CD 12 Contains 1960
Contrary to the experience with ''As Long As I Live'', successive takes of
''Baby Baby Bye Bye'' offer little in the way of variation and they offer no real sense of progress as can be perceived in the case of, for example, ''Break Up''. At times, Jerry Lee himself sounds increasingly distracted, even bored by the process, seemingly
being unable to find any scope within the format of the song to impress his own personality on the exercise. Were it not for Sam Phillips identifying most of the nine takes by their sequential numbers it might have been easy to dismiss a particular selection
as a duplicate tape of another, but on close inspection there are a number of distinguishing characteristics.
The first take stands out by virtue of a rather more aggressive
sounding piano solo, opening with rapid fire repeat strikes of the same chords. Thereafter, even though the opening passage of each solo keeps to much the same formula, there are a number of variable fills in the second half of each; the more critical listener
might even point to some ''duff'' notes here and there. Takes 5, 6 and 10 all exhibit the one noticeable twist in the lyric, when Jerry Lee declares that he'll love the object of his affection ''till the day I die'' rather than simply the staccato ''till -
I - die''. The latter part of take 5 also features a gratuitous ''goodbye honey'' casually delivered towards the fade out that isn't heard elsewhere. On Sam's instruction, take 10 is performed at a much slower pace and both this and the final take, here made
available for the first time without the overdubbed addition of the Gene Lowery Singers as heard on the issued master, are the easiest to tell apart from the mass of similar sounding recordings that precede them.
'Baby, Baby Bye Bye'', musically are from high points in Jerry's recorded career for Sun. Aside from the embalming job by the omnipresent Gene Lowery Chorus, swamp echo from the new studio again cut a swath through most everything.
Even Jerry's performance seems lackluster on ''Baby, Baby Bye Bye'', a fairly catchy tune that might have caught some attention had Jerry's name not still been box office poison. Ironically, the one place in the world it charted was England, where it reached
on the chart in June 1960 number 48 for one week ( London Records HLS 9131). The song got its last shot in October 1960 when Wanda Jackson recorded it for an album.
Lee's recording was reissued in 1969 as a 7'' 45 single as Sun 42 as part of the Sun Golden Treasure Series. The song was also released as 45 single in Australia, New Zealand, France, and Japan.
1 - Baby Baby Bye Bye (1) (Slate & Take 1) (2:04) 1989
2 - Baby Baby Bye Bye (2) (Slate & Take 2) (2:04) 2015 Sun Unissued
- Baby Baby Bye Bye (3) (Chatter, Slate, Take 3) (2:10) 1988
4 - Baby Baby Bye Bye (4) (Chatter, Slate, Take 4 Channel B) (2:08) 2015 Sun Unissued
- Baby Baby Bye Bye (5) (Unfinished) (1:52) 2015 Sun Unissued
6 - Baby Baby Bye Bye (6) (Chatter, Slate, Take 6) (2:14) 2015 Sun Unissued
- Baby Baby Bye Bye (7) (Chatter & Take) (2:07) 2015 Sun Unissued
8 - Studio Chatter #1 & Slate #8 Track B (0:36) 1987
9 - Baby Baby
Bye Bye (8) (Take 8 Track B) (1:59) 1987
10 - Studio Chatter #2 & Slate #9-Track B-Take 2) (0:28) 2015 Sun Unissued
11 - Baby Baby Bye
Bye (9) (Take 9-Track B-Take 2) (2:02) 2015 Sun Unissued
12 - Studio Chatter #3 & Slate #10 (0:24) 2015 Sun Unissued
13 - Baby Baby Bye
Bye (10) (Take 10 Unfinished) (1:57) 1992
14 - Studio Chatter #4 & Slate #11 (0:24) 2015 Sun Unissued
15 - Baby Baby Bye Bye (1.1) (Undubbed
Master Take 11) (2:03) 2015 Sun Unissued
(Hughie Piano Smith-Daniel White) (Knox Music Incorporated)
highlights of these sessions involved Jerry Lee again casually dipping into the distant past, putting in the shade all the hard work in trying to make something creditable out of the two pop songs, ''Bonnie B'' and ''Baby Baby Bye Bye'' scripted for the occasion.
Although ''Old Black Joe'' had no more chance of achieving a chart placing than the overtly commercial side of the 45 when paired ''Baby Baby Bye Bye'', many Lewis fans rate it as one of his finest pieces of work at Sun. It is fair to say, however, that it's
not universally admired given the origins of the song and its association with the minstrel show tradition. Whatever one's perspective, the recording is a timeless demonstration both of the subtle power of Lewis's playing and his skill at reinventing material
from across the musical spectrum. Irrespective of the intent of writer Stephen Foster in the 1850s, a century later Lewis surely displays a degree ob innocence in an interpretation that transcends political incorrectness; this is the rebirth of the song as
an elegiac African American spiritual. Emulating the approach taken with ''Night Train To Memphis'', all Jerry Lee reproduces of Foster's ''Old Black Joe'' is a limited, in this instance inaccurate, recollection of the first verse and then the refrain, thereafter
simply repeating the latter. In anyone else's hands that sort of technique, or lack of, sounds like a recipe for a potentially pointless, even calamitous, couple of minutes; in defying such logic Jerry Lee conceives a minor classic.
Old Black Joe" is a parlor song by Stephen Foster (1826-1864). It was published by Firth, Pond & Co. of New York in 1853. Ken Emerson, author of Doo-Dah!, indicates that Foster's fictional
Joe was inspired by a servant in the home of his father-in-law, Dr. McDowell of Pittsburgh. The song is not written in dialect, Emerson writes, "yet the bluntness of Joe's blackness and his docility reduce Old Black Joe to the status of Old Dog Tray rather
than its owner, to simply another white man's possession prized solely for its loyalty''. He believes the song "epitomizes Foster's racial condescension" but W. E. B. Dubois points to the song as a piece standing apart from the debasing minstrel and "coon"
songs of the era. Emerson believes that the song's "soft melancholy" and its "elusive undertone" (rather than anything musical), brings the song closest to the traditional African American spiritual. Harold Vincent Milligan describes the song as "one of the
best of the Ethiopian songs ... its mood is one of gentle melancholy, of sorrow without bitterness. There is a wistful tenderness in the music''.
Jim Kweskin covered
the song on his 1971 album Jim Kweskin's America. Roy Harris made a choral adaptation of the song, Old Black Joe, A Free Paraphrase for full chorus of mixed voices a capella (1938).
devastation to Jerry's career was far from over when he recorded this side effort in January 1960. He was reduced to playing the sort of low rent gig he would have laughed at just two years earlier. During this otherwise bleak period, he played his share of
southern fraternity puke-outs and duke-outs. ''Old Black Joe'' probably went down well at those gigs. It was a Stephen Foster song, in fact Foster's only ''drakie'' song not in patois, and it was a servant in his wife-to-be's household. Jerry recorded it exactly
one hundred years after Foster had written it, and it came out just as many in the South were wondering where the Old Black Joes had gone. Southern sales were probably quite respectable, but it utterly stiffed in the North. Sam Phillips' consolation lay in
the fact that the song was in the public domain, allowing him to copyright Jerry Lee's arrangement.
