CONTAINS
For music (standard singles) and playlists on YouTube click on the available > buttons <
> Back 1960-1969 Sun Schedule <

1960 SESSIONS (1)
January 1, 1960 to January 31, 1960

Studio Session for Thomas Wayne, Early 1960 / Fernwood Records
Studio Session for Hayden Thompson, Early 1960 / Demo
Studio Session for Hayden Thompson, 1960 / Beat Records
Studio Session for Carl Simmons, Early 1960 / Hi Records
Studio Session for Mack Self, 1960 / Sonic Records
Studio Session for Mack Self, 1960 / Sun Records
Studio Session for Billy Riley, 1959/1960 / Hi Records
Studio Session for Rayburn Anthony, January 6, 1960 / Sun Records
Studio Session for Bill Johnson, January 14, 1960 / Sun Records
Studio Session for Jerry Lee Lewis, January 21-25, 1960 / Sun Records
Studio Session for Jerry Lee Lewis, Early 1960 / Sun Records

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

© - 706 UNION AVENUE SESSIONS - ©

1960-1969

It's frequently said that rock and roll disappeared in the early sixties, and, in truth, it did go through some hard times: Jerry Lee Lewis was blackballed after he married his thirteen-year-old cousin in December 1957; Elvis Presley was inducted into the U.S. Army in March 1958; Buddy Holly and Ritchie Valens died in a plane crash in February 1959; Chuck Berry spent two years in prison after being guilty of taken an underage girl across state lines in 1959; Eddie Cochran died in a London car crash in 1960; and the U.S. Congress began holding hearings on payola, the practice of radio disk jockeys receiving illegal payments for pushing certain songs in February 1960. But rock and roll was far from dead. There was instrumental music like Duane Eddy, the Ventures, the Shadows. There were girl groups like the Shirelles, the Ronettes, the Shangri- La's. There was Phil Spector's Wall of Sound and Berry Gordy's Tamla-Motown empire. There was surf music like Dick Dale, Jan and Dean, the Beach Boys, and soul music like Sam Cooke, Jackie Wilson, the Impressions. But all these developments pale when compared to the changes that were on the horizon. America was getting involved in a war in Southeast Asia. President John F. Kennedy was to be assassinated in Dallas, Texas. The Civil Rights Movement was gaining momentum. And the Beatles were about to completely after the face of rock and roll.

1960

The cold war continued to become colder as the two sides distrusted the other more and tried to influence other parts of the world. John Kennedy and Lyndon Johnson won the Presidency with one of the smallest margins in history ( 113,000 votes ) out of 68.3 million. The sexual revolution of the 60's had begun with the use of birth control pills and Hugh Hefner opening the first of his Playboy clubs in Chicago. The "Flintstones" is shown on television for the first time and movies this year include "The Magnificent Seven" and "Psycho" . Notable technical achievements include the invention of the Laser and a Heart Pacemaker. France tests its first atomic bomb and joins those countries with nuclear bomb technology. Notable names that appear in the limelight that year include "Cassius Clay" and "Sir Francis Chichester" .

The United States sends the first troops to Vietnam following the French withdrawal in 1954 in the fight against communist North Vietnam. U.S. announces that 3,500 American soldiers are going to be sent to Vietnam. The Vietnam conflict had it's history in the original French Control of the region which changed to U.S.A. support following French withdrawal, Together with distrust by both sides during the cold war and successive US Presidents starting with Dwight D. Eisenhower believing in the Domino Theory / Effect that if one country fell to communism each country with borders would be more likely to fall, combined with the financial / Military backing of the Soviet Union and China of North Vietnam. Over the next few years the war escalated on both sides eventually ending in 1973 when the US pulled out of Vietnam following a North Vietnam Victory.

Joe Jones released ''You Talk To Much'', which cracked the rhythm and blues and pop Top 100. The same year, Jessie Hill adds Mardi Gras Indians to his rhythm and blues with ''Ooh Poo Pah Doo''.

JANUARY 1960

Fan club newsletter named Rollin' Stone mentioned: ''After being home for the holidays for the first time in years, Jerry Lee Lewis is back in Hollywood and he tells fan club vice-president Kay Martin, that he's due to make two movies, one of which might be the Hank Williams story. According to Kay Martin, ''In January 1960 Jerry was in Hollywood and he in his hotel room with a girl named Lynn, who was the California rep of the fan club. It was rumoured they had a actual crush; true or not, Myra got upset and put the kibosh on it and it was never heard of anymore''.

JANUARY 1960

The new Sun studio in Memphis is belatedly launched at 639 Madison Avenue. Producers, Jim Vienneau (MGM), Johnny Vincent (Ace), Lew Chudd (Imperial) all attend the inauguration.

Stereo had almost completely replaced mono as the recording mode. Studios re-equipped with multi-track tape recorders, first 3-track (initially for film work) or half inch or one inch wide tape, then 4 track on one inch wide tape (later reduced to half inch).

8-track on one inch tape increased to 16-track on two inch tape. The maximum tape width has stayed at two inches but the number of tracks has increased still further to 24, 36 and even to 48 tracks.

The singles, Sun 335 ''A Thousand Guitars'' b/w ''Is It To Late'' by Tracy Pendarvis and Sun 336 ''Walkin' And Talkin'' b/w ''Somebody Just Like You'' by Mack Owen issued.

THE NEW SUN STUDIO ON 639 MADISON AVENUE

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

Despite the bad news, Sam Phillips pushed forward. Foremost in his mind was his concern over the recording conditions at 706 Union Avenue: his studio was creeping into obsolescense. The floor, while larger than many have supposed, was too small to accommodate the increasingly large groups Sun was recording. The control room was too small to install the crucial new multitrack recorders. And the office area, where Sam rambled around as always among other people's desks, was too cramped to house even his skeleton staff. By 1958 he knew he would have to take his recording operations into new quarters, even if his own, very good, instincts warned him against it.

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

639 MADISON AVENUE – In the summer of 1958 Sam Phillips bought a property on Madison Avenue in Memphis, just a few city blocks from the old studio. At various points in its history, 639 Madison had housed a Midas Muffler shop and Hart's Bakery. Phillips gutted the interior and installed two modern recording studios on the ground floor. On the second floor he laid out the new A&R and promotion offices, and set aside a vault for tape storage.

On the third floor, adjacent to the accounting and publishing offices, Phillips finally gave himself his own office, complete with jukebox and nearby wet bar, ensuring that he was surrounded by a few of his favorite things.

The anal touches fire administered by Decor by Denise, who favored early space age motifs: door handles were housed in miniature sputniks, and the offices soon took on the look of a late 1950s Buick

Although it had been in use, on and off, since January 1960, the new studio was launched in a promotional whirl on September 17. The complex was everything that 706 Union was not: spacious, state-of-the-art, and soulless.

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

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

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

STUDIO A - The main studio on Madison Avenue was roughly twice the size of the old studio floor on Union Avenue, and the console in the control room was arranged in a futuristic V design.

It house a four-track recorder and two single-track machines. Scotty Moore would later bring in a three-track recorder so that he could be compatible with the studios in Nashville.

Moore and Phillips also installed two state-of-the-art Neumann cutting lathes so that they could cut their own masters, although the lathes never became fully operational.

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

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

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

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

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

319 SEVENTH AVENUE NORTH - Shortly after opening the new studio on Madison Avenue, Phillips decided to branch out with a studio in Nashville, Sam had bought from Billy Ray Cooner. After years of refusing to rent out his studio to anyone, Phillips made a complete turnabout, deciding to enter the custom recording business in a grandiose way. The success of Bradley's Barn in Nashville showed that there was money aplenty to be made in that city by catering to the smaller labels and the overflow business from the larger studios. ''I thought Nashville could be a good center not only for country music but for the range of music we were recording'', recalled Sam Phillips. ''I was also trying to bring a new kind of influence into the business there''.

Phillips had leased office space in the old Cumberland Lodge building in Nashville for his publishing companies, which were run locally by Kelso Herston. In the same building, Billy Sherrill and Bill Cooner had built a small studio, which was on the point of going bankrupt. Herston told Phillips that it was available, and Phillips came to look it over.

Newly conscious of the importance of room ambiance after the disappointments back in Memphis, Phillips was impressed with the Seventh Avenue studio. Its high ceiling and wooden floors and wails gave a warm, focused sound. After attending a session, Phillips decided to buy it and hired Billy Sherrill as his engineer. The multitrack installation was by Ray Butts, who had earlier built the Echoplex amplifier that had enabled Scotty Moore to re-create the studio reverb on stage.

After the previews at the end of 1960, the studio really opened in February 1961. Jerry Lee Lewis breezed into town for the inaugural session and cut ''What'd I Say'' , the hit that took him back into the charts after four years in the commercial wilderness. Two days later, Charlie Rich came to Nashville and recorded ''Who Will The Next Fool Be''; the portents were excellent.

''Billy Sherrill had a good basic feel for what I wanted'' recalled Phillips. '' On top of that, he was a really excellent musician''. Sherrill's evolving production philosophy was worlds away from Phillips', though: ''He had a feeling for the way things were changing, and a tendency to arrange things more than would have been my way''. After joining Epic Records, Sherrill completely foreswore his roots in rhythm and blues and developed the most overwrought production style in Nashville. His success became the benchmark by which producers weremeasured. Phillips must be given credit for seeing Sherrill's talent; however, the string and chorus-laden productions that Sherrill favored were the antith-esis of Phillips' musical values, indeed, the antithesis of what many regard as country music.

The Cumberland Lodge building was not in the heart of what is now considered the Music Row area of Nashville, but at that time, the old Masonic building was itself the heart of the music business. ''Mercury Records, the Wilborn Brothers, Tree Publishing, and some other publishers were there'', recall Cecil Scaife. ''I remember the Wilburns brought Loretta Lynn there when she first came to Nashville. She practiced walking in high heels on the marble floors out-side our office. We did a lot of demo work for publishers, and a lot of custom work for other labels''. Phillips' best customer in Nashville was Bill Beasley and Allen Bubis's Hit Records operation, which churned out imitations of current hits to sell in dime stores at thirty-nine cents. When Scaife quit Sun in March 1963 it was to take a position as sales manager for Hit Records.

