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Johnny Cash - The Sun Outtakes (BCD 16325) (1-3) (2007)
Billy Riley - The Sun Outtakes (BCD 17122) (1-2) (2010)
Carl Perkins - The Sun Era Outtakes (BCD 17240) (1-5) (2011)


© 2007 Bear Family Records (CD) 500/200rpm BCD 16325 (1-3) mono digital
3 Compact disc boxed set. A Bear Family Special product. Photo of original Scotch tape pressed on disc. For the first time, the complete rest material of the complete Sun recordings previously unissued complete with studio chatter, false starts. Also included in the boxed set, booklet biography, with liner notes by Richard Weize. The booklet also features rare and previously unpublished photos and a detailed session file information by Colin Escott. The package includes a lavishly illustrated booklet containing rare and previously unpublished photos of the Johnny Cash-Johnny Horton fishing trip.
Over the years Johnny Cash's Sun recordings have been released on countless compilations and there is no doubt that the releases on Bear Family have been the definite record of his short career with the label. With this new collection we can listen to those outtakes along with a wealth of previously unreleased alternate takes, undubbed masters, false starts and studio chat that give the listener an insight into the creative process behind those legendary recordings. Unfortunately many of the original session tapes have been lost or recorded over and there are many songs for which we were unable to locate any outtakes, but a handful have survived the passage of time and it is from those tapes that this set has been put together. During the compilation of this set we have tried to offer the material in chronological order. However, Sam Phillips did not keep records of take numbers and dates so we have used the excellent research undertaken by Colin Escott and Martin Hawkins along with our own additional research. As you sit and listen to these recordings you can imagine that you are there in the studio with Johnny Cash, Luther Perkins and Marshall Grant as they recorded these classic tracks over fifty years ago.
Sam Phillips, and Jack Clement
Re-Issue Producer
Peter Lewry and Richard Weize
Tape Research
Hank Davis and Jim Stewart
Tape Comparison and Compilation
Peter Lewry
Jurgen Crasser
Liner Notes
Peter Lewry
Colin Escott
Photos and Illustrations
R.A. Andreas
Photo Scans
Andreas Merck
Thanks to
Hank Davis
Disc 1 Contains
1 - Wide Open Road (1:47)
2 - You're My Baby (Little Woolly Booger) (False Start & Complete Take) (1:46)
3 - My Treasure (False Start & Complete Take) (2:28)
4 - Hey Porter (2:09)
5 - Folsom Prison Blues (2:30)
6 - Folsom Prison Blues (2:33)
7 - Folsom Prison Blues (2:27)
8 - Folsom Prison Blues (2:28)
9 - Wide Open Road (2:34)
10 - My Two Timin' Woman (1:56)
11 - Cry, Cry, Cry (Extended Version) (3:03)
12 - Rock And Roll Ruby (1:41)
13 - I Walk The Line (2:38)
14 - Brakeman's Blues (Incomplete Take) (1:32)
15 - Get Rhythm (False Start & Complete Take (2:18)
16 - Get Rhythm (2:13)
17 - Get Rhythm (Microphone Test) (2:14)
18 - Get Rhythm (2:13)
19 - Train Of Love (2:17)
20 - Train Of Love (2:36)
21 - One More Ride (Incomplete Take) (0:50)
22 - I Love You Because (2:25)
23 - Don't Make Me Go (Incomplete Take) (1:38)
24 - Don't Make Me Go (False Start) (0:18)
25 - Don't Make Me Go (False Start & Complete Take) (2:51)
26 - Don't Make Me Go (2:31)
27 - Don't Make Me Go (2:34)
28 - Don't Make Me Go (False Start) (0:42)
29 - Don't Make Me Go (2:27)
30 - Don't Make Me Go (2:39)
31 - Don't Make Me Go (2:33)
32 - Don't Make Me Go (2:49)
33 - Don't Make Me Go (2:28)
Original Sun Recordings
Disc 2 Contains
1 - Home Of The Blues (False Start & Undubbed Master) (1:59)
2 - Give My Love To Rose (2:46)
3 - Give My Love To Rose (2:39)
4 - Give My Love To Rose (False Start & Complete Take) (3:08)
5 - Country Boy (1:46)
6 - Leave That Junk Alone (1:26) 
7 - Doin' My Time (2:25)
8 - Country Boy (1:47)
9 - If The Good Lord's Willing (1:43)
10 - I Heard That Lonesome Whisle Blow (False Start) (0:41)
11 - I Heard That Lonesome Whisle Blow (2:21)
12 - I Was There When It Happened (2:17)
13 - Big River (False Start & Complete Take) (3:43)
14 - Ballad Of A Teenage Queen (2:23)
15 - Ballad Of A Teenage Queen (2:12)
16 - Goodnight Irene (2:38)
17 - Come In Stranger (2:00)
18 - Guess Things Happen That Way (Undubbed Master) (1:55)
19 - Guess Things Happen That Way (Alternate Vocal Overdub) (1:57)
20 - Guess Things Happen That Way (Alternate Vocal Overdub) (1:51)
21 - Oh Lonesome Me (Undubbed Master) (2:28)
22 - Sugartime (1:43)
23 - Born To Lose (Incomplete Take) (1:12)
24 - Born To Lose (False Start) (0:20)
25 - Born To Lose (Undubbed Master) (2:08)
26 - You're The Nearest Thing To Heaven (2:36)
27 - The Story Of A Broken Heart (False Start) (0:50)
28 - The Story Of A Broken Heart (Complete Take & False Start) (6:04)
29 - Always Alone (False Start & Incomplete Take) (1:32)
30 - Always Alone (Incomplete Take) (1:09)
31 - Always Alone (Incomplete Take) (1:10)
32 - You Tell Me (False Start) (0:06)
33 - You Tell Me (False Start) (0:26)
34 - You Tell Me (Master) (1:16)
35 - You Win Again (2:16)
36- You Win Again (False Start & Undubbed Master) (2:45)
37 - I Could Never Be Ashames Of You (2:11)
38 - I Could Never Be Ashamed Of You (Undubbed Master) (2:11)
39 - Hey Good Lookin' (1:40)
40 - Hey Good Lookin' (Undubbed Master) (1:40)
Original Sun Recordings
Disc 3 Contains
1 - I Can't Help It (1:44)
2 - I Can't Help It (Undubbed Master) (1:44)
3 - Cold, Clod Heart (2:19)
4 - Cold, Cold, Heart (2:18)
5 - Katy Too (False Start) (0:14)
6 - Katy Too (2:00)
7 - Katy Too (1:54)
8 - Katy Too (1:55)
9 - The Ways Of A Woman In Love (2:25)
10 - Fools Hall Of Fame (2:24)
11 - Fools Hall Of Fame (False Start & Complete Take) (2:30)
12 - Thanks A Lot (2:41)
13 - Thanks A Lot (False Start) (0:26)
14 - Thanks A Lot (2:37)
15 - Thanks A Lot (2:54)
16 - Thanks A Lot (Undubbed Master) (2:36)
17 - Thanks A Lot (Vocal Overdub) (2:34)
18 - Thanks A Lot (Vocal Overdub) (2:33)
19 - Thanks A Lot (Vocal Overdub Ending Only) (0:17)
20 - Thanks A Lot (Vocal Overdub Ending Only) (0:31)
21 - Thanks A Lot (Vocal Overdub Ending Only) (0:34)
22 - Thanks A Lot (Vocal Overdub Ending Only) (0:14)
23 - It's Just About Time (Incomplete Take) (1:07)
24 - It's Just About Time (2:05)
25 - It's Just About Time (2:04)
26 - It's Just About Time (2:04)
27 - It's Just About Time (Incomplete Take) (1:37)
28 - It's Just About Time (2:06)
29 - I Forgot To Remember To Forget (Incomplete Take) (1:17)
30 - I Forgot To Remember To Forget (False Start) (0:17)
31 - I Forgot To Remember To Forget (2:08)
32 - I Forgot To Remember To Forget (2:04)
33 - I Just Thought You'd Like To Know (Incomplete Take) (1:26)
34 - I Just Thought You'd Like To Know (2:20)
35 - I Just Thought You'd Like To Know (Incomplete Take) (0:53)
36 - I Just Thought You'd Like To Know (2:20)
37 - Down The Street To 301 (2:04)
38 - Down The Street To 301 (False Start & Complete Take) (2:11)
Original Sun Recordings 
© Original Sun Recordings, licensed from Sun Entertainment, Inc. 