16 - Old Black Joe (1) (Slate, Take 1, Chatter) (2:17)
2015 Sun Unissued
17 - Old Black Joe (2) (Slate #2 & False Start) (0:32) 2015 Sun Unissued
18 - Old
Black Joe (3) (Take 2) (1:58) 1987
19 - Old Black Joe (4) (Slate & Undubbed Master Take 3) (2:13) 1989
- Old Black Joe (5) (Slate & Take 1 Track B) (2:27) 1988
(Jerry Lee Lewis-Stephen Foster) (Hi-Lo Music Incorporated)
The escapades on this session also informed Jerry Lee's re-working of ''Hound Dog'', now sounding far more true to Big Mama Thornton's original than the version dating from early 1958 when he had covered several Elvis Presley
hits looking for potential album tracks.
"Hound Dog" is a twelve-bar blues song by Jerry Leiber and Mike Stoller. It was recorded by Willie Mae "Big Mama" Thornton on
August 13, 1952 in Los Angeles and released by Peacock Records in March 1953. "Hound Dog" was Thornton's only hit record, spending 14 weeks in the Rhythm and Blues charts, including seven weeks at number 1. Thornton's recording of "Hound Dog" is listed as
one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock and Roll", and was inducted into the Grammy Hall of Fame in February 2013.
"Hound Dog" has been recorded
more than 250 times. The best-known version of "Hound Dog" is the July 2, 1956 recording by Elvis Presley, which is ranked number 19 on Rolling Stone magazine's list of the ''500 Greatest Songs of All Time''; it is also one of the best-selling singles of all
time. Presley's version, which sold about more than 10 million copies globally, was his best-selling song and "an emblem of the rock and roll revolution. It was simultaneously number 1 on the United States pop, country, and Rhythm and Blues charts in 1956,
and it topped the pop chart for 11 weeks - a record that stood for 36 years. Presley's 1956 (RCA 20/47-6604) recording was inducted into the Grammy Hall of Fame in 1988.
Dog" has been at the center of many lawsuits, including disputes over authorship, royalties, and copyright infringement by the many answer songs released by such artists as Rufus Thomas and Roy Brown. From the 1970s onward, the song has been featured in numerous
films, in ''Grease'', ''Forrest Gump'', ''Lilo and Stitch'', ''A Few Good Men'', ''Hounddog'', ''Indiana Jones'', ''The Kingdom of the Crystal Skull'', and ''Nowhere Boy''.
August 12, 1952, rhythm and blues bandleader Johnny Otis asked 19-year-old songwriters Jerry Leiber and Mike Stoller to his home to meet blues singer Willie Mae "Big Mama" Thornton. Thornton had been signed by Don Robey's Houston-based Peacock Records the
year before, and after two failed singles, Robey had enlisted Otis to reverse her fortunes. After hearing Thornton rehearse several songs, Leiber and Stoller "forged a tune to suit her personality, brusque and badass". In an interview in Rolling Stone in April
1990, Stoller said: "She was a wonderful blues singer, with a great moaning style. But it was as much her appearance as her blues style that influenced the writing of ''Hound Dog'' and the idea that we wanted her to growl it''. Leiber recalled: "We saw Big
Mama and she knocked me cold. She looked like the biggest, baddest, saltiest chick you would ever see. And she was mean, a ''lady bear'', as they used to call 'em. She must have been 350 pounds, and she had all these scars all over her face" conveying words
which could not be sung. "But how to do it without actually saying it? And how to do it telling a story? I couldn't just have a song full of expletives''. In 1999, Leiber said, "I was trying to get something like the Furry Lewis phrase 'Dirty Mother Furya'.
I was looking for something closer to that but I couldn't find it, because everything I went for was too coarse and would not have been playable on the air''. Using a "black slang expression referring to a man who sought a woman to take care of him", the song's
opening line, "You ain't nothin' but a hound dog", was a euphemism, said Leiber. The song, a Southern blues lament, is "the tale of a woman throwing a gigolo out of her house and her life".
The song was written for a woman to sing in which she berates "her selfish, exploitative man", and in it she "expresses a woman's rejection of a man, the metaphorical dog in the title". According to Iain Thomas, "'Hound Dog' embodies the
Thornton persona she had crafted as a comedienne prior to entering the music business" by parading "the classic puns, extended metaphors, and sexual double entendres so popular with the bawdy genre''. Rhythm and blues expert George A. Moonoogian concurs, calling
it "a biting and scathing satire in the double-entendre genre" of 1950s rhythm and blues.
Leiber and Stoller wrote the song "Hound Dog" in 12 to 15 minutes, with Leiber
scribbling the lyrics in pencil on ordinary paper and without musical notation in the car on the way to Stoller's apartment. Said Leiber, "Hound Dog'' took like twelve minutes. That's not a complicated piece of work. But the rhyme scheme was difficult. Also
the metric structure of the music was not easy''. According to Leiber, as soon as they reached the parking lot and Stoller's 1937 Plymouth, "I was beating out a rhythm we called the 'buck dance' on the roof of the car. We got to Johnny Otis's house and Mike
went right to the piano…didn't even bother to sit down. He had a cigarette in his mouth that was burning his left eye, and he started to play the song''.
Presley's 1956 version Larry Birnbaum described "Hound Dog" as "an emblem of the rock 'n' roll revolution". George Plasketes argues that Elvis Presley's version of "Hound Dog" should not be considered a cover "since, most listeners, were innocent of Willie
Mae Thornton's original 1953 release". Michael Coyle asserts that "Hound Dog", like almost all of Presley's "covers were all of material whose brief moment in the limelight was over, without the songs having become standards''. While, because of its popularity,
Presley's recording "arguably usurped the original", Plasketes concludes: "anyone who's ever heard the Big Mama Thornton original would probably argue otherwise''.
was aware of and appreciated Big Mama Thornton's original recording of "Hound Dog". Ron Smith, a schoolfriend of Presley's, says he remembers Elvis singing along to a version by Tommy Duncan (lead singer for the classic lineup of Bob Wills and the Texas Playboys).
According to another schoolmate, Elvis' favorite rhythm and blues song was "Bear Cat (the Answer to Hound Dog)" by Rufus Thomas, a hero of Presley's. Nevertheless, it was Freddie Bell and the Bellboys' performance of the song, with Bell's amended lyrics, that
influenced Presley's decision to perform, and later record and release, his own version: "Elvis's version of ''Hound Dog'' (1956) came about, not as an attempt to cover Thornton's record, but as an imitation of a parody of her record performed by Freddie Bell
and the Bellboys. ..The words, the tempo, and the arrangement of Elvis' ''Hound Dog'' come not from Thornton's version of the song, but from the Bellboys'''.
to Rick Coleman, the Bellboys' version "featured Dave Bartholomew's three-beat Latin riff, which had been heard in Bill Haley's ''Shake, Rattle and Roll'''. Just as Haley had borrowed the riff from Bartholomew, Presley borrowed it from Bell and the Bellboys.
