny Cash included, is truly unique. Cash was obviously influenced by other singers who worked the low vocal range with minimal instrumental support, artists like Ernest Tubb and Jimmie Skinner. His increasingly aggressive rhythm guitar playing came from watching Elvis Presley. "Elvis had a good hard driving rhythm on the bass strings in the key of E", Cash told Bill Flanagan. "A good solid rhythm... That's where I was influenced to play that kind of rhythm".

The deadened bass string sound had also been used effectively on Hank Williams' recordings, although Williams had used fuller instrumentation. Cash's achievement was to meld these elements together, using songs that were both haunting and, for the greater part, original. The sun recordings maximized the effective contrast between the hustling rhythm of the bass and acoustic guitar and the ponderous, sparse vocals and lead guitar. Sam Phillips' achievement was to keep Johnny Cash's sound at its bare essentials, and then fatten it up with the use of slapback echo. Subsequent producers and engineers could never quite recapture that formula. Their echo lent distance rather than presence. Worse yet were the early stereo recordings at Columbia, whose primitive separation heightened the unfocused sound.

Johnny Cash's three years of recordings for Sun Records are a wonderful demonstration of just how far a whole can outclass the sum of its parts. Cash's limited vocals, Luther Perkins' woefully limited picking, and Marshall Grant's strictly functional bass playing jelled magically through Sam Phillips' mixing board to produce perhaps the most original and innovative sound in country music since Hank Williams died.

Following Cash's departure from Sun Records, and his signing to Columbia Records, in August 1958 Sun Records continued to release material, much of it stockpiled from the series of sessions held in late 1957- early 1958. Between November 1958 and November 1964 they issued six long play albums and several singles.

Seven days after his last session for Sun, Cash was in Nashville at the Bradley Barn Film & Recording Studio laying his first recordings for his new label.

For Biography of Johnny Cash see: > The Sun Biographies <
Johnny Cash's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

JULY 1958

According to Barbara Barnes, ''By July, even though I had been associated with Sun Records only a year, I felt as if those of who worked had established real bonds. I looked forward to seeing everyone each day because the people were all my friends and the mix was entertaining. Among the many who drifted in, there where those whose presence was consistent. I could always count on Regina Reese for companionship and gossip at lunch. Jack Clement was a continual source of entertainment and fun. Bill Justis's wry commentary on current happenings were amusing. And we tried to help each other in small ways, as Bill Justis did once when I commented that I couldn't get through to our TV host, Wink Martindale'', she said.

Wink Martendale's show, the ''Top Ten Dance Party'', aired on WHBQ-TV in Memphis. His looks fir the Dick Clark stereotype perfectly, earnest wide-set eyes, perfect teeth, and a voice that oozed confidence and warmth. Wink also had wavy hair with a bit of a receding hairline, leaving a nice widow's peak. He had come up through radio, starting in his hometown of Jackson, Tennessee. Like Carl Perkins, he had worked for Aaron Robinson's Dixie network station, in their case WDXI in Jackson. Wink, short for Winston, hooked up in Memphis with promoter and former Elvis manager Bob Neal, and sometimes was the emcee for his Stars Inc. live shows that often featured Sun artists.

Then says Barbara, ''I couldn't understand why I could get through to similar dance-show hosts coast to coast but couldn't get Wink on the phone to ask him to play our records. When I mentioned this to Bill, he said, ''Oh, you want to talk to Mr. Ho-Hum? We could take Winkie out to lunch, I'll ask him''. Bill's name was known to Wink, so he took the call and accepted Bill's invitation. He even offered to pick us up at the studio''.

''I dressed up for the occasion, even donning what she thought was a smart white feathered hat. Bill as usual had something ironic to say. ''B.B., what have you got on your head? It looks like a frustrated chicken''. But these little jibes were endearing, no malice there, just letting me know he noticed'', she said.

''Things got off to a good start with my admiring Wink's shiny Thunderbird and congratulating him on his high ratings in the market. But I put my foot in my mouth by sating that, after all my attempts to reach him, it was good to meet him. I didn't say it sarcastically, but he immediately clouded with anger. He demanded, ''Is that what you tell Sam Phillips''? Apparently, Sam's opinion was significant to him. Bill Justis leapt in with a witticism that smoothed the situation. But I never felt comfortable approaching Wink after that, and soon he left Memphis for Los Angeles and bigger things at KJH. I did give him a couple of plugs in future newsletters, once noting that his record, ''Deck Of Cards'', had made it to number 7 on the Billboard charts'', Barbara said.

JULY 18, 1958 FRIDAY

Bud Hobbs dies of a heart attack at age 38 in Bakersfield, California. The leader of a dance band, The Trailer Herders, he earned three country hits during the prior decade.

JULY 19, 1958 SATURDAY

Jimmie Rodgers joins Georgia Gibbs as guests on NBC's ''The Bob Crosby Show''.

JULY 21, 1958 MONDAY

Warner Bros. Records takes out its first ad in a trade magazine, billing itself as ''the first name in sound''. The company eventually released albums by Randy Travis, Faith Hill, Hank Williams Jr. and Blake Shelton.

Columbia released Charlie Walker's ''Pick Me Up On Your Way Down''.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR SONNY BURGESS & BILLY RILEY
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1958

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: TUESDAY JULY 22, 1958
SESSION FILED SATURDAY AUGUST 30, 1958
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - JACK CLEMENT

Back at Sun, Riley soon defined the groove in which he remained for the balance of his tenure at the label. He cut the occasional single under his own name and worked countless sessions in support of other artists. One of his appearances as a sessionman was on the last single of Sonny Burgess cut on Sun although Burgess - like Riley - would return after testing the waters elsewhere).