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


© 2010 Bear Family Records (CD) 500/200 rpm BCD 17122 (1-2) mono digital

2 Compact disc boxed set. A Bear Family Special product. Photo of original Scotch tape pressed on disc. The set contains outtakes of every one of Billy Riley's Sun singles. 78 tracks with studio chatter and previously unreleased recordings. It includes a lavishly illustrated booklet with previously unpublished photos, revised and expanded Sun discography and track-by-track commentaries, a fascinating behind-the-scenes look at recording in the Sun studio during the 1950s. The most complete and detailed look at Billy Riley's Sun career. This unprecedented boxed set brings together virtually every Billy Riley outtake of the 12 sides originally released by the Sun label in the 1950s. It offers the deepest look yet at Billy Riley's recording activity in the historic Memphis studio. This boxed set also includes a lavishly illustrated booklet featuring never-before seen photos of Riley at work in the studio and on tour with his backup group, the Little Green Men. It also includes a revised and expanded Sun discography, detailed track-by-track commentaries, and new interview material by Sun historian Hank Davis. Its 78 tracks include revealing studio chatter and offer a deep, behind-the- scenes look at life in the Sun studio. The booklet also features detailed session file information by Colin Escott, Martin Hawkins, Scott Parker, Hank Davis and Richard Weize.

Billy Riley will need no introduction to buyers of this Box Set. The numerous 'Sun's Greatest Hits' or '50s rockabilly packages may serve as a general introduction to Riley's work, but the collection in your hands right now constitutes 'deep Sun vault' by any reckoning. This is stuff for collectors and fans who want more than just another fix of Riley's best known titles.

The truth is, Billy Riley never had anything resembling a hit - 'greatest' or otherwise. Chalk it up to one more injustice in the record business. At his considerable best, Billy Riley was making records for the Sun label that deserved the status of national hits. 'Top Ten' or not, Riley's music had a strong impact on many people. Years later, Bob Dylan publicly proclaimed Riley as "My hero in the music business. 

Fortunately, Billy Riley lived long enough to bask in some of that glow. He deserved a lot more of the acclaim, the attention, and the money - not to mention everything -else that rained down on rock's biggest stars from the Fabulous 50s. But he never found anything like it. He coped with it about as well as anyone might have under the circumstances - which is to say, fine on most days, with occasional flare-ups that went duly noted by journalists and historians. You can read all about those days on-line or in Rob Bowman and Ross Johnson's book that accompanies Bear Family's set of Riley's recordings of the era (BCD 15444). 

We're not going to retell those stories here, or retread the ground that Bowman and Johnson covered so well. Instead, we're going to dig more deeply into the music. For every Red Hot or Flying Saucer Rock And Roll released to the public, there were five or ten unissued versions that give some perspective into the the energy and ideas that went into creating them. False starts, aborted takes, and inferior completed takes. Most of them are finally here in one place. Put them together with BCD 15444 and you've got about as deep a look at vintage Billy Riley as we are likely ever to see.  

Discography. Completing a flawless Billy Riley discography is a nearly hopeless task. It isn't that Riley was more elusive than his fellow Sun artists. It's that Sun didn't keep accurate records. Union logs were reluctantly and inconsistently filed. Although today's historians take Sun Records very seriously, Sun was never run with an eye towards history. The music we know and and atmire was often created under spontaneous and informal conditions that are the kind of events that give nightmares to historians. Piecing together fragments long after the fact can be a thankless task performed against insurmountable odds. For example, a single Sun tape reel may contain takes from different sessions held days, weeks or months apart.  

We owe an enormous debt of thanks to discographers who have previously attempted this job, but not surprisingly their results are incomplete and occasionally inaccurate. In fact, this collection contains more alt takes than the 1987 Escott/Hawkins discography even lists: a credit to the persistence of Sun archaeologists. 

Even setting aside the original session information, there's the additional problem that Billy Riley's music appears on approximately 200 LPs and CDs as of this writing. These collections were issued in Europe, Asia and North America, often in limited press runs. Riley left numerous alt takes in the Sun vaults. To say that this one first appeared on Charly CDX 9 or AVI 5007 or P-Vine 318 or Bopcat 100 is speculative at best. What the Escott & Hawkins discography refers to as alt-I may have a different designation elsewhere. As we learned the hard way, making clear distinctions between alt takes of, say, Red Hot or Got The Water Boiling can be grueling work involving painstaking comparisons. It is unlikely such comparisons were often made and, without them, we can only guess at which alts appeared where. 

We have created a careful and thorough discussion of Billy Riley alt takes. We have coordinated it with Bear Family's 2-CD set of Riley's 'Classic Recordings' (BCD 15444 BH). Taken together, the two sets provide almost all of what Billy Riley recorded at Sun, organized in a way that makes comparison and cross-referencing about as easy as it's likely to get. 