The Latin riff form that was used in Presley's "Hound Dog" was known as "Habanera rhythm'', which is a Spanish and African-American musical beat form. After the release of "Hound Dog" by Elvis Presley, the Habanera rhythm gained much popularity in American
Presley's first appearance in Las Vegas, as an "extra added attraction", was in the Venus Room of the New Frontier Hotel and Casino from
April 23 through May 6, 1956, but was reduced to one week "because of audience dissatisfaction, low attendance, and unsavory behavior by underage fans''. At that time, Freddie Bell and the Bellboys, who had been performing as a resident act in the Silver Queen
Bar and Cocktail Lounge in the Sands Casino since 1952, were one of the hottest acts in town. Presley and his band decided to take in their show, and not only enjoyed the show, but also loved their reworking of "Hound Dog", which was a comedy-burlesque with
show-stopping va-va-voom choreography. According to Paul W. Papa: "From the first time Elvis heard this song he was hooked. He went back over and over again until he learned the chords and lyrics''. Presley's guitarist Scotty Moore recalled: "When we heard
them perform that night, we thought the song would be a good one for us to do as comic relief when we were on stage. We loved the way they did it''. When asked about "Hound Dog", Presley's drummer D. J. Fontana admitted: "We took that from a band we saw in
Vegas, Freddie Bell and the Bellboys. They were doing the song kinda like that. We went out there every night to watch them. He'd say: 'Let's go watch that band. It's a good band!' That's where he heard 'Hound Dog,' and shortly thereafter he said: 'Let's try
When asked if Bell had any objections to Presley recording his own version, Bell gave Colonel Tom Parker, Presley's manager, a copy of his 1955 Teen Records'
recording, hoping that if Presley recorded it, "he might reap some benefit when his own version was released on an album''. According to Bell, "Parker promised me that if I gave him the song, the next time Elvis went on tour, I would be the opening act for
him - which never happened''. In May 1956, two months before Presley's release, Bell re-recorded the song in a more frantic version for the Mercury label, however it was not released as a single until 1957. It was later included on Bell's 1957 album, ''Rock&
Roll…All Flavors'' (Mercury Records MG 20289). By summer 1956, after Presley's recording of the song was a million-seller, Bell told an interviewer: "I didn't feel bad about that at all. In fact, I encouraged him to record it''. After the success of
Presley's recording, "Bell sued to get some of the composer royalties because he had changed the words and indeed the song, and he would have made millions as the songwriter of Elvis’s version: but he lost because he did not ask Leiber and Stoller for
permission to make the changes and thereby add his name as songwriter''.
Soon after, Elvis Presley added "Hound Dog" to his live performances, performing it as comic
relief. "Hound Dog" became Elvis and Scotty and Bill's closing number for the first time on May 15, 1956 at Ellis Auditorium in Memphis, during the Memphis Cotton Festival before an audience of 7,000. Presley's performance, including the lyrics (which he sometimes
changed) and "gyrations", were influenced by what he had seen at the sands. As the song always got a big reaction, it became the standard closer until the late 1960s.
1964, Elvis Presley's version of "Hound Dog" had been covered over 26 times, and by 1984, there were at least 85 different cover versions of the song, making it "the best-known and most often recorded rock and roll song". In July 2013 the official Leiber and
Stoller website listed 266 different versions of "Hound Dog", but acknowledged that its list is incomplete. Among the notable artists who have covered Presley's version of "Hound Dog" are: Gene Vincent and His Blue Caps; Jerry Lee Lewis in July 1974 for his
Sun International LP ''Rockin' And Free'' and in November 1988 for the Zu-Zazz LP ''Jerry Lee Lewis - Dony Drop It''; Chubby Checker; Pat Boone; Sammy Davis, Jr.; Betty Everett; Little Richard; The Surfaris; The Everly Brothers; Junior Wells; The Mothers of
Invention; Jimi Hendrix; Vanilla Fudge; Van Morrison; Conway Twitty; Jimi Hendrix and Little Richard; John Lennon and the Plastic Ono Elephant's Memory Band; John Entwistle; Carl Perkins; Eric Clapton; James Taylor; and (in 1993) Tiny Tim (in his full baritone
voice). In 1999 David Grisman, John Hartford, and Mike Seeger included "Hound Dawg" on their 1999 album Retrograss, which was nominated for a Grammy in the Traditional Folk Album category in 2000.
21 - Hound Dog (2) (Slate & Take 8) (2:10) 1988
(Jerry Leiber-Mike Stoller) (Jerry Leiber Music – Mike Stoller Music)
22 - What'd I Say (1.1) (Slate & Take 1) (2:25) 1989
23 - What'd I Say (1.2) (Slate & Take 2) (2:39) 1988
Charles) (Unichappel Music Incorporated)
There's more than a touch of irony in the fact that nearly thirty years after the event this minor work should be elevated to
the status of the title track on an entirely new Lewis Sun LP, following the rediscovering of these lost tapes in the later 1980s; ''Keep Your Hands Off Of It'', more deserving of the accolade, was itself celebrated as the other headliner on a twin-set of
albums issued on the Zu-Zazz label (Z-2003) in 1987; here, we're treated to another example of Jerry Lee's capacity to recall some of the licentious blues material he would doubtless have heard in Haney's Big House during teenage excursions from his home in
''Keep Your Hands Off It'' was originally written as "Hands Off'', later known as "Keeps Your Hands Off Her", is a 1955 song written and recorded by Jay McShann.
The single, on the Vee-Jay label, was the most successful Jay McShann release on the Billboard rhythm and blues chart. "Hands Off", with vocals performed by Priscilla Bowman, was number one on the rhythm and blues best seller chart for three weeks. The single
is notable because this was the last single to hit number one on the rhythm and blues chart without making the Billboard Hot 100 until 1976: For the next twenty-one years, all singles which made the top spot on the Billboard rhythm and blues chart would make
the Hot 100.
In 1961, Damita Jo DeBlance recorded her version of "Keeps Your Hands Off Her" for Mercury Records (Mercury 71760). Elvis Presley recorded
and worked in a jam with "Got My Mojo Working", but not before Elvis interpolated "Keep Your Hands Off Her" during his sessions in June 1970 at RCA Studio B. in Nashville, Tennessee. ''We grew up on this mediocre shit man'', Elvis declared enthusiastically.
''It's the type of material that's not good or bad, it's just mediocre shit, you know''. But it was ''mediocre shit'' with which he was totally comfortable, for which he had great respect, and that he would always love.