Phillips sold the studio in February 1964 after a plague of minor problems and one galling annoyance: the Nashville musicians were accustomed to working on the American Federation of Musicians guidelines, which called for four songs from a three-hour session, with overtime pay for any removers. Phillips tried to bring in his own musicians from Memphis, but encountered some resistance. The bottom line, according to Phillips, was that he was unable to supervise the studio to his satisfaction. ''I was never able to make myself have at the confidence in other people. I knew they were talented people, and Billy ash Sherrill proved that, but it just didn't come out the way it could have. We tried to bring in something of a new concept there, but I just didn't stay with it personally long enough to usher it in fully. And there was just so much opposition from the people in Nashville''.

Phillips offered the studio to Cecil Scaife, who had left Sun by that point, but Scaife passed. Fred Foster of Monument Records eventually bought the facility; he had cut some of Roy Orbison's biggest hits there. ''I don't think Sam really wanted to sell'', recalled Foster. '' He loved to negotiate and he wanted a big negotiating scene, and that's what we had. It lasted three days and two nights. I was a zombie by the time we closed the deal. Then, shortly after we bought the studio, National Life, who owned the building, tore it down, so we had to move everything''.

REWIRING THE CONTROL ROOMS - With the talent pool at Sun and Phillips International becoming muddied by bad luck, lawsuits, and petty bickering, Scotty Moore focused his attention on the operation of the studios. One day, while Sam was out of town, Scotty and engineer/consultant John Carrol started rewiring the control room of the Memphis studio at Madison Avenue. Sam was famous for being tight with his pennies.

The best way to get something done, Scotty discovered, was just to go ahead and do it, especially if it involved the expenditure of money. When Sam returned to the studio and saw the mess, wires were strewn about the floor of the control room, he was moderately horrified, but when he saw the finished product a couple of weeks later, he was so pleased he asked them to rewire the studio in Nashville the same way.

What Carroll remembers most about those days were the long hours they put in. ''I'd work all day at the television station and radio station and go down there and work all night at Sam's'', says Carroll. ''Scotty was doing pretty much the same thing, except he was doing it at the studio''.

Each day, at one oçlock in the morning, Scotty and Carroll followed the same ritual. ''Someone would go to the Krystals downtown and bring back a bushel basket of Krystal hamburgers'', says Carroll. ''It was nothing out of the ordinary for me to eat a dozen at a time''.

According to John Carroll, Scotty is one of the originators of the isolation technique of recording. ''Sam's studio was fine as far as its acoustical properties were concerned, except you couldn't keep one instrument out of another instrument's microphone'', says Carroll. ''Scotty started using baffles. He'd partition areas for different instruments and that worked out real well. The general philosophy was to have a big open room and record it live like at a concert''. Scotty got the idea of using baffles from the experiment that took place at the Hollywood soundstage when engineers constructed baffled rooms around them. That setup didn't work with Elvis, but it did work in Sam's studio once Scotty got the baffles properly placed.

1960

Singer/songwriter Jesse Belvin dies in a car crash following a concert in February. Two months later Eddie Cochran dies at 21 in a car crash while on tour in England with Gene Vincent.

The attempted mainstream watering down of rock continues with the birth of dance records, specifically the twist which has adults taking part as well as kids and becomes the most widespread dance craze since the Charleston ruled the 1920's.

The Shirelles launch the girl group era with "Will You Love Me Tomorrow" which manages to get sex back into songs under the veil of innocence.

Motown Records makes its first splash with "Shop Around" a number 1 rhythm and blues hit by The Miracles.

Roy Orbison has his first major hit with "Only The Lonely" and helps to alter rock songwriting of the 1960's to focus on more introspective issues.

The Ventures hit instrumental "Walk Don't Run" leads to the creation of surf-rock which brings the electric guitar back into prominence.

Elvis Presley is discharged from the Army and immediately scores a series of hit singles and albums upon his return with a slightly less menacing, more mature persona.

1960

Former Sun artist Edwin Bruce sold used cars after graduation and worked a few lounges as a solo act with his guitar. He didn't get another shot of recording until 1960. By this point, Jack Clement was gone from Sun and was working with Chet Atkins at RCA in Nashville. He brought Ed to Nashville to cut a single for RCA. One side was a sickey song, ''Flight 303'', written by Sun producer Charles Underwood; the other was one of Ed's originals, the lovely ''Spun Gold''.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR THOMAS WAYNE
FOR FERNWOOD RECORDS 1959

Session Published for Historical Reasons

PROBABLY SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE

SUN RECORDING STUDIO
AND/OR 706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: EARLY 1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SCOTTY MOORE

1 "PANCHO VILLA'' - B.M.I.
Composer: - Corte Domenico Regia
Publisher: - Copyright Control
Matrix number: - F 201 Master
Recorded: - Early 1960
Released: - May 1960
First appearance: - Fernwood Records (S) 45rpm standard single 120-A mono
PANCHO VILLA / QUILTY OF LOVE

2 - "MY LONELY ROOM"
Matrix number: - F 202 Unissued Tape Lost
Recorded: - Early 1960

3 - "RANING"
Matrix number: - F 202 Unissued Tape Lost
Recorded: - Early 1960

4 - "QUILTY OF LOVE" B.M.I. - 2:23
Composer: - Fred Burch-Gerald Nelson
Publisher: - Studio Music
Matrix number: F 204
Recorded: - Early 1960
Released: - May 1960
First appearance: - Fernwood Records (S) 45rpm standard single 120-B mono
QUILTY OF LOVE / PANCHO VILLA

5 - "ROCKIN' AND ROLLIN'"
Matrix number: F 205 Unissued Tape Lost
Recorded: - Early 1960

Name (Or. No. Of Instruments)
Thomas Wayne - Vocal
Unknown Musicians

For Biography of Thomas Wayne see: > The Sun Biographies <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

Session Published for Historical Reasons

STUDIO SESSION FOR HAYDEN THOMPSON

UNKNOWN RECORDING STUDIO
LOS ANGELES, CALIFORNIA
DEMO SESSION: UNKNOWN DATE EARLY 1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – UNKNOWN

It wasn't just in Chicago that Hayden took his chance to record. ''We were on vacation one time in California, and I had a friend out there who had the idea to make some recordings. He was always very supportive of my music and he said he would pay for a session and take the tapes around. We went into a studio somewhere there and recorded ''The Key To My Kingdom'' and some other things. ''Mighty Big Wall'' was one of them, I think. I played piano on that session''. Here included ''The Key To My Kingdom''. Little more than a vocal and piano demo by Hayden, it is nevertheless a fine song and a tour de force performance that really deserved to have been built into a master and to have been sold to a major label.

01 – ''THE KEY TO MY KINGDOM'' – B.M.I. - 1:28
Composer: - Hayden Thompson
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Date Early 1960
Released: - 1986
First appearance: - Sunjay Records Sweden (LP) 33rpm SJLP 569-18 mono
HAYDEN THOMPSON – EARLY DAYS
Reissued: - 2008 Bear Family Records (CD) 500/200rpm BCD 16131-16 mono
HAYDEN THOMPSON – THE SUN YEARS PLUS

01 – ''MIGHTY BIG WALL'' – B.M.I.
Composer: - Hayden Thompson
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Date Early 1960
Released: - 1986
First appearance: - Sunjay Records Sweden (LP) 33rpm SJLP 569-22 mono
HAYDEN THOMPSON – EARLY DAYS

Name (Or. No. Of Instruments)
Hayden Thompson – Vocal & Piano

For Biography of Hayden Thompson see: > The Sun Biographies <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

Session Published for Historical Reasons

STUDIO SESSION FOR HAYDEN THOMPSON
FOR BEAT RECORDS 1960

HALL RECORDING STUDIO
CHICAGO, ILLINOIS
BEAT SESSION: UNKNOWN DATE 1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – UNKNOWN

Although nothing came of Hayden Tompson's California session in early 1960, back in Chicago Hayden did manage to find two record deals arising out of his trips to the Hall studio. The first came in 1960 when the studio connected him with a man who was looking for artists for his label, BEAT Records. ''It was just some guy who came in and said he was going to make me a star overnight, that kind of a deal. I didn't know him before that. We were going to cut two other songs but he was also working with a band, the Roy Hodges Band, who had songs and needed a better singer. So we did their two songs instead. I just went down there and he gave me a few dollars and paid for the session. I only met him or the band that one time, and that was the end of it. It wasn't the best recording I ever made. I think it was just some old fairy tale. I don't know''.
In fact, it turned out to be a very interesting disc. ''Dream Love'' was quite a classy ballad with a catchy ''I think I love her'' hook. Hayden sings forcefully and with feeling and the female vocal chorus fits well here, the first time he is heard with a bigger production around him.

The tinkling piano adds interest throughout as the song is carried along, and this could have been a real pop contender at the turn of the 1950s when raw rock and roll was giving away to balladry and strings by Bobby this and Bobby that.

01 – ''DREAM LOVE'' – B.M.I. - 2:15
Composer: - Janssen-La Mar
Publisher: - Bel-Air Music
Matrix number: - S 435
Recorded: - Unknown Date 1960
Released: - 1960
First appearance: - Beat Records (S) 45rpm standard single BEAT 1011-A mono
DREAM LOVE / TOM THUMB
Reissued: - 2008 Bear Family Records (CD) 500/200rpm BCD 16131-28 mono
HAYDEN THOMPSON – THE SUN YEARS PLUS

The other side of the BEAT disc, ''Tom Thumb'', complete with a hurrying rhythm and imitation steam whistle was the story of the first American-built steam locomotive to do work on rails. The song tells about Peter Cooper, an industrialist and inventor, the proprietor of the Canton Iron Works in Baltimore, who designed a small locomotive in 1830, which he called the 'Tom Thumb' because of its size, and which he aimes to prove could carry passengers and freight on the first authorized railroad route, the Baltimore and Ohio.