Sam Phillips, and Jack Clement, Jack Clement, Billy Riley
Re-Issue Producer
Hank Davis and Scott Parker
Tape Transfer
James Stewart
Tape Comparison and Compilation
Hank Davis and Scott Parker
Jurgen Christian Zwarg
Liner Notes/ Music Commentary
Hank Davis and Scott Parker
Colin Escott, Martin Hawkins, Scott Parker,
Hank Davis, and Richard Weize
Photos and Illustrations
R.A. Andreas, Joyce Riley and Martin Willis
Riley and Dylan Photo
Karen Pulfer Focht
Thanks to
Roland Janes, James Stewart, and Martin Willis
Special thanks to
Phillip Martin and Joyce Riley

Disc 1 Contains
1 - Rock With Me Baby False Start 1) (0:29)
2 - Rock With Me Baby (Alternate Take 1) (2:15)
3 - Rock With Me Baby (False Start 2) (0:14)
4 - Rock With Me Baby (Alternate Take 2) (2:14)
5 - Rock With Me Baby(False Start 3) (0:16)
6 - Rock With Me Baby (False Start 4) (0:15)
7 - Rock With Me Baby (Alternate Take 2) (2:15)
8 - Trouble Bound (Alternate Take 1) (2:46)
9 - Trouble Bound (Alternate Take 2) (2:47)
10 - Trouble Bound (False Start 1) (0:24)
11 - Trouble Bound (Alternate Take 3) (2:45)
12 - Flying Saucer Rock And Roll (Alternate Take 1) (2:02)
13 - Flying Saucer Rock And Roll (Alternate Take 2) (2:01)
14 - Flying Saucer Rock And Roll (Alternate Take 3) (2:00)
15 - Flying Saucer Rock And Roll (Alternate Take 4) (1:58)
16 - Flying Saucer Rock And Roll (Alternate Take 5) (2:02)
17 - Flying Saucer Rock And Roll (Alternate Take 6) (2:06)
18 - Flying Saucer Rock And Roll (Alternate Take 7) (1:59)
19 - Flying Saucer Rock And Roll (Chatter & Alternate Take 8) (2:05)
20 - Flying Saucer Rock And Roll (Alternate Take 9) (2:00)
21 - Flying Saucer Rock And Roll (False Start 1) (0:07)
22 - Flying Saucer Rock And Roll (Alternate Take 10) (2:05)
23 - I Want You Baby (Alternate Take 1) (2:08)
24 - I Want You Baby (Alternate Take 2) (2:05)
25 - I Want You Baby (Alternate Take 3) (2:14)
26 - I Want You Baby (Alternate Take 4) (2:15)
27 - I Want You Baby (False Start 1) (0:08)
28 - I Want You Baby (Alternate Take 5) (2:19)
29 - I Want You Baby (Alternate Take 6) (2:17)
30 - I Want You Baby (False Start 2) (0:10)
31 - I Want You Baby (Chatter & Alternate Take 7) (2:17)
32 - I Want You Baby (Chatter & False Start 3) (0:14)
33 - I Want You Baby (False Start 4 & Chatter) (0:14)
34 - I Want You Baby (Alternate Take 8) (2:04)
35 - I Want You Baby (Alternate Take 9) (2:00)
36 - I Want You Baby (Alternate Take 10) (2:00)
37 - I Want You Baby (Alternate Take 11) (1:57)
38 - I Want You Baby (Alkternate Take 12) (1:56)
39 - Pearly Lee (Alternate Take 1) (2:35)
40 - Pearly Lee (Alternate Take 2) (2:31)
41 - Pearly Lee (Alternate Take 3) (2:30)
42 - Pearly Lee (Alternate Take 4) (2:34)
Original Sun Recordings

Disc 2 Contains
1 - She's My Baby (Red Hot) (Alternate Take 1) (1:33)
2 - She's My Baby (Red Hot) (Alternate Take 2) (1:44)
3 - Red Hot (Alternate Take 3) (2:37)
4 - Red Hot (Alternate Take 4) (2:29)
5 - Red Hot (Alternate Take 5) (2:30)
6 - Red Hot (Alternate Take 6) (2:31)
7 - Red Hot (Alternate Take 7) (2:31)
8 - Red Hot (Alternate Take 8) (2:30)
9 - Red Hot (Alternate Take 9) (2:31)
10 - Wouldn't You Know (Alternate Take 1) (3:15)
11 - Baby Please Don't Go (Incomplete Alternate Take 1) (1:07)
12 - No Name Girl (Alternate Take 1) (1:54)
13 - No Name Girl (Alternate Take 2) (1:54)
14 - No Name Girl (Alternate Take 3) (2:02)
15 - No Name Girl (False Start 1) (0:15)
16 - No Name Girl (False Start 2 & Alternate Take 4) (2:05)
17 - No Name Girl (False Start 3, 4, 5 & Alternate Take 5) (2:48)
18 - Down By The Riverside (Alternate Take 1) (2:06)
19 - Down By The Riverside (Chatter & Alternate Take 2) (2:12)
20 - Down By The Riverside (False Start 1) (0:33)
21 - Down By The Riverside (Chatter & Alternate Take 3) (2:35)
22 - Down By The Riverside (False Start 2) (0:29)
23 - Down By The Riverside (False Start 3, 4 & Alternate Take 4) (2:31)
24 - Down By The Riverside (False Start 5 & Alternate Take 5) (2:29)
25 - One More Time (Alternate Take 1) (2:14)
26 - One More Time (Alternate Take 2) (2:22)
27 - One More Time (Alternate Take 3) (2:14)
28 - Got The Water Boiling (Chatter & Alternate Take 1) (2:31)
29 - Got The Water Boiling (False Start 1) (0:18)
30 - Got The Water Boiling (Chatter & False Start 2 & Alternate Take 2) (2:41)
31 - Got The Water Boiling (Alternate Take 3) (2:13)
32 - Got The Water Boiling (Chatter & False Start 3) (0:21)
33 - Got The Water Boiling (False Start 4) (1:30)
34 - Got The Water Boiling (Chatter & Alternate Take 4) (2:15)
35 - Got The Water Boiling (Alternate Take 5) (2:13)
36 - Got The Water Boiling (Alternate Take 6) (2:13
Original Sun Recordings 

© Original Sun Recordings, licensed from Sun Entertainment, Inc.