24 - Keep Your Hands Off Of It (2) (Chatter, Slate, Take 1) (2:36) 1987
(Jay McShann) (Conrad Music)
1-24 Recorded January 21-25, 1960 at Sam Phillips Recording Studio, 639 Madison Avenue, Memphis, Tennessee
Jerry Lee Lewis (vocal and piano), Roland Janes (guitar),
Jimmy M. Van Eaton (drums),
Leo Ladner or Jay W. Brown (bass)
Producer - Sam Phillips
In the early days at Madison Avenue Jerry Lee Lewis also turned to a couple of traditional folk rhymes more familiar in nursery playrooms than in rock and roll dance halls; he nevertheless made sparkling recordings of both ''Billy
Boy'' and ''My Bonnie'', neither of would emerge until the 1970s. The occasion is of added significance inasmuch as stereo techniques were employed for the first time on a Lewis recording. In the delivery of ''Billy Boy'', Lewis returned to an arrangement
he had previously used, but ultimately discarded, in the latter stages of recording ''Break Up'' some eighteen months earlier. The same engagement also produced a polished reading of Hank Thompson's ''The Wild Side Of Life''; this song may well have been on
his mind following the recording of ''The Great Speckled Bird'', from which the tune was derived, at the extended January 21-25 session.
"The Wild Side Of Life" is a
song made famous by country music singer Hank Thompson. Originally released in 1952, the song became one of the most popular recordings in the genre's history, spending 15 weeks at number 1 Billboard country charts, solidified Thompson's status as a country
music superstar and inspired the answer song, "It Wasn't God Who Made Honky Tonk Angels" by Kitty Wells.
"The Wild Side Of Life" carries one of the most distinctive melodies
of early country music, used in "I'm Thinking Tonight Of My Blue Eyes" by the Carter Family and "Great Speckled Bird" by Roy Acuff. That, along with the song's story of a woman shedding her role as domestic provider to follow the night life, combined to become
one of the most famous country songs of the early 1950s.
According to country music historian Bill Malone, "Wild Side Of Life" co-writer William Warren was inspired to
create the song after his experiences with a young woman he met when he was younger, a honky tonk angel, as it were, who "found the glitter of the gay night life too hard to resist''. Fellow historian Paul Kingsbury wrote that the song appealed to people who
"thought the world was going to hell and that faithless women deserved a good deal of the blame''.
Jimmy Heap and His Melody Masters first recorded "Wild Side Of Life"
in 1951, but never had a hit with the song. Thompson did, and his version spent three and one-half months atop the Billboard country chart in the spring and early summer of 1952. "Wild Side Of Life" was Thompson's first charting single since 1949's two-sided
hit "Soft Lips"/"The Grass is Greener Over Yonder''. Thompson had hooked up with producer Ken Nelson in the interim, and one of their first songs together was "Wild Side''.
lyric, "I didn't know God made honky tonk angels," and the tune's overall cynical attitude, Kingsbury noted the song"... just begged for an answer from a woman", inspired "It Wasn't God Who Made Honky Tonk Angels''. Recorded by Kitty Wells and released later
in 1952, that song, too, became a number 1 country hit. In "It Wasn't God ... '', Wells shifts the blame for the woman's infidelity to the man, countering that for every unfaithful woman there is a man who has led her astray.
''Wild Side Of Life'' not released at the time, this was first issued on the obscure U.S. Power Pak label’s 1974 ''From The Vaults Of Sun'' collection. Jerry re-cut the song during the 1965 sessions for
''The Return Of Rock'' album, though as it didn’t really fit on that album it was issued on his next one towards the end of the year, ''Country Songs For City Folks''. Great though this is, the memorable saxophone on the earlier version makes that one
the winner for it.
25 - The Wild Side Of Life (2:48) 1974
(Arlie A. Carter-William Warren) (Acuff Rose Music)
"Billy Boy" is a traditional folk song and nursery rhyme found in the United States. It has a Round Folk Song Index number of 326. It is a variant of the traditional English folksong "My
Boy Billy," collected by Ralph Vaughan Williams and published by him in 1912 as number 232 in "Novello's School Songs''.
Further variants have been recorded, that greatly
extend the number of verses and tasks she can perform. An extended version of the song in which the lover performs many tasks besides the cherry pie was collected by Alan Lomax and John Avery Lomax: it appears in American Ballads and Folk Songs. The Lomax
version names the woman being courted Betsy Jane. Jerry Lee Lewis released a version of the song on his 1972 album, Rural Rout Number 1.
The folk group,
The Almanac Singers, wrote an anti-war version of this song by Millard Lampell. The final verse may be intended as a math puzzle, or it may be a humorous indication that the woman is considerably older than the protestation of her youth in the refrain seems
to indicate. While the tone of the nursery rhyme is ironic and teasing, both the question and answer form and the narrative of the song have been related to Lord Randall, a murder ballad from the British Isles. In Lord Randall, the suitor is poisoned by the
woman he visits.
By contrast, Robin Fox uses the song to make a point about cooking and courtship, and observes that: Feeding has always been closely linked with courtship.
. . With humans this works two ways since we are the only animals who cook: the bride is usually appraised for her cooking ability. (''Can she bake a cherry pie, Billy boy, Billy boy''?). In some cultures this is far more important than her virginity.
26 - Billy Boy (Slate & Take 7) (2:23) 1972
(Jerry Lee Lewis) (Hi-Lo Music Incorporated)
"My Bonnie Lies Over Te Ocean" is a traditional Scottish folk song which remains popular in Western culture. The origin of the song is unknown, though it is often suggested that the subject of the song may be
Charles Edward Stuart (Bonnie Prince Charlie) published sheet music for "Bring Back My Bonnie To Me". Theodore Raph in his 1964 book American song treasury: 100 favorites, writes that people were requesting the song at sheet music stores in the 1870s, and
Pratt was convinced to publish a version of it under the pseudonyms, and the song became a big hit, especially popular with college singing groups but also popular for all group singing situations.
27 - My Bonnie (Slate & Take 4) (2:40) 1974
(Charles Edward Stuart) (Sony-ATV Music Publishing)
Recorded Early 1960 at Sam Phillips Recording Studio, 639 Madison Avenue, Memphis, Tennessee
Jerry Lee Lewis (vocal and piano), Roland Janes (guitar), Jimmy M. Van Eaton (drums),
Leo Ladner (bass), Martin Willis (saxophone)
Producer - Charles Underwood
the third Madison Avenue session in mid-1960, Jerry Lee Lewis brought new life to yet another folk memory, the tale of the railroad pioneer ''John Henry''. In getting back on the rhythm and blues track, he complemented this with a rousing version of Chuck
Willis's ''Hang Up My Rock And Roll Shoes'', the two being paired for the next single release, Sun 344. This same get-together also witnessed both his first known recording of ''C.C. Rider'', with which Willis had himself scored a hit in 1957, and a frenetic
''What'd I Say. Finally, in a characteristic melding of genres, Jerry Lee refurbished an old western swing favourite, ''When My Blue Moon Turns To Gold Again'', albeit Elvis Presley had pointed the way on this one with his own uptempo reading of the same song
28 - Hang Up My Rock And Roll Shoes (False Start, Slate, Master Take 1 Sun 344) (2:58) 1960
Willis) (Rush Music)
''John Henry'' was the strongest release by Jerry Lee in quite a while. To his credit, the man never failed to surprise. He's turn his hand to a
maudlin pop ballad, a vintage hillbilly weeper, or – as he does here – to decidedly bluesy material. ''Hang Up My Rock And Roll Shoes'' features Jerry's attempt at Chuck Willis's swan song. To add authenticity, Jerry is joined by a honking sax,
played either by Ace Cannon or Martin Willis.