On August 28 that year, the Tom Thumb locomotive raced against a horse-drawn railroad car, hence the concurrent galloping rhythm and whistles heard on the BEAT disc. Actually, the rhythm is too fast, because the locomotive only got up to ten miles an hour.

Cooper was a man of many talents, and he also invented the first gelatin dessert, which eventually became known as Jell-o. In terms of the recording, Hayden sings the lyric with clarity and style, disguising any lack of enthusiasm, and whoever produced the session had a real go at generating a novelty rock-pop hit. It was probably lack of distribution knowledge as much as the unusual subject matter that held the record back.

01 – ''TOM THUMB'' – B.M.I. - 2:15
Composer: - Janssen-La Mar
Publisher: - Bel-Air Music
Matrix number: - S 434
Recorded: - Unknown Date 1960
Released: - 1960
First appearance: - Beat Records (S) 45rpm standard single BEAT 1011-B mono
TOM THUMB / DREAM LOVE
Reissued: - 2008 Bear Family Records (CD) 500/200rpm BCD 16131-29 mono
HAYDEN THOMPSON – THE SUN YEARS PLUS

Name (Or. No. Of Instruments)
Hayden Thompson – Vocal & Piano, Acoustic Guitar
Unknown – Guitar, Drums, Piano,
Vocal Chorus, Sound Effects

For Biography of Hayden Thomson see: > The Sun Biographies <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

Session Published for Historical Reasons

STUDIO SESSION FOR CARL SIMMONS
FOR HI RECORDS 1960

HI STUDIO, OLD ROYAL MOVIE THEATER
1320 SOUTH LAUDERDALE AVENUE, MEMPHIS, TENNESSEE
HI SESSION: UNKNOWN DATE EARLY 1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - JOE CUOGHI

Carl Simmons excellent two-sided instrumental workout "Prowlin'" and "Boodoo" was issued on Dot 16076 in 1960. "It was a minor hit", recalls Carl. "It sold about 100,000 copies. It sounded too much like all the Bill Black stuff coming out on Hi and there was some discomfort around that on Bill's part. That's why Joe Cuoghi leased it out to Dot Records. I was actually glad to see it on Dot. They were a very successful label at the time. The original label said "Carl Simmons Orchestra". That was kind of funny. I'm not sure how we became an orchestra".

01 – "PROWLIN'" - B.M.I. - 2:34
Composer: - Carl Simmons
Publisher: - Copyright Control
Matrix number: - MB 14395
Recorded: - Unknown Date Early 1960
Released: - 1960
First appearance: - Dot Records (S) 45rpm standard single Dot 45-16076 mono
PROWLIN'/BOO DOO
Reissued: - 2007 Bear Family Records (CD) 500/200rpm BCD 16758-31 mono
GENE SIMMONS - THE SUN YEARS PLUS

02 - "BOO DOO" - B.M.I. - 2:08
Composer: - Carl Simmons
Publisher: - Copyright Control
Matrix number: - MB 14396
Recorded: - Unknown Date Early 1960
Released: - 1960
First appearance: - Dot Records (S) 45rpm standard single Dot 45-16076 mono
BOO DOO/PROWLIN'
Reissued: - 2007 Bear Family Records (CD) 500/200rpm BCD 16758-32 mono
GENE SIMMONS - THE SUN YEARS PLUS

Name (Or. No. Of Instruments)
Carl Simmons Orchestra
Carl Simmons - Guitar
Possible Ace Cannon - Saxophones
Carl McVoy - Piano
Bobby Stewart - Bass
Jerry Satch Arnold - Drums

For Biography of Carl Simmons see: > The Sun Biographies <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

Session Published for Historical Reasons

STUDIO SESSION FOR MACK SELF

SONIC RECORDING STUDIO
1692 MADISON AVENUE, MEMPHIS, TENNESSEE
STUDIO SESSION : UNKNOWN DATE 1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - ROLAND JANES
AND/OR JACK CLEMENT

01 – ''BRIDGES'' – B.M.I.
Composer: - Mack Self
Publisher: - Copyright Control
Matrix number: - None - Unissued
Recorded: - Unknown Date 1960

02 – ''WHAT'LL I DO'' – B.M.I. - 1:44
Composer: - Mack Self
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Date 1960
Released: - November 3, 1997
First appearance: - Stomper Time Records (CD) 500/200rpm 2701302 mono
MACK SELF - VIBRATE

Name (Or. No. Of Instruments)
Mack Self – Vocal & Guitar
More Details Unknown

For Biography of Mack Self see: > The Sun Biographies <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR MACK SELF
FOR SUN RECORDS 1960

SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE 1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - STAN KESLER

There is pointed out to Mack Self, that the name sounds Scottish and the songs sounds Cajun. An odd match since not many Scottish people were living in the bayous. Mack Self said, ''Well, it still worked out pretty good''. ''Folsom Prison Blues'' why, you might ask, would anybody record ''Folsom Prison Blues'' and risk comparison with the iconic version by Johnny Cash? A fair question. Mack recalls the session taking place at Sam Phillips' studio on Madison Avenue in Memphis. ''C.W. Gatlin and I had a little drink or two before the session. I rarely drink but I got hopped up pretty good that night. We got in there and had a new drummer and a new bass man – we didn't know them from Adam. Roland Janes said, 'Mack, why don't you guys warm up a little bit and let me get a balance here'. So C.W. Says, 'Let's do ''Folsom'', C.W. Can pick Luther down to a 't'. Afterwards Roland played it back for us and we were really happy how it turned out. That's how it happened. We never went up there to record a Johnny Cash song''.

The result bear out Mack's version. The spontaneity is everywhere in evidence. For one thing, Mack manages to change the melody, what little there is. For another, he flipflops the 2nd and 3rd verses, something that might well happen and go uncorrected during a warm-up take.

01 – ''FOLSOM PRISON BLUES'' – B.M.I.
Composer: - Johnny R. Cash-Gordon Jenkins
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None – Take 1 – Sun Unissued
Recorded: - Unknown Date 1960

02 – ''FOLSOM PRISON BLUES'' – B.M.I.
Composer: - Johnny R. Cash-Gordon Jenkins
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None – Take 2 – Sun Unissued
Recorded: - Unknown Date 1960

03 – ''BREAKING NEW GROUND'' – B.M.I.
Composer: - Mack Self
Publisher: - Copyright Control
Matrix number: - None - Unissued
Recorded: - Unknown Date 1960

Name (Or. No. Of Instruments)
Mack Self – Vocal & Guitar
C.W. Gatlin – Lead Guitar
Jimmy Evans – Bass
More Details Unknown

For Biography of Mack Self see: > The Sun Biographies <

© - 706 UNION AVENUE SESSIONS - ©

SPRING 1960

Jim Stewart was a bank teller and part-time country fiddle player when he set up Satellite Records in Memphis in 1958 with his sister, Estelle Axton. They started with country music and then had an rhythm and blues group record by the Vel Tones that Rufus played on WDIA in 1959. Then on day in the spring of 1960, Rufus Thomas turned up at Stewart's new studio on McLemore Avenue pitching a song written by his daughter, Carla. ''Cause I Love You'' was recorded as a duet by Rufus and Carla and it became a small hit on Satellite 102 that summer. Carla's song ''Gee Whiz'' became a top ten rhythm and blues and popular hit the following year, by when the label had become Stax Records.

SPRING 1960

No sooner had the Sun staff they gotten settled in than they began to realize all they had lost. No loner could they all communicate constantly, because they were physically separated. Yes, it was cramped before, but now it felt lonely. The music staff rarely saw the business staff. At the old place, they heard Jack Clement play almost every day. At 706 Union Avenue, they knew who was playing on every session, and immediately head the result, but here in the new studio had only a vague idea of what was going on musically. They even missed the songwriters and other folks hanging around trying to sell Sam Phillips something. They lost the gossip at Taylor's Restaurant, the plate lunches down the street at the other little restaurant they frequented. The new location, nice at it was, had they robbed of the unique Sun community. Things hadn't been the same since Jack Clement and Bill Justis, and Jud Phillips too, and now the mood changed even more. The best thing about Sun for the staff had always been its intimacy and the fun, plus the feeling of the work really mattered. Now that so many of the artists had left, they didn't have so much to do, either, so overall, working at Sun was not nearly as enjoyable or challenging.

Sun did gain a new artist and repertoire man, the friendly, easy-going guitarist Scotty Moore. He had a sort of surprised look that went with his wide grin, along with a fondness for verbal wordplay. He had been with Elvis through his early movie days, but he and Bill Black were let go at some point, and Scotty implied he was through with all that Elvis stuff. Scotty Moore had brought in D.J. Fontana to play a session was having with a guitarist named Brad Suggs. Brad must have been feeling nostalgic, too, because an instrumental he cut during that time was dedicated to the old studio and was called ''706 Union''. Scotty also worked with Billy Riley and his band that summer, cutting some tunes that were meant for an album. Things never came together, and Billy didn't get his album. His band was big on the road, though, playing all over the United States and Canada.

© - 706 UNION AVENUE SESSIONS - ©

If the reports accompanying the release of ''That's What I Want To Do''/''Too Much Woman For Me'' are true, the song was cut by Jack Clement for his short-lived Summer Records. Whether Rita used the Summer master or recut it is a matter for conjecture. The production certainly has the slick hallmark of Cowboy Jack. By the time the single was released, Riley had quit Rita Records, rortedly selling his share for $1000 just as ''Mountain Of Love'' was breaking. He promptly started Mojo Records and covered ''That's What I Want To Do'' for Mojo with Billy Garner handling the vocals.

Rita Records was a short-lived venture and Billy Riley's involvement in it was even shorter. The pop aspirations of ''Too Much Woman For Me'' close out this retrospective, capturing the rockabilly rebel trying to come to terms with the changing times.