For Biographies of Billy Riley see > The Sun Biographies <
Billy Riley's Sun and Outtake recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <


© 2011 Bear Family Records (CD) 500/200rpm BCD 17240 (1-5) mono digital

5-CD Mini-Box Set (CD-format) with 132-page booklet, 152 tracks. Playing time approx. 360 minutes, 152 tracks and 45 separate songs. Outtakes from all of Carl's Sun era recordings. Everything from Carl's earliest hillbilly titles through his final recording for the film ''Jamboree''! Contains previous unissued titles and outtakes of almost all known songs. Lavishly illustrated booklet contains previously unpublished vintage photos. Complete up-to-date discography, detailed track-by-track music commentary with liner notes of Hank Davis and Scott Parker. The book includes rare photos, and previously unpublished interviews with Carl's son Stan Perkins, and drummer WS Holland. Carl Perkins was the best guitar player who ever set foot in the Sun studio. He was no slouch as a singer and song writer also. Until Johnny Cash and Jerry Lee Lewis became megastars, nobody, and that includes Elvis - sold more records at Sun than Carl Perkins. Carl was so much more than ''Blue Suede Shoes''. In addition to eight singles and an album's worth of material, Carl left behind a treasure trove of recorded material consisting of unissued titles and studio outtakes. Many of these tracks have appeared over the years but, incredibly, there were still vintage recordings awaiting discovery. Here for the first time, along with every known Carl Perkins outtake from the Sun era. Finally, it's all here in one place, along with some delicious moments of studio chatter, false starts and song fragments. You've never heard Carl like this before. Also offer some memorable home recordings from the Sun era, some of them previously unissued. They show Carl playing and singing in the privacy of his own living room.

Carl Perkins had eight singles and one LP released on the original Sun label. The LP contained five previously unissued tracks so that's a total of 21 songs - his entire released Sun legacy.

When Carl left the label in 1958 he left numerous additional titles, many of which would eventually find their way into commercial release as Sun archaeologists dug more deeply into the tape archives. Not all of those originally unissued titles were gems, but many were strong compositions and performances that had been worthy of release the first time around. Carl also left outtakes of most of his issued titles. They, too, deserved attention. 

Here, for the first time, we gather almost all that previously unissued material in one place together with some never-issued home recordings from the era and release it about as systematically and completely as it is likely to appear. This project is a labor of love, and because it is far from a Greatest Hits compilation, its market will be as small as it is dedicated. In any case, a collection of 'Hits' was hardly viable. Carl Perkins did not have enough Hits 'Greatest' or otherwise — to sustain a project of this description. Once you get past Blue Suede Shoes, the recognition factor declines pretty rapidly. 

What doesn't decline is the quality of the music. Carl made a lot of good recordings. We were repeatedly reminded in compiling this boxed set of just how fine a guitarist, singer and songwriter Perkins was. It is our hope that listening to these sides will remind you of the same. There is a prodigious amount of raw energy on these tapes, some of it admittedly fueled by alcohol. Much of this music will rivet your attention. Carl Perkins was truly a major talent, whether allowing the Hank Williams side of his Hillbilly roots to come up for air; working the bluesy edge of rockabilly that drew collectors to him; or attempting to be a teen poet, much as Chuck Berry had done during the same decade. Carl Perkins was about as deeply involved in teenage life as Chuck Berry was — which is to say 'not.' But that didn't stop either man from speaking to that audience in credible images. 

In barely over 3 years, Carl Perkins made the transition from pure hillbilly singer to aspiring teen idol. Of course, he never succeeded in the latter. Despite the best promotional efforts behind him, Perkins was never really teen idol material. Sam Phillips had it right the first time he met Perkins in mid-1954. "l thought he was one of the world's greatest plowhands''. Phillips wasn't being in any way demeaning. He simply saw how intractably country the young man standing before him was. It was going to be a full time job separating Carl from a life of sharecropping and singing in the rough-hewn honky tonks of Jackson, Tennessee. It's a long way from that life to the stage of the Brooklyn Paramount or the Dick Clark TV show. The question was whether Carl could make that journey and retain the feeling and originality that Phillips detected even before the first recordings had been set down on tape. 

Format and Content 

You won 't find a detailed Carl Perkins biography in this book. That work has already been done and, fortunately, most of it is still in print. David McGee, with a lot of input from Carl, wrote his biography (Go Cat Go) and Carl 's own (with Ron Rendleman) book, Disciple in Blue Suede Shoes covers much of the same ground. Bear Family's Carl Perkins box (BCD 15494) contains a wealth of biographical material by Colin Escott and Bill Millar, and Bear Family CD Carl Rocks (BCD 16752, compiled by Hank Davis) does as well. In short, there's no shortage of information about Carl's life. 

Rather than needlessly recreating a biography, we have devoted almost all of our attention to the music. As you'll see, we have examined it in considerable detail. As we mentioned before, this is far from a 'Greatest Hits' package, and that tells us something about you and your interest in Perkins and Sun Records. It's also likely you are no stranger to Bear Family's Outtake Box series, which ranges from Johnny Cash (BCD 16325 ) and Billy Riley (BCD 17122 ) to the Everly Brothers (BCD 15931 ). There may not be hundreds of thousands of us fans and collectors out there any more, but it is fair to say that with this boxed set, you have come to the right place. 


As we all knows Sun Records has a special place in music history. The combination of country musical feeling with blues musical structure changed popular music. Much of that happened in the Sun studio, accomplished by a long list of musicians, most of whose names you know. And Carl Perkins has a special place in that list. Many of those musicians, and others of the era, earned and received admiration, respect, and success. But Carl, in addition to those, inspired something more in lots of the people who came to know his music: affection for the man himself. Many of those people took his music and incorporated various aspects of it into their own contributions to popular music. Most prominent of those, of course, were the Beatles. But there were many others. Elvis had imitators. Carl had descendants. 

As we said earlier, you will learn or be reminded that Carl had command of all aspects of his music. He wrote a lot of terrific songs — beautiful ballads, dance-able rock 'n' roll numbers, slices of the rural southern life he knew. His guitar stylings ranged from the hard-edged to the frankly pretty and the slightly jazzy, and he played what the music needed (with a level of versatility and virtuosity that will surprise some people when they get to Disc 5.) He sang straight-ahead or stylized as befitted the song but it was always recognizably him. And the combination of all these approaches, as you will hear, remind us that he was far more sophisticated than he's generally thought to be, and far more sophisticated than casual listening would reveal. You're in for a treat. 