But it is the flipside that deservedly caused a stir. ''John Henry'' is what they mean by an artist getting into a groove.
Admittedly, this particular groove owed a lot to the fact that Don Hosea was generating a lot of local attention with his own version of ''John Henry'' on Roland Janes's Rita label. The folks at Sun figured they's better get on the bandwagon while the pickings
were good, and who batter to call upon than Jerry Lee. The groove Jerry found here owed a lot to Ray Charles, but it was a fine one nonetheless. As Jerry, himself observed mis-session, it was ''too good to stop now!''. In fact, Jerry's music would soon result
in his first bona fide hit in years.
It's also clear that Jerry had been doing some hard partying prior to this session, and was singing his heart out during the date.
His vocals have rarely sounded more hoarse. There was probably some discussion about whether Jerry's performance was over the line here. Plainly, it was on the cusp, but fortunately, the decision was made to release the track as is. Nearly four decades later,
Jerry's vocal state seems to add to the authenticity of the disc.
John Henry is an African American folk hero and tall tale. He is said to have worked as a "steel-driving
man", a man tasked with hammering a steel drill into rock to make holes for explosives to blast the rock in constructing a railroad tunnel. According to legend, John Henry's prowess as a steel-driver was measured in a race against a steam powered hammer, which
he won, only to die in victory with his hammer in his hand as his heart gave out from stress. The story of John Henry is told in a classic folk song, which exists in many versions, and has been the subject of numerous stories, plays, books and novels. Various
locations, including Big Bend Tunnel in West Virginia, Lewis Tunnel in Virginia, and Coosa Mountain Tunnel in Alabama, have been suggested as the site of the contest.
story of John Henry is traditionally told through two types of songs: ballads, commonly called "The Ballad of John Henry", and work songs known as hammer songs, each with wide-ranging and varying lyrics. Some songs, and some early folk historian research,
conflate the songs about John Henry with those of John Hardy, a West Virginian outlaw. Ballads about John Henry's life typically contain four major components: a premonition by John Henry as a child that steel-driving would lead to his death, the lead-up to
and the results of the race against the steam hammer, Henry's death and burial, and the reaction of John Henry's wife.
The well-known narrative ballad of "John Henry"
is usually sung in at an upbeat tempo. The hammer songs (or work songs) associated with the "John Henry" ballad, however, are not. Sung slowly and deliberately, these songs usually contain the lines "This old hammer killed John Henry / but it won't kill me."
Nelson explains that: ...workers managed their labor by setting a "stint'', or pace, for it. Men who violated the stint were shunned... Here was a song that told you what happened to men who worked too fast: they died ugly deaths; their entrails fell on the
ground. You sang the song slowly, you worked slowly, you guarded your life, or you died.
There is some controversy among scholars over which came first,
the ballad or the hammer songs. Some scholars have suggested that the "John Henry" ballad grew out of the hammer songs, while others believe that the two were always entirely separate. Songs featuring the story of John Henry have been recorded by many blues,
folk, and rock musicians of different ethnic backgrounds. Many notable musicians have recorded John Henry ballads, including Bill Monroe, Johnny Cash, Drive-By Truckers, Joe Bonamassa, Furry Lewis, Big Bill Broonzy, Pink Anderson, Fiddlin' John Carson, Uncle
Dave Macon, J. E. Mainer, Leon Bibb, Leadbelly, Woody Guthrie, Paul Robeson, Pete Seeger, Van Morrison, Bruce Springsteen, Gillian Welch, Cuff the Duke, Ramblin' Jack Elliott, Jerry Reed, Jerry Lee Lewis, Merle Travis, Harry Belafonte, Mississippi John Hurt
(as "Spike Driver Blues"), Lonnie Donegan, Jack Warshaw, Jason Molina, and Steve Earle.
The story also inspired the Aaron Copland's orchestral composition "John Henry"
(1940, revised 1952) and the 2009 chamber music piece Steel Hammer by the composer Julia Wolfe. Henry is the subject of the 1931 Roark Bradford novel John Henry, illustrated by noted woodcut artist J. J. Lankes. The novel was adapted into a stage musical in
1940, starring Paul Robeson in the title role. According to Steven Carl Tracy, Bradford's works were influential in broadly popularizing the John Henry legend beyond railroad and mining communities and outside of African American oral histories. In a 1933
article published in The Journal of Negro Education, Bradford's John Henry was criticized for "making over a folk-hero into a clown''. A 1948 obituary for Bradford described John Henry as "a better piece of native folklore than Paul Bunyan''. Ezra Jack Keats's
John Henry: An American Legend, published in 1965, is a notable picture book chronicling the history of John Henry and portraying him as the "personification of the medieval Everyman who struggles against insurmountable odds and wins''.
Colson Whitehead's 2001 novel John Henry Days uses the John Henry myth as story background. Whitehead fictionalized the John Henry Days festival in Talcott, West Virginia and the release
of the John Henry postage stamp in 1996. The DC Comics superhero Steel's civilian name, "John Henry Irons," is inspired by John Henry. The Ghost of John Henry appears as a character in Elizabeth Bear's novel "One Eyed Jack''.
29 - John Henry (Extended Master Sun 344) (2:35) 1960
(Traditional Arranged by Jerry Lee Lewis) (Knox Music Incorporated)
What'd I Say" (or "What I Say") is a song by American rhythm and blues rhythm and blues musician Ray Charles, released in 1959 as a single divided into two parts. It was improvised one evening late in 1958 when
Charles, his orchestra, and backup singers had played their entire set list at a show and still had time left; the response from many audiences was so enthusiastic that Charles announced to his producer that he was going to record it. After his run of rhythm
and blues hits, this song finally broke Charles into mainstream pop music and itself sparked a new sub-genre of rhythm and blues titled soul, finally putting together all the elements that Charles had been creating since he recorded "I Got A Woman" in 1954.
The gospel influences combined with the sexual innuendo in the song made it not only widely popular but very controversial to both white and black audiences. It earned Ray Charles his first
gold record and has been one of the most influential songs in R&B and rock and roll history. For the rest of his career, Charles closed every concert with the song. It was added to the National Recording Registry in 2002 and ranked at number 10 in Rolling
Stone's "The 500 Greatest Songs of All Time".
Ray Charles was 27 years old in 1958, with ten years of experience recording primarily rhythm and blues music for Downbeat
and Swingtime record labels, in a style similar to that of Nat King Cole and Charles Brown. Charles signed with Atlantic Records in 1954 where producers Ahmet Ertegun and Jerry Wexler encouraged Charles to broaden his repertoire. Wexler would later remember
that Atlantic Records' success came not from the artists' experience, but the enthusiasm for the music: "We didn't know shit about making records, but we were having fun". Ertegun and Wexler found that a hands-off approach was the best way of encouraging Charles.
Wexler later said, "I realized the best thing I could do with Ray was leave him alone".