Commercially, none of Riley's records had much impact. Sam Phillips has more than once lamented this fact, stating that he does not understand why Riley never broke through. To Riley though, its simple: "Jerry Lee and Sam got too thick. That's what happened to me".

Session Published for Historical Reasons

STUDIO SESSION FOR BILLY RILEY
FOR RITA RECORDS 1959/1960

HI STUDIO, OLD ROYAL MOVIE THEATRE
1320 SOUTH LAUDERDALE AVENUE, MEMPHIS, TENNESSEE
HI SESSION: UNKNOWN DATE 1959/1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – JACK CLEMENT

01 – ''TOO MUCH WOMAN FOR ME'' – B.M.I. - 2:21
Composer: Jack Clement
Publisher: - Jack Clement Music
Matrix number: - None
Recorded: Unknown Date 1959/1960
Released: - 1960
First appearance: - Rita Records (S) 45rpm Rita 1013-B mono
TOO MUCH WOMAN FOR ME / THAT'S WHAT I WANT TO DO
Reissued: 1990 Bear Family Records (CD) 500/200rpm BCD 15444-1-21 mono
BILLY RILEY - THE CLASSIC SUN RECORDINGS 1956 - 1960

Name (Or. No. Of Instruments)
Billy Riley - Vocal and Guitar
Roland Janes – Guitar
Unknown - Bass
James M. Van Eaton – Drums
Martin Willis – Tenor Saxophone

For Biography of Billy Riley see: > The Sun Biographies <

© - 706 UNION AVENUE SESSIONS - ©

1960

When Elvis Presley re-entered the pop scene after his army stint, he was a tamer presence, in keeping with the easy-listening sound of the early 1960s. Popular music was moving forward cautiously. However, a major change was taking place: the older artists were losing ground. Despite a few hits by mature balladeers like Andy Williams and Steve Lawrence, music aimed at a younger audience dominated the charts like never before.

Twist is the biggest dance-craze in the year of the dance-crazes.

Larry Parnes, Britain's most famous impresario, arranges a show for the Silver Beetles in Liverpool.

Sam Cooke signed with RCA Records in 1960, bringing his hits on Keen Records with him The Shirelles' "Will You Love Me Tomorrow" coins a form of romantic multi-part vocal harmonies.

The British producer Joe Meek uses the recording studio like an instrument for "I Hear A New World".

Eddie Cochran dies at the age of 22.

Ray Charles has his first number 1 hit with "Georgia On My Mind".

PHILLIPS INTERNATIONAL

During the 1960s, as Sam Phillips struggled to maintain his company's toehold in the marketplace, his original vision of Sun Records seemed suddenly to cask its focus. It was a period marked by attempts at diversification, and as Phillips cast his net more broadly, the inevitable result was the loss of the classic sun Sound. Phillips' various managers and producers made random stabs at a bewildering variety of musical styles; consequently, his own personal stamp faded from the Sun catalog.

Feeling that the Sun label was too closely identified with rock 'n' roll to support a wider range of music, as previously reported, Sam Phillips had launched a second label, Phillips International, in 1957. The label's stationery boasted offices in New York, Hollywood, and Memphis, and the label design it-self had a more uptown image than Sun. ''Many of the earlier releases will be rock and roller'', gushed the promo copy accompanying the launch. ''Future plans call for a wide variety of music including standard pop and jazz''. The new label also enabled Phillips to test a second set of distributors in major markets.

The first batch of releases included ''Raunchy'', which augured well, although, as it happened, Phillips International would start on the highest note it ever hit. Charlie Rich and Carl Mann ensured that the label began the new decade with a strong profile but, from that point, hits were elusive.

After the move to the new studio, Phillips used his new label to make a tentative gesture toward the long-play market, which he despised. There were eight LPs on Phillips International. Predictably, three of those were by Bill Justis, Carl Mann, and Charlie Rich. The balance was an eclectic mix: Phillips signed a one-shot deal with big band leader Chuck Foster, whose broadcasts from the Hotel Peabody he had engineered in leaner times; there was cocktail piano from Graham Forbes, back country blues from Frank Frost, lukewarm country gospel from Eddie Bond, and contemporary rhythm and blues from Frank Ballard.

The venture suffered from Phillips' lack of deep commitment. Other companies, such as Liberty Records, had carved out a sector of the marketplace for their albums. Phillips' tentative gestures betrayed his fundamental lack of faith in long-players, and his unwillingness to bankroll their higher production cost. He undertook neither the advertising nor the promotion that would have signified a sustained commitment toward creating an identity for Phillips International as an album label.

The label eventually folded in 1963 after a series of discussions with Philips BV, the Dutch electrical giant from Holland that had bought Mercury Records. They had launched their own imprint in North America in 1962, and saw Phillips International a potential source of confusion.

JANUARY 1960

Not only a new year, but a new decade was launched on January 1, 1960, and it had been with high hopes that, just the day before, they released a new Phillips International disk, ''Lonely Weekends'' by Charlie Rich. (Recorded at 706 Union Avenue, October 14, 1959) With all the former big stars only a memory, it seemed that Charlie was Sun's best bet for a new major artist and hope for the future of the company.

In addition to an attention-getting piano and drum intro by Charlie Rich and Jimmy M. Van Eaton, it had a tenor sax interlude by Martin Willis that was different and amusing. The lyrics were good, and Charlie's voice sounded great. The Gene Lowery background singers might have been a little overdone, but all in all, it seemed pretty strong, so they designed and ordered 2,000 copies of a special flyer to be sent to radio and TV stations, the press, and the distributors.

According to Barbara Barnes, ''Sure enough, the record showed signs of breaking almost as soon as we sent it out. The disk jockeys and distributors I talked with liked ''Lonely Weekend'', and not only was I getting pretty substantial initial orders, some repeats were coming in. I was very enthusiastic as I walked into Cecil Scaife's office to ask, ''When are you going on the road''. ''Well, I don't know if I am'', Cecil said, adding that Sam Phillips didn't have much faith in the recording. I, on the other hand, thought even the B-side was good, another Rich composition called ''Everything I Do Is Wrong''. Maybe Sam just wanted to keep Charlie in songwriting and session playing, or maybe he didn't want the travel expense. Maybe he just didn't like it, I couldn't Say''.

''Cecil stayed at the studio in the evening when he was more likely to have time with Sam, so I urged Cecil to get Sam to reconsider. ''Look what you did with ''Mona Lisa'', I told Cecil. ''That record was not even in the same class as this Charlie Rich number. This record will hit if you will just get out and give Charlie some exposure. He has the potential to be a big artist'', Barbara said.

The next thing, Cecil was on the road with Charlie, most significantly in New York for the Dick Clark show. He also booked him on some TV dance parties and introduced him to some key jocks and distributors in the major markets. The success of the record led to bookings on some top-flight rock tours with other recording artists. All the hoopla didn't agree with Charlie, who suffered from terminal shyness and before long was happily back at the Sharecropper club in Memphis. There people didn't stare at him, and they didn't make him talk. ''Lonely Weekends'' did indeed hit big, earning a place as one of the top 30 records in 1960.

JANUARY 1960

The singles, PI 3550 ''Some Enchanted Evening'' b/w ''I Can't Forget'' by Carl Mann; PI 3551 ''A Kiss Goodnite'' b/w ''Sadie's Back In Town'' by Sonny Burgess; PI 3552 ''Lonely Weekends'' b/w ''Everything I Do Is Wrong'' by Charlie Rich all issued.

Johnny Cash, Warren Smith and Jack Clement have all moved to Greener Pastures, leaving Sun to sell Cash's back catalogue. Genial Jack Clement is being well received on the local music front as assistant to RCA Victor's Artist and Repertoire hitmaker, Chet Atkins.

Jerry Lee Lewis was involved in a dispute with the American Federation of Musicians, which barred him from playing in the United States until he paid his union dues. Jerry sidestepped the ban by taking up residence at the Coq d'Or club in Toronto, Canada until his attorney engineered a settlement of the ten-thousand-dollar debt, allowing him once again to entertain whatever fellow Americans were willing to hear him.

JANUARY 1, 1960 FRIDAY

Alan Freed's "Big Beat" Christmas revenue ends. Gene Vincent is touring American Air Force bases. Connie Francis at the Deaville Hotel in Miami Beach, Florida.

Billy Walker joins the Grand Ole Opry, at the Ryman Auditorium in Nashville, Tennessee.

JANUARY 2, 1960 SATURDAY

ABC's Dick Clark Show with Jack Scott, Little Anthony and the Imperials and Larry Hall.

John F. Kennedy announces his candidacy for president. Barely two years later, he is feted by Jimmy Dean in ''P.T. 109''.

JANUARY 3, 1960 SUNDAY

Platters in Madrid Spain in the middle of European tour. Charlie Gracie opens at the Erie Social Club in Erie, PA.

Don Gibson recorded ''Just One Time'' at an a.m. session in Nashville's RCA Studio B.

Johnny Cash has a guest role in the ABC-TV western ''The Rebel'', for which he provides the theme song.

JANUARY 4, 1960 MONDAY

Former Sons Of The Pioneers guitarist Doye O'Dell is spotted along with Lorne Green on the small screen in ABC's western series ''Cheyenne''.

JANUARY 4, 1960 MONDAY

Fireballs perform on American Bandstand. Early January Drifters are appearing at the Michigan State Fair.

JANUARY 5, 1960 TUESDAY

Hank Locklin recorded ''Please Help Me, I'm Falling'' at RCA Studio B in Nashville, Tennessee. The session marks the development of Floyd Cramer's ''slip-note'' style of playing piano.