Sam Phillips, Bill Cantrell, and Quinton Claunch
Re-Issue Producer
Hank Davis and Scott Parker
Tape Research
Hank Davis and James Stewart
Jurgen Christian Zwarg
Liner Notes/ Music Commentary
Hank Davis and Scott Parker
Colin Escott, Martin Hawkins, Scott Parker,
Hank Davis, and Richard Weize
Photos and Illustrations
R.A. Andreas, Hank Davis, Colin Escott, Ron Haney,
W.S. Holland, Joseph Rullo,
The Showtime Music Archive (Toronto)
Photo Scan
Andreas Merck
Photo Restoration
Thanks to
W.S. Holland, and Stan Perkins

Disc 1 Contains
1 - Honky Tonk Gal / Babe (Take 1) (1:52)
2 - Honky Tonk Gal / Babe (Take 2) (2:16)
3 - Honky Tonk Gal / Babe (Take 3) (2:11)
4 - Honky Tonk Gal / Babe (Take 4) (2:22)
5 - Honky Tonk Gal / Babe (Take 5) (1:57)
6 - Turn Around (Fragment 1) (2:31)
7 - Turn Around (Take 1) (3:17)
8 - Turn Around (Fragment 2) (0:51)
9 - Movie Magg (Take 1) (2:06)
10 - You Can't Make Love To Somebody (Take 1) (2:35)
11 - You Can't Make Love To Somebody (False Start 1, Take 2) (2:41)
12 - You Can't Make Love To Somebody (Take 3) (2:35)
13 - You Can't Make Love To Somebody (Take 4) (2:17)
14 - You Can't Make Love To Somebody (Take 5) (2:24)
15 - Gone Gone Gone (Take 1) (2:55)
16 - Gone Gone Gone (Take 2) (2:20)
17 - Gone Gone Gone (Take 3) (2:33)
18 - Let the Jukebox Keep On Playing (Take 1) (2:52)
19 - What You Doing When You're Crying (Take 1) (2:51)
20 - What You Doing When You're Crying (Take 2) (2:51)
21 - Dixie Bop/Perkins Wiggle (Take 1) (1:56)
22 - Dixie Bop/Perkins Wiggle (Take 2) (1:57)
23 - Dixie Bop/Perkins Wiggle (Take 3) (1:58)
24 - Tennessee (Fragment 1) (0:33)
25 - Sure To Fall (Take 1) (2:30)
26 - Sure To Fall (Take 2) (2:35)
27 - Sure To Fall (Take 3) (2:36)
28 - Blue Suede Shoes (Take 1) (2:01)
29 - Blue Suede Shoes (Take 2) (2:16)
30 - Honey Don't (Take 1) (2:10)
31 - Honey Don't (Take 2) (2:25)
Original Sun Recordings

Disc 2 Contains
1 - Boppin' the Blues (False Start 1) (0:18)
2 - Boppin' the Blues (Fragment 1) (0"29)
3 - Boppin' the Blues (Take 1) (2:33)
4 - All Mama's Children (Take 1) (2:19)
5 - All Mama's Children (Take 2) (2:10)
6 - All Mama's Children (Take 3) (2:22)
7 - All Mama's Children (False Start 1) (0:17)
8 - All Mama's Children (Take 4) (2:29)
9 - All Mama's Children (Take 5) (2:51)
10 - All Mama's Children (Take 6) (2:17)
11 - Everybody's Trying To Be My Baby (False Start 1) (0:06)
12 - Everybody's Trying To Be My Baby (Fragment 1) (1:00)
13 - Everybody's Trying To Be My Baby (Take 1) (2:15)
14 - Everybody's Trying To Be My Baby (False Start 2) (0:17)
15 - Everybody's Trying To Be My Baby (False Start 3) (0:10)
16 -  Everybody's Trying To Be My Baby (Take 2) (2:12)
17 - Everybody's Trying To Be My Baby (Take 3) (2:19)
18 - Everybody's Trying To Be My Baby (Take 4) (2:19)
19 - Everybody's Trying To Be My Baby (Take 5) (1:57)
20 - Dixie Fried (Fragment 1) (0:57)
21 - Dixie Fried (Take 1) (2:42)
22 - Dixie Fried (Take 2) (2:19)
23 - Dixie Fried (Take 3) (3:29)
24 - Dixie Fried (Take 4) (2:30)
25 - Dixie Fried (Take 5) (2:27)
26 - I'm Sorry I'm Not Sorry (Take 1) (2:34)
27 - I'm Sorry I'm Not Sorry (False Start 1) (0:26)
28 - I'm Sorry I'm Not Sorry (False Start 2) (0:12)
29 - I'm Sorry I'm Not Sorry (Take 2) (2:35)
30 - I'm Sorry I'm Not Sorry (False Start 3, False Start 4, False Start 5, Take 3) (3:35)
31 - I'm Sorry I'm Not Sorry (Take 4) (2:33)
32 - Caldonia (Take 1) (4:44)
33 - Caldonia (Take 2) (2:05)
34 - Sweethearts Or Strangers (Take 1) (2:00)
35 - Sweethearts Or Strangers (Take 2) (2:43)
36 - Sweethearts Or Strangers (Take 3) (2:30)
37 - Be Honest With Me (Take 1) (2:13)
38 - Be Honest With Me (Take 2) (2:28)
39 - Be Honest With Me (Take 3) (2:41)
Original Sun Recordings

Disc 3 Contains
1 - Put Your Cat Clothes On (Take 1) (2:47)
2 - Put Your Cat Clothes On (Take 2) (2:52)
3 - Put Your Cat Clothes On (Take 3) (2:43)
4 - Put Your Cat Clothes On (Take 4) (2:48)
5 - Put Your Cat Clothes On (Take 5) (2:50)
6 - Put Your Cat Clothes On (Take 6) (2:49)
7 - Put Your Cat Clothes On (Take 7) (2:44)
8 - Put Your Cat Clothes On (Take 8) (2:41)
9 - Put Your Cat Clothes On (Take 9) (2:43)
10 - Put Your Cat Clothes On (Take 10) (2:47)
11 - Put Your Cat Clothes On (Take 11) (2:34)
12 - Put Your Cat Clothes On (False Start 1, Take 12) (2:57)
13 - Put Your Cat Clothes On (Take 13) (3:07)
14 - Put Your Cat Clothes On (Take 14) (2:50)
15 - Put Your Cat Clothes On (Take 15) (2:47)
16 - Put Your Cat Clothes On (Take 16) (2:48)
17 - Put Your Cat Clothes On (False Start 2, Take 17) (3:15)
18 - Put Your Cat Clothes On (Take 18) (2:51)
19 - Matchbox (Take 1) (2:28)
20 - Her Love Rubbed Off (Take 1) (1:41)
21 - Her Love Rubbed Off (Take 2) (2:36)
22 - Her Love Rubbed Off (Take 3) (2:44)
23 - Her Love Rubbed Off (Take 4) (2:53)
24 - Her Love Rubbed Off (Take 5) (2:21)
Original Sun Recordings