From 1954 into the 1960s Charles toured for 300 days a year with a seven-piece
orchestra. He employed another Atlantic singing trio named The Cookies and renamed them The Raelettes when they backed him up on the road. In 1954 Charles began merging gospel sounds and instruments with lyrics that addressed more secular issues. His first
attempt was in the song "I Got A Woman", based either on the melodies of gospel standards "My Jesus Is All the World to Me" or an uptempo "I Got A Savior (Way Across Jordan)". It was the first Ray Charles record that got attention from white audiences, but
it made some black audiences uncomfortable with its black gospel derivatives; Charles later stated that the joining of gospel and rhythm and blues was not a conscious decision.
In December 1958, he had a hit on the rhythm and blues charts with "Night Time Is The Right Time", an ode to carnality that was sung between Charles and one of the Raelettes, Margie Hendricks, with whom Charles was having an affair.
Since 1956 Charles had also included a Wurlitzer electric piano on tour because he did not trust the tuning and quality of the pianos provided him at every venue. On the occasions he would play it, he was derided by other musicians.
According to Charles' autobiography, "What'd I Say" was accidental when he improvised it to fill time at the end of a concert in December 1958. He asserts that he never tested songs on audiences
before recording them, but "What'd I Say" is an exception. Charles himself does not recall where the concert took place, but Mike Evans in Ray Charles: The Birth of Soul places the show in Brownsville, Pennsylvania. Shows were played at "meal dances" which
typically ran four hours with a half hour break, and would end around 1 or 2 in the morning. Charles and his orchestra had exhausted their set list after midnight, but had 12 minutes left to fill. He told the Raelettes, "Listen, I'm going to fool around and
y'all just follow me".
Starting on the electric piano, Charles played what felt right: a series of riffs, switching then to a regular piano for four choruses backed up
by a unique Latin conga tumbao rhythm on drums. The song changed when Charles began singing simple, improvised unconnected verses ("Hey Mama don't you treat me wrong / Come and love your daddy all night long / All right now / Hey hey / All right"). Charles
used gospel elements in a twelve-bar blues structure. Some of the first lines ("See the gal with the red dress on / She can do the Birdland all night long") are influenced by a boogie-woogie style that Ahmet Ertegun attributes to Clarence "Pinetop" Smith who
used to call out to dancers on the dance floor instructing what to do through his lyrics. In the middle of the song, however, Charles indicated that the Raelettes should repeat what he was doing, and the song transformed into a call and response between Charles,
the Raelettes, and the horn section in the orchestra as they called out to each other in ecstatic shouts and moans and blasts from the horns. The audience reacted immediately; Charles could feel the room shaking and bouncing as the crowd was dancing. Many
audience members approached Charles at the end of the show to ask where they could purchase the record. Charles and the orchestra performed it again several nights in a row with the same reaction at each show. He called Jerry Wexler to say he had something
new to record, later writing, "I don't believe in giving myself advance notices, but I figured this song merited it".
The Atlantic Records studio had just purchased an
8-track recorder, and recording engineer Tom Dowd was familiarizing himself with how it worked. In February 1959 Charles and his orchestra finally recorded "What'd I Say" at Atlantic's small studio. Dowd recalled that it did not seem special at the time of
recording. It was second of two songs during the session and Charles, the producers, and the band were more impressed with the first one at the session, "Tell The Truth". "We made it like we made all the others. Ray, the gals, and the band live in the small
studio, no overdubs. Three or four takes, and it was done. Next!".
In retrospect, Ahmet Ertegun's brother Nesuhi credits the extraordinary sound of the song to the restricted
size of the studio and the technologically advanced recording equipment used; the sound quality is clear enough to hear Charles slapping his leg in time with the song when the music stops during the calls and responses. The song was recorded in only a few
takes because Charles and the orchestra had perfected it while touring.
Dowd, however, had two problems during the recording. "What'd I Say" lasted
over seven and a half minutes when the normal length of radio-played songs was around two and a half minutes. Furthermore, although the lyrics were not obscene, the sounds Charles and the Raelettes made in their calls and responses during the song worried
Dowd and the producers. A previous recording called "Money Honey" by Clyde McPhatter had been banned in Georgia and Ahmet Ertegun and Wexler released McPhatter's song despite the ban, risking arrest. Ray Charles was aware of the controversy in "What'd I Say".
"I'm not one to interpret my own songs, but if you can't figure out 'What I Say', then something's wrong. Either that, or you're not accustomed to the sweet sounds of love''.
solved the recording issues by mixing three versions of the song. Some call-outs of "Shake that thing!" were removed, and the song was split into two three-and-a-half minute sides of a single record, titling the song "What'd I Say Part I" and "What'd I Say
Part II". The recorded version divides the parts with a false ending where the orchestra stops and the Raelettes and orchestra members beg Charles to continue, then goes on to a frenzied finale. Dowd later stated after hearing the final recording that not
releasing the record was never an option: "we knew it was going to be a hit record, no question''. It was held for the summer and released in June 1959.
initially gave "What'd I Say" a tepid review: "He shouts out in percussive style ... Side two is the same''. The secretary at Atlantic Records started getting calls from distributors, however. Radio stations refused to play it because it was too sexually charged,
but Atlantic refused to take the records back from stores. A slightly sanitized version was released in July 1959 in response to the complaints and the song hit number 82. A week later it was at 43, then 26. In contrast to their earlier review, Billboard several
weeks later wrote that the song was "the strongest pop record that the artist has done to date".
Within weeks "What'd I Say" topped out at number one on Billboard's rhythm
and blues singles chart, number six on the Billboard Hot 100, and it became Charles' first gold record. It also became Atlantic Records' best-selling song at the time.
I Say" was banned by many black and white radio stations because of, as one critic noted, "the dialogue between himself and his backing singers that started in church and ended up in the bedroom". The
erotic nature was obvious to listeners, but a deeper aspect of the fusion between black gospel music and rhythm and blues troubled many black audiences. Music, as was much of American society, was also segregated, and some critics complained that gospel was
not only being appropriated by secular musicians, but it was being marketed to white listeners. During several concerts in the 1960s, the crowds became so frenetic and the shows so resembled revival meetings while Charles performed "What'd I Say" that the
police were called in, when the organizers became worried that riots might break out. The moral controversy surrounding the song has been attributed to its popularity; Charles later acknowledged in an interview that the beat was catchy, but it was the suggestive
lyrics that attracted listeners: "See the girl with the diamond ring. She knows how to shake that thing.' It wasn't the diamond ring that got 'em''. "What'd I Say" was Ray Charles' first crossover hit into the growing genre of rock and roll. He seized the
opportunity of his immense newfound success and announced to Ertegun and Wexler that he was considering signing with ABC Paramount Records (later renamed ABC Records) later in 1959. While he was in negotiations with ABC Paramount, Atlantic Records released
an album of his hits, titled ''What'd I Say''.