"They'd called us", remembers Sonny Burgess, "and told us that we needed to cut something, so we cut six or seven different songs, which is where a lot of those out-takes come from. There were a few instrumentals doing well then, so we came up with "Itchy", which was the slow one. Riley came in after we'd worked it up and put a harmonica on it".

Jack Clement, Billy Riley, and Sonny Burgess were sitting around the Sun studio and the wine was flowing. We can only surmise from the title that it wasn't an important Chardonnay. (Thunderbird was available in supermarkets in quart bottles for under a dollar in 1958). Jimmy Van Eaton and Charlie Rich, rarely an abstainer in those bygone days, joined them for the session. Riley provided the harp; Clement the bass, and Burgess the stinging guitar solos.

01(1) – "ITCHY" - B.M.I. - 0:46
Composer: - Jack Clement-Billy Riley-Albert "Sonny" Burgess
Publisher: - Knox Music Incorporated
Matrix number: - None - Studio Talk, Count-In Take 3, Count-In Take 4, Count-In Take 5
Recorded: - July 22, 1958
Released: - May 29, 2013
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17313-4-19 mono
THE SUN ROCK BOX 1954 - 1959

01(2) – "ITCHY" - B.M.I. - 2:17
Composer: - Jack Clement-Billy Riley-Albert "Sonny" Burgess
Publisher: - Knox Music Incorporated
Matrix number: - U 321 - Take 5 Master
Recorded: - July 22, 1958
Released: - August 10, 1958
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 304-A < mono
ITCHY / THUNDERBIRD
Reissued: - 1996 Bear Family Records (CD) 500/200rpm BCD 15803-3-1 mono
THE SUN SINGLES COLLECTION - VOLUME 3

Billy Riley is featured on what is probably his strongest instrument, harmonica. On "Itchy" he exhibits a fair amount of Little Walter's influence while Burgess' guitar work on sections of the more laid back "Thunderbird" (named after the wine that flowed during the sessions) is somewhat reminiscent of Link Wray's "Rumble".

"Every session we got drunk", asserted Riley to Bill Millar. "It was fun getting in there and getting drunk. Sam usually got tight with us. We had respect for each other, but we never did get along too well. I didn't appreciate the lack of promotion, but I appreciated his talent. He knew I had the band that could work with anybody, and he needed us".

Things sound pretty spontaneous and chaotic here, except for the fact that two sessions were actually held during the summer of '58, about a month apart. The master versions of "Itchy" and "Thunderbird" were recorded during July. Billboard was pretty impressed with both sides of this outing by "the Burgess combo" and cautioned to "Watch this one. Either side can click". It was wonderful advice but, unfortunately, a poor prophecy.

02 – "THUNDERBIRD" - B.M.I. - 2:18
Composer: - Jack Clement-Billy Riley-Albert "Sonny" Burgess
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 320 - Master
Recorded: - July 22, 1958
Released: - August 10, 1958
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 304-B < mono
THUNDERBIRD / ITCHY
Reissued: - 1996 Bear Family Records (CD) 500/200rpm BCD 15803-3-2 mono
THE SUN SINGLES COLLECTION - VOLUME 3

There is some diversity of opinion as to who played on the session, depending on whom you ask. Billy Lee Riley will have it that it was Jimmy Wilson on piano and Jack Clement on bass, Burgess will tell you that it was Charlie Rich on piano, Johnny Hubbard on bass and additionally J.C. Caughron on guitar. The Sun Files lives the line-up as Rich, Clement and Van Eaton as well as of course Riley and Burgess.

This instrumental has been issued in the past both as ''Thunderbird'' and as ''Itchy''. Jack Clement said the original issued version on Sun 304 had been reversed at pressing stage. Sonny Burgess says not and that ''Thunderbird'' is the fater of the two tunes.

Name (Or. No. Of Instruments)
Sonny Burgess - Guitar
Billy Riley - Harmonica
Johnny Hubbard or Jack Clement - Bass
James M. Van Eaton - Drums
Jimmy Wilson or Charlie Rich - Piano
J.C. Caughron - Guitar

Its true that "Raunchy" had sold well for Sam Phillips and Duane Eddy was in the charts, but "Itchy" and "Thunderbird" were a fair distance from anything that was getting airplay in the Fall of 1958. Incidentally, "Thunderbird" was not a tribute to the automobile so much as the cheap wine that flowered freely at the session.

For Biographies of Sonny Burgess and Billy Riley see: > The Sun Biographies <
Sun recordings can be heard on the playlists from 706 Union Avenue Sessions on  > YouTube < 

© - 706 UNION AVENUE SESSIONS - ©

JULY 24, 1958 THURSDAY

Johnny cash recorded ''What Do I Care'' in his first Columbia recording session in Nashville, at the Bradley Film and Recording Studio.

JULY 27, 1958 SUNDAY

Pop and country star Sheb Wooley performs ''The Purple People Eater'' on CBS-TV's ''The Ed Sullivan Show''.

JULY 29, 1958 TUESDAY

Johnny and Vivian Cash have their third daughter, Cindy Cash, in Memphis.

JULY 30, 1958 WEDNESDAY

Neal McCoy is born in Jacksonville, Texas. Known for such mid-1990s recordings as ''No Doubt About It'' and ''Wink'', he garners more acclaim for his energetic stage show, earning Entertainer of the Year twice in the TNN/Music City News awards.

> Page Up <

For Biographies of Artists see: > The Sun Biographies <
Sun recordings can be heard on the playlists from 706 Union Avenue Sessions on  > YouTube < 

© - 706 UNION AVENUE SESSIONS - ©