Disc 4 Contains
1 - Your True Love (Fragment 1) (0:26)
2 - Your True Love (Take 1) (2:56)
3 - Your True Love (Take 2) (2:58)
4 - Your True Love (False Start 1) (0:19)
5 - Your True Love (Take 3) (3:02)
6 - Your True Love (Take 4) (3:03)
7 - Your True Love (Take 5) (3:02)
8 - That Don't Move Me (Take 1) (1:57)
9 - That Don't Move Me (Take 2) (1:58)
10 - That Don't Move Me (Take 3) (1:57)
11 - That Don't Move Me (False Start 1) (0:14)
12 - That Don't Move Me (Take 4) (1:56)
13 - That Don't Move Me (Take 5) (2:12)
14 - You Can Do No Wrong (Take 1) (2:03)
15 - You Can Do No Wrong (Take 2) (2:32)
16 - You Can Do No Wrongs (Take 3) (2:25)
17 - You Can Do No Wrong (Take 4) (2:23)
18 - You Can Do No Wrong (Take 5) (2:21)
19 - Forever Yours (Take 1) (2:37)
20 - Forever Yours (Take 2) (2:28)
21 - That's Right (Take 1) (2:34)
22 - That's Right (Take 2) (2:47)
23 - That's Right (Take 3) (2:40)
24 - That's Right (Take 4) (2:44)
25 - I Care (Take 1) (2:41)
26 - I Care (Take 2) (2:26)
27 - Y-O-U (Take 1) (3:31)
28 - Y-O-U (Take 2) (2:39)
29 - Y-O-U (Take 3) (3:19)
30 - Lend Me Your Comb (False Start 1) (0:16)
31 - Lend Me Your Comb (Take 1) (1:56)
32 - Lend Me Your Comb (Take 2) (1:56)
33 - Lend Me Your Comb (Take 3) (1:56)
Original Sun Recordings

Disc 5 Contains
1 - Look At That Moon (Take 1) (1:58)
2 - Look At That Moon (Take 2) (2:21)
3 - Pink Pedal Pushers (Take 1) (2:16)
4 - Pink Pedal Pushers (Take 2) (2:37)
5 - Pink Pedal Pushers (Take 3) (2:28)
6 - Pink Pedal Pushers (Take 4) (2:26)
7 - Pink Pedal Pushers (Take 5) (2:28)
8 - Pink Pedal Pushers (Take 6) (2:37)
9 - Pink Pedal Pushers (Fragment 1) (1:35)
10 - Keeper Of The Key (Take 1) (3:23)
11 - Listen To The Mockingbird (Take 1) (2:20)
12 - The Way That You're Living (Take 1) (3:04)
13 - The Old Spinning Wheel (Take 1) (1:28)
14 - Try Mu Heart Out (Take 1) (1:41)
15 - Try My Heart Out (Take 2) (2:51)
16 - The Poor People Of Paris (Take 1) (1:47)
17 - Roll Over Beethoven (Take 1) (2:52)
18 - Take Back My Love (Take 1) (3:37)
19 - Silver Bell (Take 1) (1:33)
20 - Somebody Tell Me (Take 1) (4:20)
21 - Lonely Street (Take 1) (2:41)
22 - Lonely Street (Take 2) (2:41)
23 - Lonely Street (Take 3) (2:43)
24 - Lonely Street (Take 4) (2:50)
25 - Drink Up And Go Home (Take 1) (3:37)
Original Sun Recordings 

© Original Sun Recordings, licensed from Sun Entertainment, Inc.

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

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A CONVERSATION WITH W.S. ''FLUKE'' HOLLAND - ''My first name is WS.. That's my actual name. Those aren't initials for anything. A lot of people also know me the Fluke. That's a childhood name. When I was a kid I used to hang around this service station. I 'd help put gas into cars, stuff like that. I had this expression I used: instead of saying, 'What's that thing over there, I'd say, 'What's that that thing over there . I thought it made me sound smart. The boy at the service station pinned that name on me and it stuck. It's gone around the world with me.

Carl Perkins asked me on a Saturday night to go to Memphis with him and play drums. He said, 'We got an audition with Sam Phillips next Thursday'. This was some time at the end of 1964. Elvis and Scotty and Bill had already been there in the middle of that year. I had never thought about playing drums before. It never crossed my mind. I was working for an air conditioning company here, but the next day I went and borrowed some drums. I never played them before. The next Tuesday we took the drums down to a club and I played them, if you could call, with Carl. I used the brushes. Two days later we drove to Memphis to audition for Sam Phillips.

''Sam didn't really care anything about drums, but for some reason, he didn't run me off. We set up and played in the middle of the floor there, and I used my brushes. I wasn't doing much and at took both hands to do that. That's the way we recorded the first couple of records''.

''But then I was starting to learn to play a little bit better. The big thing I learned we to use the drum sticks. So I was learning to play more and more., and other guys around us were also starting to use drums more and more. It was about that time that Sam started to like the drums. (laughs) That was also about the point where you could start to hear me on those records. Before that, putting it simply, Sam didn't like drums all that good and I wasn't playing all that good''.

''We'd go into the studio abound the middle of the day. We'd record all afternoon and into the night. When we left it'd be midnight. Sometimes daylight was coming up as we drove home. By the time we got home it we the next day. Needless to say, none of us ever got paid a penny for all that overtime. Looking back many years later, I wish Sam had known about a record session and known about a time clock. But that's of the way it was in of those days''.

''One thing about Carl, and I'd say this if he were still alive and setting right here He would tell stories. It got to be a joke. Some of the stories he'd tell, and some of the stuff that's written out there, it's just not true. Here's one example. There's a story about the first time we went to Sun Record. It says we sat there and saw a big old Cadillac in the parking lot. We figured it either belonged to Sam or Elvis. Well, that story may sound good but it never happened. I don't think Elvis had him a Cadillac in 1954 and I now for a fact that Sam Phillips didn't. And there was no parking lot at Sun. You left your car out on the street like everybody else''.

''There's stuff in that ''Disciple in Blue Suede Shoes'' book that just ain't true. Carl was like John cash in that way. They both loved to make up stories. They had great imaginations. Trouble is, sometimes they were giving interviews and those stories stuck. They got taken seriously. There's stuff written about Cash that's totally wrong. John had this saying: I hear him say it probably a hundred times: 'When you're writing stories, don't let the truth get in the way of a good story'. When people ask me why I haven't written a book about those days. I tell them, Í don't have enough talent or imagination to make up stories about what happened''.