Michael Lydon, another of Charles' biographers, summarized the impact of the song: "'What'd I Say' was
a monster with footprints bigger than its numbers. Daringly different, wildly sexy, and fabulously danceable, the record riveted listeners. When 'What'd I Say' came on the radio, some turned it off in disgust, but millions turned the volume up to blasting
and sang 'Unnnh, unnnh, oooooh, oooooh' along with Ray and the Raelets. It became the life of a million parties, the spark of as many romances, and a song to date the summer by. The song's impact was not immediately seen in the U.S.; it was particularly popular
in Europe. Paul McCartney was immediately struck by the song and knew that when he heard it he wanted to be involved in making music. George Harrison remembered an all-night party he attended in 1959 where the song was played for eight hours non-stop: "It
was one of the best records I ever heard''. While The Beatles were developing their sound in Hamburg, they played "What'd I Say" at every show, trying to see how long they could make the song last and using the audience in the call and response, with which
they found immense popularity. The opening electric piano in the song was the first John Lennon had ever heard, and he tried to replicate it with his guitar. Lennon later credited Ray Charles' opening of "What'd I Say" to the birth of songs dominated by guitar
When Mick Jagger sang for the first time with the band that would become The Rolling Stones, he performed a duet of "What'd I Say". Eric Burdon from The Animals,
Steve Winwood of The Spencer Davis Group, Brian Wilson of The Beach Boys, and Van Morrison counted the song as a major influence on why they were interested in music and incorporated it into their shows. Music historian Robert Stephens attributes the birth
of soul music to "What'd I Say" when gospel and blues were successfully joined; the new genre of music was matured by later musicians such as James Brown and Aretha Franklin. "In an instant, the music called Soul comes into being. Hallelujah!" wrote musician
Lenny Kaye in a retrospective of Atlantic Records artists.
In the late 1950s, rock and roll was faltering as its major stars dropped from public view. Elvis Presley was
drafted, Buddy Holly and Eddie Cochran died in 1959 and 1960 respectively, Chuck Berry was in jail, and Jerry Lee Lewis had been disgraced by press reports that he married his 13-year-old cousin. Music and culture critic Nelson George disagrees with music
historians who attest the last two years of the 1950s were barren of talent, pointing to Ray Charles and this song in particular. George writes that the themes in Charles' work were very similar to the young rebels who popularized rock and roll, writing.
By breaking down the division between pulpit and bandstand, recharging blues concerns with transcendental fervor, unashamedly linking the spiritual and the sexual, Charles made pleasure
(physical satisfaction) and joy (divine enlightenment) seem the same thing. By doing so he brought the realities of the Saturday-night sinner and Sunday-morning worshipper, so often one and the same, into raucous harmony.
"What'd I Say" has been covered by many artists in many different styles. Elvis Presley used the song in a large dance scene in his 1964 film ''Viva Las Vegas'' and released it as a single with the title song
on the B-side. Cliff Richard, Eric Clapton with John Mayall & the Bluesbreakers, The Big Three, Eddie Cochran, Bobby Darin, Nancy Sinatra, Sammy Davis, Jr., and Johnny Cash all put their own style on the song. Jerry Lee Lewis found particular success with
his rendition in 1961, which peaked at number 30 and spent eight weeks on the charts. Charles noticed, later writing "I saw that many of the stations which had banned the tune started playing it when it was covered by white artists. That seemed strange to
me, as though white sex was cleaner than black sex. But once they began playing the white version, they lifted the ban and also played the original''.
later spoofed this double standard on the television comedy show Saturday Night Live in 1977. He hosted an episode and had the original band he toured with in the 1950s to join him. In one skit, he tells a producer that he wants to record the song, but the
producer tells him that a white band named the "Young Caucasians", composed of beaming white teenagers, are to record it first, which they do on the show, in a chaste, sanitized, and unexciting performance. When Charles and his band counter with their original
version, Garrett Morris tell them, "Sorry. That'll never make it''.
Charles closed every show he played for the rest of his career with the song, later stating, "'What'd
I Say' is my last song on stage. When I do 'What'd I Say', you don't have to worry about it, that's the end of me; there ain't no encore, no nothin'. I'm finished!". It was ranked tenth on Rolling Stone's list of "The 500 Greatest Songs of All Time", with
the summary, "Charles' grunt-'n'-groan exchanges with the Raeletts were the closest you could get to the sound of orgasm on Top Forty radio during the Eisenhower era".In 2000, it ranked number 43 on VH1's 100 Greatest Songs in Rock and Roll and number 96 on
VH1's 100 Greatest Dance Songs, being the oldest song in the latter ranking. The same year it was chosen by National Public Radio as one of the 100 most influential songs of the 20th century. A central scene in the 2004 biopic Ray features the improvisation
of the song performed by Jamie Foxx, who won an Academy Award for his portrayal of Charles. For its historical, artistic, and cultural significance, the Library of Congress added it to the U.S. National Recording Registry in 2002. The Rock And Roll Hall of
Fame featured it as one of 500 Songs that Shaped Rock And Roll in 2007.
30 - What'd I Say (2) (3:22) 1983
Charles) (Unichappel Music Incorporated)
"See See Rider", also known as "C.C. Rider" or "See See Rider Blues" or "Easy Rider" is a popular American 12-bar blues" song.
It was first recorded by Gertrude "Ma" Rainey in 1924, and since then has been recorded by many other artists. The song uses mostly traditional blues lyrics to tell the story of an unfaithful lover, commonly called easy riders: "See see rider, see what you
have done," making a play on the word see and the sound of easy.
The song is generally regarded as being traditional in origin. Ma Rainey's version became popular during
1925, as "See See Rider Blues''. It became one of the most famous of all blues songs, with well over 100 versions. It was recorded by Big Bill Broonzy, Mississippi John Hurt, Leadbelly, Lightnin' Hopkins, Peggy Lee and many others. Broonzy claimed that "when
he was about 9 or 10", that is, around 1908, he had learned to play the blues from an itinerant songster named "See See Rider", "a former slave, who played a one-string fiddle.... one of the first singers of what would later be called the blues...".
In 1943, a version by Wee Bea Booze became a number 1 hit on the Billboard "Harlem Hit Parade'', precursor of the rhythm and blues chart. Some blues critics consider this to be the definitive
version of the song. A doo-wop version was recorded by Sonny Til and The Orioles in 1952. Later rocked-up hit versions were recorded by Chuck Willis (as "C.C. Rider'', also a number 1 rhythm and blues hit as well as a number 12 pop hit, in 1957) and LaVern
Baker (number 9 rhythm and blues and number 34 pop hit in 1963). Willis' version gave birth to the dance craze "The Stroll''.
Other popular performances were recorded
by Mitch Ryder & the Detroit Wheels (as part of a medley entitled "Jenny Take A Ride!'', number 10 US pop hit in 1965) and The Animals (number 10 US pop hit in 1966).
Animals' heavy version (featuring Eric Burdon's screaming) also reached number 1 on the Canadian RPM chart, and number 8 in Australia. It was the last single before the group disbanded in September 1966. The arrangement of the song was credited to band member
Other renditions came from Elvis Presley, Jerry Lee Lewis, Ray Charles, Chuck Berry, Gary Lewis and the Playboys, The Who, The Everly Brothers, Charlie
Rich, Janis Joplin, The Grateful Dead, Leon Thomas, Snooks Eaglin, John Fahey, Old Crow Medicine Show and many more.