JANUARY 6, 1960 WEDNESDAY

A fraudulent dermatologist who gave Elvis Presley facial treatments for a month leaves West Germany with hush money after threatening expose Presley's relationship with the 16-year-old Priscilla Beaulieu.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR RAYBURN ANTHONY
FOR SUN RECORDS 1960

SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: PROBABLY WEDNESDAY JANUARY 6, 1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - CHARLES UNDERWOOD

01 – ''THERE'S NO TOMORROW'' - A.S.C.A.P. - 1:45
Composer: - Hoffman-Carr-Corday
Publisher: - Paxton Music
Matrix number: - U 397 - Master
Recorded: Probably January 6, 1960
Released: - March 30, 1960
First appearance: Sun Records (S) 45rpm standard single > Sun 339-B < mono
THERE'S NO TOMORROW / WHOSE GONNA SHOE YOUR PRETTY LIITLE FEET
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-1-22 mono
THE SUN SINGLES COLLECTION - VOLUME 4

Rayburn Anthony weighs in for his second Sun single in just a few months. Once again, there's a passing nod to the Carl Mann formula with a bouncy treatment of ''There's No Tomorrow''. Elvis Presley loved this song. It had been recorded in 1949 by Tony Martin, and Elvis told his music publisher that he wanted to record it at his first post Army session. The publisher astutely realized that it featured English words to a Neapolitan folk song, ''O Sole Mio'', that was in the public domain, so he hired two songwriters to put new words to it.

The result was ''It's Now Or Never'', recorded on April 3, 1960 at RCA Studio B., 30 Music Square West, Nashville, Tennessee and just weeks after this. No one in Memphis was that smart, and Sam Phillips was left to pay publishing royalties on a song he could have paid someone fifty bucks to rewrite.

Curiously, the stronger side of Anthony's release is the one we should all love to hate. Despite the predictable sea of echo and heavy glucose treatment from Gene Lowery and friends, ''Who's Gonna Shoe'' actually works!

The arrangement (what we can hear of it, anyway) is gentle, and Anthony's cracking baritone is just what the song needs to float its way through an enchanting series of key changes. The song, based on a Scottish air, ''The Lass Of Loch Royal'', had been recorded steadily since the 1920s. It might have been Patti Page's version that Rayburn remembered.

02 – ''WHOSE GONNA SHOE YOUR PRETTY LITTLE FEET'' – B.M.I. - 3:08
Composer: - Rayburn Anthony
Publisher: - Knox Music Incorporated
Matrix number: - U 396 - Master
Recorded: Probably January 6, 1960
Released: - March 30, 1960
First appearance: Sun Records (S) 45rpm standard single > Sun 339-A < mono
WHOSE GONNA SHOE YOUR PRETTY LIITLE FEET / THERE'S NO TOMORROW
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-1-21 mono
THE SUN SINGLES COLLECTION - VOLUME 4

Name (Or. No. Of Instruments)
Rayburn Anthony – Vocal -Guitar
Eddie Bush – Guitar
Carl Mann - Piano
Probably Brad Suggs – Guitar
Probably R.W. ''T-Willie'' Stevenson – Bass
Probably Tony Austin - Drums

Gene Lowery Singers consisting of
Edwin Bruce, Sara Bruce, Nita Smith,
Lee Holt, Vocal Harmony

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

© - 706 UNION AVENUE SESSIONS - ©

JANUARY 7, 1960 THURSDAY

Johnny Horton recorded ''Sink The Bismarck'', inspired by the movie of the same name, at the Bradley Film and Recording Studio in Nashville during the wee hours. The World War II tale includes a reference to Winston Churchill.

JANUARY 8, 1960 FRIDAY

Elvis Presley's 25th birthday generates a party in West Germany with 200 guests. Among his present, a trophy proclaiming him ''Most Valuable Player, Bad Nauheim Sunday Afternoon Football Association, 1959''.

''Summertime Blues'' songwriter Eddie Cochran holds what proves to be his final recording at Liberty Custom Recorders in Los Angeles. Snuff Garrett produces with a band featuring Buddy Holly sidemen Sonny Curtis and Jerry Allison.

JANUARY 8, 1960 FRIDAY

On American Bandstand Dick Clark receives a Trans-Atlantic call from Elvis Presley on his 25th birthday.

JANUARY 8, 1960 FRIDAY

Four months before his death in a car accident in England, Eddie Cochran makes his final recording, including the song "Three Steps To Heaven".

JANUARY 9, 1960 SATURDAY

Patsy Cline joins the Grand Ole Opry, a t the Ryman Auditorium in Nashville, Tennessee in Nashville, Tennessee.

Without fanfare, Patsy Cline becomes a member of the Grand Ole Opry.

Jimmie Davis wins a runoff election, earning the Democratic party's nomination for governor of Louisiana.

JANUARY 10, 1960 SUNDAY

Ray Charles and the Raeletts appear at the Hollywood Palladium.

JANUARY 11, 1960 MONDAY

Little Joe appears on American Bandstand.

Roy Acuff performs at the Guantanamo Naval Base in Cuba during a United Service Organizations tour.

JANUARY 12, 1960 TUESDAY

Fabian appears on Dean Martin's NBC-TV show. Gene Vincent and Eddie Cochran appear together on the British TV variety show ''Boy Meets Girl''.

Charlie Walker recorded ''Who Will Buy The Wine''.

JANUARY 13, 1960 WEDNESDAY

The Platters appear in Sheffield, England.

Jimmie Davis reverses plans to guests on a February edition of ''The Ed Sullivan Show'' on CBS. Intending to run for governor of Louisiana, an appearance would have likely required his rival receive equal broadcast time.

JANUARY 14, 1960 THURSDAY

Blue Notes on American Bandstand. Bobby Darin appears at the Deauville Hotel in Miami Beach.

JANUARY 14, 1960 THURSDAY

Studio session with Bill Johnson at Sun Records, Memphis, Tennessee.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR BILL JOHNSON
FOR SUN RECORDS 1960

SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: THURSDAY JANUARY 14, 1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - CHARLES UNDERWOOD

Bill Johnson and The Four Steps Of Rhythm first recorded ''You Better Dig It'' during the summer of 1959 for Talos Records, a one-shot label owned by Bob Ritter and Carl Sanders in Augusta, Georgia. Some six months later, accompanied by the future James Brown band, the rampant blues shouter, Bill Johnson, re-cut the song with producer Charles Underwood. Two more Loyd Price-styled sides from this four track session found their way into a solitary Sun 45.

01 - ''YOU BETTER DIG IT'' - B.M.I. - 2:07
Composer: - Bill Johnson
Publisher: - Hay Day Music
Matrix number: - None - Not Originally Issued
Recorded: - January 14, 1960
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109-9/2 mono
SUN RECORDS INTO THE 60S - BETCHA GONNA LIKE IT
Reissued: - 2002 Sanctuary Records (CD) 500/200rpm FBUBX002-7-8 mono
50 GOLDEN YEARS 1952-2002

02 - ''BOBALOO'' – B.M.I. - 1:56
Composer: - Johnny Lee Hamilton
Publisher: - Knox Music Incorporated
Matrix number: - U 398 - Master
Recorded: - January 14, 1960
Released: - March 30, 1960
First appearance: Sun Records (S) 45rpm standard single > Sun 340-A < mono
BOBALOO / BAD TIMES AHEAD
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-1-23 mono
THE SUN SINGLES COLLECTION - VOLUME 4

Bill Johnson (a.k.a. Johnny Lee Hamilton) was, for a brief moment, Sun's answer to Lloyd Price. ''Bobaloo'' isn't a half bad effort, although the recorded sound is far too echoes and unfocussed to showcase Johnson as he deserved. The song picks up the Bobaloo sage which seems to have begun in 1941 with Xavier Cugat's hit, ''Babalu''. Desi Arnaz brought the song into the fifties, and in 1959 The Eternals had a minor hit with ''Babalu's Wedding Day''. As far as we can tell, the story ends here.

The ballad side, as they used to call it, is a fine example of early 1960s black music for white folks. There's enough sweetening here in the form of strings, echo and a soprano-driven chorus to support a Memphis industry in insulin supplements.

Johnson brought in his own band for the session, and within the year bassist Hubert Perry and Saxophonist St. Clair Pinckney would be in James Brown's Famous Flames. It's also possible that Albrister Cook who plays baritone Saxophone here could be the Al 'Brisco' Clark who later played with James Brown. Johnson himself went on to record for Shelby Singleton as Big John Hamilton soon after Singleton bought Sun.

03 – ''BAD TIMES AHEAD'' – B.M.I. -2:25
Composer: - Charles Underwood
Publisher: - Up Music Incorporated
Matrix number: - U 399 - Master
Recorded: January 14, 1960
Released: - March 30, 1960
First appearance: Sun Records (S) 45rpm standard single > Sun 340-B < mono
BAD TIMES AHEAD / BOBALOO
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-1-24 mono
THE SUN SINGLES COLLECTION - VOLUME 4

04 – ''WHERE THERE'S A WILL'' – B.M.I.
Composer: - Bill Johnson
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: January 14, 1960
Released: - June 25, 2006
First appearance: - Charly Records mp3 Collection mono
ROCK CLASSICS: SCIENCE FICTION

Name (Or. No. Of Instruments)
Bill Johnson - Vocal
John Winfield - Guitar
Hubert Perry – Bass
St. Clair Pinckney – Tenor Saxophone
Albrister Cook Clark – Baritone Saxophone
Sammie Jackson - Drums

Gene Lowery Singers consisting of
Edwin Bruce, Sara Bruce, Nita Smith,
Lee Holt, Vocal Harmony

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

© - 706 UNION AVENUE SESSIONS - ©

JANUARY 15, 1960 FRIDAY

Ray Charles appears at City Auditorium in Albuquerque, New Mexico.

Mid-January Everly Brothers making personal appearances in Boston, Philadelphia, Washington and Baltimore.

JANUARY 16, 1960 SATURDAY

Bobby Rydell, Paul Evans, Dale Hawkins and the Knockouts appear on the Dick Clark Show.

JANUARY 18, 1960 MONDAY

British rocker Cliff Richard arrives in New York for recording dates for ABC-Paramount.

JANUARY 18, 1960 MONDAY

The Johnny Cash show puled a S.R.O. crowd to harmony Park Ballroom, Anaheim, California, New Years Eve. Appearing with Johnny Cash were Luther Perkins, Marshall Grant, Johnny Western, Linda Padgett, Warren Smith and Gordon Terry.