''The Million Dollar Quartet was something none of us planned. That was typical for Sun Records. At least Sam did think to call in a photographer had just panned his camera over a few feet, he would have fit me into the photograph and I'd be famous too''.

''I remember when we finally got to New York for the Perry Como show, we were staying at a hotel in Times Square. I think it was called the Astor Hotel. When we checked in, I can still picture this, Clayton walked up to the desk without a suitcase. He had his clothes in a pillow case. It was a big long sack. And he drug his clothes across the floor in the lobby of that big fancy hotel in Times Square''.

''A lot of people don't like the stuff Carl did at Columbia as much as Sun, but I think he did some of his best recordings there. At first they had us upstairs right in the middle of that big Bradley studio and it may have been too large for us. But later when I went there with John Cash we recorded some stuff downstairs in the smaller room. That sounded a lot better''.

''If I had been from a wealthy family, if I had been able to go to a private teacher and learn how to play drums correctly, I would never have been in the music business this long. So many players at Sun Records like myself really didn't know what we were doing in the usual sense. Musicians at Sun were often doing the only thing they knew how to do. Best example of that is Johnny Cash's guitarist, Luther Perkins. Here is a guy who knew nothing about a guitar. He could never play anything except what he did on Johnny Cash's records. We'd be on tour with Johnny cash in the 1960s and Luther 'd find himself in the middle of a jam session with guys like Roy Clark and Chet Atkins... It was just hilarious. I used to kid him. I'd say, 'Luther, if you 'd just leave that guitar in the case except when we're up on stage, nobody'd ever know you're not a good guitar player''.

''When I borrowed that set of drums the first time Carl asked me to play I never had seen a drum set-up. So when I took the drums out to my mom's house, I set ém down wrong. I had the high hat on the right side and the bass drum with my left foot. It felt like it was the way it ought to be. When I saw some other drummers, I tried to change. But then I said 'Wait a minute, I don't think I'm the one who's wrong'. I did a sow last night with my band and I did some things I simply couldn't do if I had the high hat set up over there on the left where most drummers have it. I'm a right handed drummer but I play a left handed setup. What I'm saying is, me not knowing how to set the drums up and not knowing how to play, is one of the reasons that I've been playing drums for 57 years''.

Interview by Hank Davis, September 2011

A CONVERSATION WITH STAN PERKINS - The oldest of Carl's Perkins' four children, was born on September 17, 1953.

''I was born before my dad and his brothers ever went to Sun Records. That part of their lives began about a year alter I was born. 'My father's main love was playing the guitar. It was more important to him than singing or songwriting. He we a very big Chet Atkins and Les Paul. Their records were often played around the house. In the early days, my uncle Jay was the primary singer in the band. My dad was the guitar player; he was in the background''.

''Around 1954 my father bought a 1953 Les Paul guitar. He was paying it off at $5 a week. That was a lot of money back then, or it certainly was in our family. Sam Phillips commented when he first met that Carl had a pretty fancy guitar for a country boy. Prior to that, Carl played a Harmony electric guitar. It we a pretty terrible cheap brand and he we so ashamed of it he put tape over the head to cover the brand name''

''After ''Blue Suede Shoes'', dad went almost overnight from making $30 w week and living in Government Housing to being a star and making $4000 a week. That wasn't an easy change to make. He got two artist royalty checks from Sun for ''Blue Suede Shoes''. The first was for $14,000 and the second was for $12,000. He gave the second one to his brothers and W.S. Dad sued Sam successfully in 1978 to get the rights to his songs returned to him. That's when we established Carl Perkins Music.''

''My father bought a home tape recorder about the same time he got his first Cadillac in March or April 1956. He said it we about the best you could get at the time, although that's obviously none too good by today's standard. The recorder we located in the den, right near the piano, just off from the kitchen. You can hear me an my brother playing in the background on some home recordings. We were just kids''.

''My, mother Valda, didn't like country music very much, although that was my father's favorite. She played piano and liked pop music. We had an old upright with the front taken off so you could see the strings. If you heart piano on any of the home recordings, that's her''.

''My father's version of ''Blue Suede Shoes'' differs from Elvis 'largely in the introduction with the stops. Elvis version is mob conventionally rock and roll. My father's was slower and more country. My father actually abandoned his own version at personal appearances very early and started using Elvis' arrangement. (Notes: When Perkins did his now-famous jam session with Paul McCartney backstage at the Liberty bowl in Memphis, Paul insisted on performing ''Blue Suede Shoes'' in the original style of Sun 234, which had helped to shape his musical consciousness back in the 1950s).

''I grew up in the midst of my father's alcoholism. There were some pretty dark times for all of us. I think the worst of his alcoholism was between 1958 (right after his bother Jay died of cancer) to 1966. When dad was drunk he could get into Pity Mode pretty easily. He was frustrated: he had no money; there were no hit records; his brother had died and they were to close as any two brothers could be''.

''My father got into an accident in 1964. He caught his left hand in a ceiling fan hanging over the stage at a political rally. He nearly bled to death and the doctor thought they were going to have to amputate his hand. I can remember seeing him sitting at home with a cast on his hand. It had wires coming out of it. The doctor set his hand to accommodate holding the neck of a guitar, rather than being in a normal position. I can picture him sitting around squeezing a ruber ball to strengthen his hand as he recovered''

Guitar fans may note an interesting parallel between Carl's experience and that of one of his idols: Les Paul. In January 1948, Paul shattering right arm and elbow in a near-fatal automobile accident. Doctors told Paul they could not rebuild his elbow so that he would regain movement; his arm would remain permanently in whatever position they placed it. Paul instructed surgeons to set his arm at an angle - just under 90 degrees – that would allow him to cradle and pick the guitar. Like Carl, Les Paul favored playing the guitar over a semblance of normal life.

Carl joined the Johnny Cash troupe in 1966 and remained with them for 10 years. An interesting footnote to the story is that Cash had made a similar offer to another Sun Records alumnus about six years earlier. When Warren Smith first left the south and moved to California in 1959, he was befriended by John and Vivian Cash. Smith was offered a spot on the Cash show. Cash was working steadily at the time and it would have meant a regular income, not to mention wide exposure for his music, but Warren declined the offer. Warren Smith's widow Doris recalls, ''I guess it was pride. Warren was sure he could be a star and have his own show. He wasn't willing to play second fiddle for anybody; which is how he saw Johnny's offer. Carl Perkins said yes to the same deal and toured with Cash for years, during good times and bad. I always felt Johnny was trying to bring has old friends together, trying to help the ones that hadn't been as fortunate the he was''.