In later years, Elvis Presley regularly opened his
performances with the song, such as was captured on his 1970 On Stage album and in his Aloha from Hawaii television special. Elvis's drummer Ronnie Tutt opened Elvis's version with a rolling drum riff followed by the band entering and Elvis's famous brass
Similarly, Bruce Springsteen and the E Street Band long had "C.C. Rider" as part of their "Detroit Medley" encore romp, which achieved significant visibility
on the 1980 No Nukes live album. Film director Martin Scorsese credited the song with stimulating his interest in music. He later said: "One day, around 1958, I remember hearing something that was unlike anything I'd ever heard before... The music was demanding,
"Listen to me!"... The song was called "See See Rider'', which I already knew from the Chuck Willis cover version. The name of the singer was Lead Belly... I found an old Folkways record by Lead Belly... And I listened to it obsessively. Lead Belly's music
opened something up for me. If I could have played guitar, really played it, I never would have become a filmmaker''.
In 2004, the original Ma Rainey
recording received a Grammy Hall of Fame Award. There is a chapter in Richard Brautigan's classic Trout Fishing in America titled "Sea, Sea Rider''.
The term "See See
Rider" is usually taken as synonymous with "easy rider." In particular, in blues songs it often refers to a woman who had liberal sexual views, had been married more than once, or was skilled at sex. Although Ma Rainey's version seems on the face of it to
refer to "See See Rider" as a man, one theory is that the term refers to a prostitute and in the lyric, "You made me love you, now your man done come'', "your man" refers to the woman's pimp. So, rather than being directed to a male "easy rider," the song
is in fact an admonition to a prostitute to give up her evil ways.
31 - C C Rider (1) (2:55) 1969
(Progressive Music Incorporated)
''When My Blue Moon Turns To Gold Again'' is a song written by Wiley Walker and Gene Sullivan in 1940. They first recorded it for Columbia
Records in 1941 (Columbia 20264). Walker was inspired to write the song while travelling in West Texas with the full moon in his face. As he drove down the highway, daybreak approached. Walker noted the apparent change of colour of the moon from a bluish tint
Elvis Presley recorded ''When My Blue Moon Turns To Gold Again' (RCA Victor EPA-992) on September 2, 1956 at Radio Recorders, 7000 Santa Monica Boulevard, Hollywood,
California, with Thorne Nogar and Bones Howe behind the board. Elvis sang "When My Blue Moon Turns To Gold Again" in his appearance on "The Ed Sullivan Show" (January 6, 1957) and on his TV special taping "Elvis", June 27, 1968, at the 6:00pm and 8:00pm shows.
It has also been recorded by Zeke Manners (1947), in 1947 by The Singing Lariateers (RCA 20-2130), in 1949 by Tex Ritter (Capitol 1977), and recorded by Cindy Walker, Cliffie Stone, Sammi Smith, the Statler Brothers, Hank Thompson, Emmylou Harris, Eddy Arnold,
Jim Reeves, Bill Monroe, Merle Haggard, and of course, Jerry Lee Lewis, among others.
32 - When My Blue Moon Turns To Gold Again (1) (2:33) 1989
33 - When My Blue Moon Turns To Gold Again (2) (Slate & 2nd Series Take 1) (2:26) 1974
(Wiley Walker-Gene Sullivan) (Peer Music International Corporation)
28-33 Recorded June 1960 at Sam Phillips Recording Studio, 639 Madison Avenue, Memphis, Tennessee
Jerry Lee Lewis (vocal and piano),
Roland Janes (guitar), Jimmy M. Van Eaton (drums),
Leo Ladner (bass), Martin Willis or Ace Cannon (saxophone)
Producer - Sam Phillips
The final studio engagement in October 1960 produced what many regard as being amongst the least appealing recordings Jerry Lee Lewis made at Sun, or elsewhere for the matter. The main purpose
was to fashion a single, Sun 352, which coupled ''When I Get Paid'' with ''Love Made A Fool Of Me''. There's not a great deal to say about either other than to confirm the fact that it's not Jerry Lee at the piano but a session artist named Larry Muhoberac,
who later made a decent living playing on Elvis movie soundtracks. It's necessary to draw attention to the fact that, as originally issued, the single master of ''When I Get Paid'' was edited, a process which involved the removel of several notes of Muhoberac's
intro and an overall reduction in length to 2 minutes 45 seconds, principally due to the premature fade out applied; ignoring the abbreviation, the full length of the recording is presented in mono here. On the stereo mix, there is also evidence of some added
percusssion but, other than in its curtaiment on the issued mono master, Lewis's overdubbed vocal contribution does not, of course, vary. It appears that Sam Phillips wanted to end the year by realising fully the potential of his new facilities at 639 Madison
Avenue; in so doing he engineered something quite forgettable. The same session let us ''No More Than I Get'', need more be said?
34 - No More Than I Get (2:25) 1975
(Stan Kesler) (Copyright Control)
''When I Get Paid'' is a standard ''bitch about work'' song performed to a mild 1960s funk riff.
No one would have guessed it at the time these Ray Charles rhythmic figures were everywhere, but the formulaic music they spawned was going to sound pretty dated pretty quickly. If this song ever had any passion, the tinkly sounding 5-4-1 piano riff manages
to declaw it. The pianist, incidentally and thankfully, wasn't Jerry Lee, who was on the outs with the American Federation of Musicians and therefore prohibited from playing sessions.
- When I Get Paid (Extended Master Sun 352) (3:27) 1960
(Harold Shedd-York Wilburn) (Bluff City–Hi-Lo Music Incorporated)
Love Made A Fool Of Me'' is, to put it mildly, utterly bizarre. It begins as a soul ballad, complete with a churchy chorus (probably the Gene Lowery singers in blackface). Then things start to go downhill. The release contains that 4-4 minor
sequence to no good effect. And suddenly things unravel. The song that follows, both chorally and instrumentally seems to bear no relation to what preceded the release. From soul ballad, we've evolved into the lowest kind of pop schmaltz. There's a rather
surprising quick fade, as if someone in the studio cried out, ''Please fade us before we hurt ourselves''. It happens not a moment too soon.
36 - Love Made A Fool Of Me
(Extended Master Sun 352) 2:46) 1960
(Harold Shedd-York Wilburn) (Bluff City–Hi-Lo Music Incorporated)
Recorded October 13, 1960 at Sam Phillips Recording Studio, 639 Madison Avenue, Memphis, Tennessee
Jerry Lee Lewis (vocal) Larry Muhoberac (piano), Scotty Moore (guitar), Brad Suggs (guitar),
Jimmy M. Van Eaton (drums), Billy Riley (bass), Fred Ford, Ronnie Capone,
Robert Alexius (horns), Unknown (vocal chorus)
Producer - Charles Underwood or Scotty Moore
© Original Sun Recordings, licensed from Sun Entertainment, Inc.
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