Columbia released Johnny Horton's ''Sink The Bismarck''.

JANUARY 19, 1960 TUESDAY

Ray Smith appears an American Bandstand.

Ralph Sylvester Peer dies in Hollywood. Peer coined the phrase ''hillbilly music'' and produced the first recordings of Jimmie Rodgers and The Carter Family. He is inducted in the Country Music Hall of Fame in 1984.

JANUARY 20, 1960 WEDNESDAY

Connie Francis starts two week engagement at Cloisters Hotel in Hollywood, California.

Elvis Presley, stationed in West Germany with the Army, gets a $22.94-per-month pay raise when he's promoted to acting sergeant.

JANUARY 21, 1960 THURSDAY

Frankie Ford appears on American Bandstand.

JANUARY 22, 1960 FRIDAY

It seems that Jud Phillips, brother of Sam Phillips, did a pretty good job of promoting Ray Smith. By January 22, 1960, ''Rockin' Little Angel'' was at number 22 in the national popular sales charts. On the back of the hit, Smiths's band was renamed the Rockin' Little Angles and Jud was again able to get him some good TV exposure and prestigious show dates.

Ray Smith appeared on American Bandstand and a number of one-nighter tours for Dick Clark. Charlie Terrell described Jud at work: ''When he was promoting Ray Smith to TV producers or show promotors, Jud Phillips used to say, 'If you think Jackie Wilson's talent, then you ought to see Ray Smith'. Smith himself said, on a live recording made in 1962, ''Rockin' Little Angel'' did pretty good for me, due to payola''.

Jub Phillips recycled a big tour bus that he had bought for Jerry Lee Lewis at the height of his initial success. Jud's son felt that ''Jud, my father, conceived and built the first customised rock and roll tour bus which he used to promote Ray Smith. It was full equipment with shower, stereo system throughout, TV, telephone, comfortably slept eight; this was unheard of in 1959''. Ray Smith certainly appreciated the bus. In later years he described it as ''Having running hot maids and water'', while his wife looked back on it as ''a whorehouse on wheels''.

Sam Cooke begins three day appearance at Shell House in Long Island, New York.

On his 29th birthday, rhythm and blues singer Sam Cooke signs a recording contract with RCA, where he recorded ''Bring It On Home To Me'' and ''Good Times''.

JANUARY 23, 1960 SATURDAY

The Everly Brothers perform ''Let It Be Me'' and ''(Til) I Kissed You'' on ABC's weekly music series ''The Dick Clark Saturday Night Beechnut Show''. Also featured is Jack Scott performing ''What In The World's Come Over You''.

Mark Dining, Rod Lauren, Jack Scott, Robin Luke, Jimmy Jones and the Everly Brothers appear on ABC-TVs The Dick Clark Show. Cliff Richard appears on ABC-TVs The Pat Boone Show.

JANUARY 24, 1960 SUNDAY

Faron Young recorded ''Your Old Used To Be'' at Nashville's Bradley Recording Studio.

JANUARY 25, 1960 MONDAY

Chuck Berry is indicted for the violation of the Mann Act in connection with an incident in Kansas in 1958. Berry is already under December 1959 indictment for another violation of the Mann Act. His personal appearances drop from 20+ a month to three February and zero in March.

JANUARY 1960

In an effort to escape the notoriety, and perhaps cash in on the success Bill Black and his Combo was having, Lewis recorded an instrumental in 1960 titled ''In The Mood'' b/w ''I Get The Blues When It Rains''. He released the song under the name ''Hawk'' but when the record, which was issued on Phillips International, failed to fly, he dropped the moniker and went back to being plain old Jerry Lee. After several years of near misses on the pop charts, he left Sun Records in 1963 and signed with Smash, a subsidiary of Mercury Records in Nashville. That move signaled more than a change of address, it represented a change in musical direction, nudging him from pop/rock to country.

JANUARY 1960

The dawn of the sixties brought a change of scene involving a move to the new Sun studio at 639 Madison Avenue and with it the opportunity for renewed creativity. Fortunately, Jerry Lee Lewis's career as a backing singer for Charlie Rich would turn out to have been a brief diversion. It was now time to get back to the serious business of producing another top ten hit, albeit that objective would prove to be a lengthy process, with an unanticipated twist before its fulfillment.

The last four years of Lewis' contract with Sun served up an astonishing variety of material in his inimitable style with, as matters progressed, a definite and deliberate leaning towards rhythm and blues sources before a last hurrah of recording modern, pop-country. At a superficial level, the effort expended during these years can be summed up as a vain search for something to complement the four golden discs of 1957/1968.

The problem was that whereas the hard-edged rock and roll of 1957 was no longer in vogue, the more sanitised pop music that was dominated the charts in 1960 simply didn't sit comfortably with Jerry Lee's way of doing things. An initial consequence was that an undue amount of attention was devoted to what was sometimes undeserving material.

Following a procession of forgettable singles, the impact in 1961 of ''What'd I Say'' (Sun 356), then led to a fruitless campaign to repeat the exercise with other rhythm and blues-flavoured covers, including ''Save The Last Dance For Me'' (Sun 367), ''Money'' (Sun 371), ''I've Been Twistin''' (Sun 374), ''Sweet Little Sixteen'' (Sun 379), ''Good Golly Miss Molly'' (Sun 382), ''Teenage Letter'' (Sun 384); one after the other, generating varying degrees of minor chart success or none at all. During this period, the rhythm and blues ''A'' side of each single was more often that not complemented by a country-orientated number on the reverse, effectively sustaining a practice that had been applied fairly consistently from ''Great Balls Of Fire'' onwards. But the remainder of the time in the studio tended to be spent on developing the rhythm and blues/pop theme, some of the results being issued contemporaneously on Lewis's second album, a potpourri that was immodestly branded ''Jerry Lee's Greatest'' (Sun LP 1265). Arguably it failed to live up to its billing, whatever one reads into the ambiguous title; in raiding the vaults indiscriminately from 1957 onwards Sun put together a desultory collection which pales by comparison with the coherent debut LP three years earlier.

After what appears to have been a complete break from recording of some six months, a hiatus mirrored by little activity on the road, Jerry Lee Lewis returned to the studio. It's not clear exactly when he paid his earliest visits to Sun's new facilities, though most probably it was for what proved to be one of the most prolific recording sessions of his career at Sun, conducted over four or five days commencing January 21, 1960.

Once the organisation had settled in at 639 Madison Avenue, the change of location engendered a welcome new approach to the discipline of keeping track of session details. From this point forward, through to the final days of Jerry Lee's career at Sun in August 1963, there are few reasons to doubt the chronology as documented in the booklets accompanying each of the precursor box sets referred to in the introduction. This is why the contents of CD 11 et seg and the latter part of the session discography will begin to look reassuringly familiar to anyone who owns either or both of the 1989 box sets; it is reasonably certain just where and when, and by whom, everything was recorded.

But there is a significant proviso; one thing we can assume with some confidence is that the list of titles isn't complete. As the years pass, the changes of adding to it diminish, but the search continues. Although it is generally accepted that from 1960 onwards the filing department at Sun Records began to get its act together, at times the efficiency of the administration was obviously still found wanting. For, despite the ostensibly authoritative look to the ledger presented in the 1983 vinyl box set, leaving aside all the possibilities and probabilities that characterise the Union Avenue era, it turns out that the rest of it was nowhere near as reliable as first impressions night suggest. For example, despite the fact that the track in question has been freely available in the public domain since its inclusion on an obscure US CD in 1999, the release of this set represents the first acknowledgment of the existence of a third take of the June 1962 recording of ''How's My Ex Treating You''. Either this was overlooked at the time of recording, or someone simply mislaid the tape before the log of the session was filed. Such a scenario provides encouragement for the idea that more recordings are yet to be rediscovered and released. Elusive as echoes and shadows they may be, but perhaps ''We Three'' and other songs are still out there somewhere.

This first engagement at the new studio serves as a much more telling example; confounding the earlier accounts, it subsequently emerged that these inaugural Madison Avenue sessions, held between January 21 and January 25, 1960, had produced not just the seven cuts catalogued in 1983, but in excess of the fifty recordings, including several takes of the re-working of Hank Williams' mournful ''I Can Help It'' as Jerry Lee's braggadocio ''You Can't Help It''. Recording yet another Williams' favourite for a second time, Jerry Lee treated ''Your Cheatin' Heart'' with a little more respect albeit it too was performed at a pace that Hank Williams wouldn't have recognised. (*)

© - 706 UNION AVENUE SESSIONS - ©

Much of the attention at this extended session was, however, focussed on the development of two modest pop songs, ''Bonnie B'' and ''Baby Baby Bye Bye'', neither of which appear to have stimulated a huge amount of excitement on the part of Jerry Lee. To his credit, he sticks to his task and incrementally improves the calibre of the limited material he's given to work with. What isn't in doubt, judging from snippets of studio chatter, is Sam Phillips' own enthusiasm for the new facilities and the more sophisticated recording equipment with which he intended to update the Sun sound, little realising at this juncture that in moving from 706 Union he had lost the defining, preternatural quality of his product and throw the baby out with the bathwater. (*)

Ironically, the greatest impression Lewis made in terms of a hit parade placing during the early 1960s was to be archieved with ''Bonnie B'', a song which Sun studio engineer Charles Underwood had written about his wife and which, for some reason, the Swedish nation took to its heard and placed at the top of its pop charts when it was released there in 1964. The song is a strange amalgam; whereas the melody and structure provides more than a faint suggestion of ''Singing The Blues'', a dominant feature throughout is the guitar figure, itself decidedly reminiscent of Billy Burler's riff at the heart of Bill Doggett's 1956 ''Honky Tonk Part 1''. Although ''Bonnie B'' is untypical Lewis material, perhaps the labour was worthwhile; ''Whole Lot Of Shakin' Going On'' and ''Great Balls Of Fire'' apart, it remains the record for which he is best remembered in the Nordic countries. A similar amount of energy was spent on securing a decent cut of Dorsey Burnette's ''As Long As I Live'', during the course on which Jerry Lee seems to have been unable to get ''Bonnie B'' entirely out of his mind. Once he'd overcome that distraction, however, they produced a master which eventually saw release more than eighteen months later, both on a 45 and on Lewis's second album. (*)

Sun's new promo manager, Cecil Scaife, and general manager, Bill Fitzgerald came up with the idea of releasing an instrumental record by Jerry under a pseudonym (The Hawk) on Sun's sub label, Phillips International (PI 3559). However, the results were as commercially stillborn as Lewis's other singles released in 1959 and 1960. His problem were compounded by a dispute with the Musician's Union over non-payment of dues which meant that he was unable to record officially although Phillips proceded as usual.