In any case, the touring association between Perkins and Cash began began in an unusual way. Stan Perkins recalls, ''My father had a very serious hunting accident. He nearly blew the back of his foot of. His recovery was long and painful and he was sitting around the house driving himself and everyone around him crazy. John Cash heard about at and came to visit my father. When he got there, my mother said to him. 'You've got to get him out of the house. He cant 'sit here like this anymore. It's going to kill him, if it doesn't drive him crazy first. Cash had a gig up in Chattanooga. I think. He told my dad, 'Pack a suitcase, you 're coming with me for a few days'. That few days turned out to be ten years''.

''Cash probably saved my father's life by giving him steady work during that period. I thank my father and Johnny Cash challenged each other to get and to stay sober and straight in. In that sense at was very good for both of them. But I also think that Carl forfeited his chance to be of star in his own right. I believe he was primed for a comeback around 1969-1970 but he settled for being a sideman. He had a Top 20 country hit in 1969 with ''Restless''. 'I'm sure that gave him to reminder of what it was like to have a hit record and I know he missed it. But he stayed on with Cash. If that record had gone to number 1, think it would have been easier for him to leave.0 That would have been good in some ways, but there's no telling what it would have led to. (Perkins also supplied Johnny Cash with his 1968 hit, ''Daddy Sang Bass''). I know some good things came his way like doing the soundtrack for that 1970 movie with Robert Redford, ''Little Fauss & Big Halsy''. He wouldn't have had That opportunity if he weren't with Cash. But I think he also lost a lot by being there''.

''The four of them traveling on the road must have been horrible. Can you imagine it? The three brothers and W.S. Packed into that Cadillac. Smoking and drinking and fighting in the car. Sometimes Clayton would pick up some bum when he was out drinking and he'd bring him along the next day, wherever they were headed. Five of them in that car. Just unbelievable''.

''Clayton was terrible when he was part of the Cash troupe. He'd do just about anything when he was drunk, and he was drunk a lot of time. Cash loved to have him along. It kept him entertained. He'd dare Clayton to do things and he rarely said no. At first it was up to my father to clean up the damage, but dad finally put his foot down. He told John he couldn't afford to keep buying Clayton out of all the trouble he'd get into. Told John he had to stop encouraging him. John said no, but he did agree to pay for the damage instead, which solved things for a while. Finally, my father couldn't take it anymore and packed up Clayton and his bass and drove him back to Jackson. It just got to be too much. That was the last time they played together''.

''Jay said his biggest fear when he was dying was that Carl and Clayton would kill each other. He wouldn't be there to separate them or keep the peace. It seems like they came pretty close at times. Clayton ended up killing himself in 1973, at Christmas time. I found his body. There was an empty bottle and an unopened half a pint by the bedside when I found him. He had shot himself with a .22 pistol He. had tried to kill himself two or three times before. He we 38 years old when he died''.

''Johnny Cash fired my father in 1975 after about ten years. He just put in a letter and had his chauffeur deliver it. I can picture daddy setting there holding that letter. He was devastated. The first five years with Cash were great. The next five weren't so good. The ten years that followed were black''.

''I finally confronted him and told him it just couldn't continue. In 1985 I took over management of his career. He made more money in the next 12 years - 1985 - 1997 – than he ever did before... And he was treated better too''.

Stan Perkins was on road and played drums with his father from 1976 until the end, 22 years later. He recalls, ''The first few years working with my dad were tough. I had him on a pedestal and he always fell off it. I had to learn to love him for who he was. It took work from both off us to build the relationship we had. We were very close. Even now, I don't remember where we played or how much or how little we got paid. I remember the relationship I had with him. When he died, I lost my dad, my best friend and my career''.

The last few years were really rough for my father. He was diagnosed with throat cancer in 1991. He had several strokes in 1997. I was taking him for daily therapy and he told me, 'If I can't play the guitar anymore, I don't want to live'. A month or two later he was gone''.

''When he was in Jackson, Tennessee, Carl Perkins didn't have to put a fence around his yard. He lived to be 65 years old. I know that's not old, but he smoked and drank for much of his life. I can honestly say he had as good a life as any of them. Probably a lot richer than many''.

''My daddy never could just never accept how good he was. He could write songs in 15 minutes. It was like a brainstorm. It all came to him at once. He was a very gifted man. But at the end of the day, it seems like his insecurity was even bigger than his talent. When he died in 1998 a lot of famous people came to his funeral. George Harrison was there, Garth Brooks, Billy Ray Cyrus, Wynona Judd, Sam and Jerry were there too''.

''If there's one word that describes my father it's Survivor''. That's what he was. A survivor. He went from the bottom to the top to the bottom again. He ended up somewhere around the middle. I think he was at peace with himself. At the end, he was content''.

''I think my dad really wanted another big hit. He was frustrated. He kept making records and trying. He wasn't really content just to be a sideman. He was humble, but he wasn't that humble. He had tasted what it meant to have a number 1 record early on. It's hard to put that behind you completely. He wanted a comeback. But toward the end he said to me, Another ''Blue Suede Shoes'' might have caused me not to care, about people, about things'. I think he made peace it with and who he was''.

''When my dad left Sun to go to Columbia, Sam said o him, 'They won't know what to do with you there. They won't know how to record you. It'll be OK with John (Cash), but you'll get lost in the shuffle and they'll do it all wrong''. Sam was right. That's exactly what happened. Those first Columbia records sound awful. I remember my dad telling me he was driving home from that first or second Columbia session (June 1958) with Eddie Cisco (known as Eddie Starr) and dad said to him, 'That was all wrong. They just didn't get it at all''. Can you imagine that? Right from the start and he saw the problem. But what could he do? He had just signed the contract. His confidence was low. His self-esteem was way down. He was still grieving over his brother (Jay). So he did nothing for the next three years. It was a bad combination: he was drinking too hard, even during the sessions. There were some musicians on there who didn't understand the music. The studio itself was wrong for him. I don't think the producer ever understood dad's music the way Sam did. Drinking can be OK during a session. There had been plenty of it at Sun, including Sam, himself. But there's a thin line between creative and being drunk. That line got crossed at Columbia''.

''I remember my dad saying to me, Í should never have found a reason to leave Sun Records. If I was ever going to have another ''Blue Suede Shoes'', it would have come from there''.

Hank Davis interview with Stan Perkins, September 2011 

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