STUDIO SESSION FOR JERRY LEE LEWIS
FOR SUN RECORDS 1960

SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: THURSDAY TO MONDAY JANUARY 21-25, 1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR CHARLES UNDERWOOD

Although destined to be heard publicity for the first time rather more than a decade after the event, Jerry Lee's dichotomous portrayal of Gene Aytry's ''Mexicaly Rose'' was also a part of the groundbreaking work in the Madison Avenue studio. His slightly less accomplished reading of the hymn ''The Great Speckled Bird'', similarly taking flight at a variable speed, was overlooked for even longer, only coming to light in 1987. These performances invite parallels with the recording both of ''Break Up'', which left by-products such as ''Lovesick Blues'' and ''Big Legged Woman'' and of ''Let's Talk About Us'', which begat ''Night Train To Memphis''. Not for the first time, the labouring over relatively banal tunes aimed at teenagers had provided an informal opportunity for Jerry Lee to perform some of his own favourites. Recordings such as these confound the gainsayers who argue that the tapes were never intended for release and should have remained in the vaults or even been destroyed. But Sam Phillips knew what he was doing when he kept the machines rolling, capturing everything that popped into Jerry Lee's head, and giving him free rein. The golden hits apart, Lewis's reputation is surely founded more securely on his capacity for breathing new life into material from the likes of Gene Autry, Hank Williams and Roy Acuff than on a few evanescent pop songs. (*)

1(1)(2) – ''MEXICALI ROSE'' (1) - B.M.I. - 2:56
Composer: - Jack Tenney-Helen Stone
Publisher: - Universal MCA Music
Matrix number: - None - Chatter - False Start - Slow Take 1
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-B2 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-7 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

"Mexicali Rose" is a popular song with music by Jack Tenney and lyrics by Helen Stone and published in 1923. The song is a love story of a man who must leave his love for a while. The song has become a pop standard, performed by many artists, including Bing Crosby and Jerry Lee Lewis.

1(3) - ''MEXICALI ROSE'' (1) - B.M.I. - 1:45
Composer: - Jack Tenney-Helen Stone
Publisher: - Universal MCA Music
Matrix number: - None - Chatter - Fast Take 2
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - July 1974
First appearance: Sun International (LP) 33rpm 6467 029-A4 mono
ROCKIN' AND FREE
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-8 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

While scratching around for potential hit material at a January 1960 Sun session, Jerry thought it would be a good idea to cut a version of Gene Autry’s ''Mexicali Rose'', splitting the tempo between slow for the 1st half and rocked-up for the 2nd half. Sam Phillips (probably rightly) remained unconvinced, but this is still wonderful music. The fast part (only) was issued on ''Rockin’ And Free'' in 1974, while the complete uncut performance (slow and fast) was released on the Zu-Zazz ''Keep Your Hand Off Of It''! album of early 1960s Sun outtakes in 1987. It was also in 1987 that Jerry attempted the song in the studio again, but unfortunately this time he recorded it without a band on a cheap (Casio?) keyboard; and even more unfortunately this was then overdubbed with some truly dreadful instrumentation. This was released on the mostly unlistenable ''At Hank Cochran’s'' CD in 1995 for those that really need to hear it, but it really is only for sad completists. Far better is the 2006 ''Last Man Standing'' download-only bonus cut. Rocked-up all the way, this live-in-the-studio performance with his road band would be a strong contender for the ultimate version if it wasn’t for the trembling & croaky vocals (sadly Jerry’s voice has usually sounded very ropey during the past few years, and I personally am of the opinion that his 70th birthday in September 2005 would’ve been a good time to hang up those rock and roll shoes).

2(1) - ''IN THE MOOD'' (1) – A.S.C.A.P. - 2:29
Composer: - Andy Razaf-Joe Garland
Publisher: - Louis Music - Shapiro Bernstein Music
Matrix number: - None - Chatter - Slow Warm-Up Take 1 - Instrumental
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-A4 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-9 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

2 - STUDIO CHATTER - 0:35
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - September 1989
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15420-6-10 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963
Reissued: - O ctober 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-5 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

"In the Mood" is a big band era number 1 hit recorded by American bandleader Glenn Miller. Joe Garland and Andy Razaf arranged "In The Mood" in 1937-1939 using a previously existing main theme composed by Glenn Miller before the start of the 1930s. Miller's "In The Mood" did not top the charts until 1940 and one year later was featured in the movie Sun Valley Serenade.

''In The Mood" opens with a now-famous sax section theme based on repeated arpeggios that are rhythmically displaced; trumpets and trombones add accent riffs. The arrangement has two solo sections; a "tenor fight" solo, in the most famous recording, between Tex Beneke and Al Klink, and a 16-bar trumpet solo. The arrangement is also famous for its ending: a coda that climbs triumphantly, then sounds a simple sustained unison tonic pitch with a rim shot.

"In The Mood" was arranged by Joe Garland and Andy Razaf based on a pre-existing melody. The main theme, featuring repeated arpeggios rhythmically displaced, previously appeared under the title of "Tar Paper Stomp" credited to jazz trumpeter/bandleader Wingy Manone. Manone recorded "Tar Paper Stomp" which did not become popular until the middle of 1930, just months before Horace Henderson used the same tune in "Hot and Anxious", recorded by his brother's band, The Fletcher Henderson Orchestra, on 1931 March 19.

Under copyright rules of the day, a tune that had not been written down and registered with the copyright office could be appropriated by any musician with a good ear. A story says that after "In the Mood" became a hit, Manone was paid by Miller and his record company not to contest the copyright.

The original recording of Joe Garland's version was made by Edgar Hayes and his Orchestra in 1938, with Garland participating. In this recording there was a baritone sax duet rather than a tenor sax battle. Popular thought is that the melody had already become popular with Harlem bands (e.g. at the Savoy Ballroom) before being written down by Joe Garland. Before offering it to Glenn Miller, Garland sold the tune to Artie Shaw, who could not record it because the original arrangement was too long. The Hayes recording also bears signs of being a shortened arrangement. The tune was finally sold to Glenn Miller, who played around with its arrangement for a while. Although the arrangers of most of the Miller tunes are known, things are a bit uncertain for "In The Mood". It is often thought that Eddie Durham (who contributed other arrangements on the recording date of "In The Mood", August 1, 1939 as well), John Chalmers McGregor (Miller's pianist) and Miller himself contributed most to the final version.

Glenn Miller's "In the Mood", though undisputably a hit, represents an anomaly for chart purists. "In the Mood" was released in the period immediately prior to the inception of retail sales charts in Billboard magazine. While it led the Record Buying Guide (jukebox list) for 13 weeks and stayed on the Billboard charts for 30 weeks, it never made the top 15 on the sheet music charts, which were considered by many to be the true measure of popular song success. The popular Your Hit Parade program ranked the song no higher than ninth place, for one week only (1940).

The Glenn Miller 1939 recording on RCA Bluebird, B-10416-A, was inducted into the Grammy Hall of Fame in 1983. The recording by Glenn Miller is one of the most recognized and most popular instrumentals of the 20th century. The song even appeared in The Beatles "All You Need is Love" number 1 single in 1967 and in the Jive Bunny and the Mastermixers rendition in 1989, "Swing The Mood", a worldwide hit. The Glenn Miller RCA Bluebird recording was released as V-Disc 123B in February 1944 and a new version was released as V-Disc 842B in May 1948 by Glenn Miller and the Overseas Band by the U.S. War Department. 1939 sheet music cover, "Introduced by Glenn Miller", Shapiro, Bernstein, and Co., New York.

Notable artists who have recorded big-band versions of "In The Mood" include the Joe Loss Orchestra, Xavier Cugat, Tommy Dorsey, Duke Ellington, Benny Goodman, Artie Shaw, Lubo D'Orio, the Brian Setzer Orchestra, The Shadows and John Williams with the Boston Pops Orchestra.

Non-big-band renditions were recorded by the Andrews Sisters, Jerry Lee Lewis, Chet Atkins, Bill Haley & His Comets, Bad Manners, the Puppini Sisters. In addition, in 1959 Ernie Fields and his Orchestra peaked at number 4 on the pop chart and number 7 on the Rhythm & Blues charts. The song charted at number 16 in 1953 in a version by Johnny Maddox. Jonathan King scored a UK Top 50 hit with his version of the song in 1976. Bette Midler recorded the song in 1973 (on the album Bette Midler). The avant-garde synthpop act Art of Noise occasionally performed a rendition of the song on their live shows, in their trademark sampled style. The rock band Chicago added their version in 1995. An unusual version of the song was released on Maynard Ferguson's 'Lost Tapes Volume 2' album. The first 30 seconds are the traditional version, but the band then re-starts with the trumpets taking the lead.

A novelty version of the song was recorded by country/novelty artist Ray Stevens in 1977. Stevens' version consisted of him performing the song in chicken clucks, bar-for-bar. The performance was credited to the "Henhouse Five Plus Two". The single was a Top-40 hit in both America and the UK.

In 1951 a Ferranti Mark 1 computer at the University of Manchester played "In the Mood", one of the first songs to be played by a computer, and the oldest known recording of digitally generated music. Jive Bunny and the Mastermixers recorded a version of the song as part of a medley entitled "Swing the Mood" which went number 1 in the United Kingdom for 5 weeks. The record reached number 11 on the Billboard Hot 100 in the United States where it also went gold. It was the 2nd best-selling single of 1989 in the United Kingdom.

Bluesman John Lee Hooker has said that "In The Mood" was the inspiration for "I'm In The Mood" which became a number 1 hit on the Rhythm & Blues Singles chart.
In one of the worst kept secrets in music business history, Jerry Lee Lewis had these instrumental sides released under the pseudonym ''The Hawk''. Supposedly, all of Jerry's problems with the musicians union (AFM) and the marketplace would go away if his identity were masked. The name was suggested by Sun's new general manager Bill Fitzgerald in a desperate attempt to kickstart Jerry's sagging career. There was certainly nothing wrong with these side, although their effect on the marketplace was considerably short of spectacular.

Note: The Jerry Lee Lewis fan club asked its members to plug ''The Hawk'' and gave each of them a free membership card for a new fan club. Sam's ingenuity failed to do the trick; Jerry was immediately identified, and the record sold poorly. The AFN ban was eventually lifted after Jerry reached a settlement with the Union in January 1961.

2(2) - ''IN THE MOOD'' (1) – A.S.C.A.P. - 3:00
Composer: - Andy Razaf-Joe Garland
Publisher: - Louis Music - Shapiro Bernstein Music
Matrix number: - P 383 - Master Take 2 Instrumental
Recorded: - January 21-25, 1960
Released: - August 1960
First appearance: - Phillips International (S) 45rpm standard single > PI 3559-A < mono
IN THE MOOD / I GET THE BLUES WHEN IN RAINS
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-2-20 mono
THE SUN SINGLES COLLECTION - VOLUME 6

In an attempt to get Jerry some much-needed air-play, Sam Phillips in 1960 came up with the idea of releasing an instrumental single by Jerry under the name ‘The Hawk’, releasing it on the Phillips International label. The ruse failed miserably, but ‘I Get The Blues When It Rains’ was the B-side of the single (the A-side was the old Glen Miller hit ‘In The Mood’). A vocal version (albeit with a long instrumental passage) was finally recorded for the ''Country Music Hall Of Fame Hits Volume 2'' album in 1969.

3(1) - ''I GET THE BLUES WHEN IT RAINS'' (1) – A.S.C.A.P. - 1:11
Composer: - Marcy Klauber-Harry Stoddard
Publisher: - Foster Music
Matrix number: - None - Chatter - Take 1 - Instrumental
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-A5 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-11 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

''I Get The Blues When It Rain'' (a 1929 hit for Guy Lombardo and others), is done in a style not normally associated with Jerry Lee. It's got an old-timey, Del Wood feel with barely a dollop of blues or rock and roll. Nevertheless, Jerry must have liked the song because he recorded a vocal version about a decade later for Mercury.

3(2) - ''I GET THE BLUES WHEN IT RAINS'' (1) – A.S.C.A.P. - 2:16
Composer: - Marcy Klauber-Harry Stoddard
Publisher: - Foster Music
Matrix number: - None - False Start - Master - Instrumental
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - September 1989
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15420-6-11 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-8 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

3(2) - ''I GET THE BLUES WHEN IT RAINS'' (1) – A.S.C.A.P. - 2:06
Composer: - Marcy Klauber-Harry Stoddard
Publisher: - Foster Music
Matrix number: - P 384 - Instrumental - Master
Recorded: - January 21-25, 1960
Released: - August 1960
First appearance: - Phillips International (S) 45rpm standard single > PI 3559-B < mono
I GET THE BLUES WHEN IT RAIN / IN THE MOOD
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-2-19 mono
THE SUN SINGLES COLLECTION - VOLUME 6

4(1) - ''DON'T DROP IT'' (1) - B.M.I. - 1:55
Composer: - Terry Fell
Publisher: - Copyright Control
Matrix number: - None - Chatter -Count-In - Take 1
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109-1/4 mono
SUN RECORDS INTO THE 60'S - FEEL SO GOOD
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-13 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

''Don't Drop'' was written by Terry Fell, born on May 31, 1921, Dora, Alabama. Although Terry Fell's name appears only once in the Billboard country charts, he staked his claim to fame by being not only the writer of "Truck Driving Man" but also the original recorder of the song. In 1930, he swapped his pet groundhog for a guitar, although it was to be three years before anyone showed him how to play it, or the mandolin that he also acquired. At 16, he hitch-hiked his way to California, spending some time with the Civilian Conservation Corps. He eventually returned home but he and his widowed mother finally relocated to the Los Angeles area. In 1943, while working for Tru-Flex tyres, he began to play bass with Merle Lindsey's Nightriders.

Around 1945, he joined Billy Hughes, made his first recordings for Fargo and began to write songs for the American Music Company. In 1954, after further recordings for Memo, Courtney and 4-Star, he joined RCAVictor Records, making his first recordings on their subsidiary "X" label. "Truck Driving Man" appeared as the B-side of his first "X" single, in April 1954. The A-side, "Don't Drop It", became a number 4 country chart hit (his only one) and although "Truck Driving Man" failed to chart for Fell, it went on to become a country standard. It has since been charted by both George Hamilton IV and Red Steagall (as late as 1976!) and recorded by countless other artists, including Buck Owens, who was managed by Fell early in his career.

''Don't Drop It" also spawned its share of covers, both for the country and the pop markets, including versions by Wilbert Harrison (Savoy) and some great versions for Jerry Lee Lewis (Sun). Fell made further recordings and worked as an artist for a few years, until the lack of further hits and throat problems saw him lose interest in performing. In 1962, he relocated to Nashville, where he wrote songs and worked for several publishing companies, until he eventually retired. In 1993, Bear Family Records issued a CD containing all 24 of his RCA masters, two previously unissued. Fell also co-wrote "You're The Reason", a US country and pop Top 12 hit for Bobby Edwards in 1961, also recorded by Hank Locklin and Joe South (and many others since then). Terry Fell died on April 4, 2007 in Madison, Tennessee.

4(2) - ''DON'T DROP IT'' (1) - B.M.I. - 2:31
Composer: - Terry Fell
Publisher: - Copyright Control
Matrix number: - None - Chatter - Take 2
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1988
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2004-A1 mono
JERRY LEE LEWIS - DON'T DROP IT!
PREVIOUSLY UNISSUED SUN SESSIONS VOLUME 2
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-10 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

5(1)(2) - ''GREAT SPECKLED BIRD'' (1) - B.M.I. - 3:00
Composer: - Reverend Guy Smith
Publisher: - Duchess Music
Matrix number: - None - Chatter - 5 False Starts - Take 1
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1988
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2004-A3 mono
JERRY LEE LEWIS - DON'T DROP IT
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-14 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

The Great Speckled Bird" is a Southern hymn whose lyrics were written by the Reverend Guy Smith. It is an allegory referencing Fundamentalist self-perception during the Fundamentalist-Modernist Controversy. The song is in the form of AABA and has a 12 bar count. It is based on Jeremiah 12:9, "Mine heritage is unto me as a speckled bird, the birds round about are against her; come ye, assemble all the beasts of the field, come to devour''. It was recorded in 1936 by Roy Acuff. It was also later recorded by Johnny Cash and Kitty Wells (both in 1959), Hank Locklin (1962), Lucinda Williams (1978), Bert Southwood (1990), Marion Williams, and Jerry Lee Lewis.

The tune is the same apparently traditional melody used in the folk song "I Am Thinking Tonight Of My Blue Eyes'', originally recorded in the 1920s. The same melody was later used in the 1952 country hit "The Wild Side Of Life'', sung by Hank Thompson, and the even more successful "answer song" performed by Kitty Wells called "It Wasn't God Who Made Honky-Tonk Angels''. A notable instrumental version is found on the Grammy Award-Nominated album 20th Century Gospel by Nokie Edwards and The Light Crust Doughboys on Greenhaw Records.

The connection between these songs is noted in the David Allan Coe song "If That Ain't Country" that ends with the lyrics "I'm thinking tonight of my blue eyes/ And finding the great speckled bird/ I didn't know God made honky-tonk angels/ and went back to the wild side of life''. Both the song "The Great Speckled Bird" and the passage from Jeremiah may be a poetic description of mobbing behavior.

5(3) - ''GREAT SPECKLED BIRD'' (1) - B.M.I. - 1:46
Composer: - Reverent Guy Smith
Publisher: - Duchess Music
Matrix number: - None - Fast - Take 2
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109-1/5 mono
SUN RECORDS INTO THE 60S - FEEL SO GOOD
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-15 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

''Bonnie B'' comes from this session, and is one of Jerry’s best teen slanted songs. Composer Charles Underwood, the husband of Bonnie Beatrice Underwood, provides outwardly a lyrical teenage love song, full of praise for Bonnie’s turned-up nose. But the lyrics say ''We’re too young, we've got a long time to wait / But Bonnie baby that don’t mean hesitate / ’bout lovin’ me''.

Sounds about right for Jerry, but pretty risqué for the time. The song has a lovely rolling tempo, and if there were any justice it would have been a big hit when issued in the United States in November 21, 1961, as the flip-side to ''Money'' (not issued in Britain).

According to April Underwood, daughter of Charlie Underwood, ''Dewey was destined to become a legendary disc jockey bridging black and white audiences with their music the first to put an Elvis record on the air '' That's All Right'' and on a more intimate note; the best man and financier to my parent's wedding. Elvis was destined to become well, "Elvis the Legend", a voice no other will ever match, and ''a Godinspired man of great faith"; often this part people forget about. And my parents well, they made everyday their "play-day" to birth their dreams: From humble Tennessee beginnings with my dad at the forefront of Sun Records as artist's and repertoire director, writing hit songs like "Bonnie B" (about my mom Beatrice) for Jerry Lee Lewis, as well as many more songs for Elvis and Charlie Rich, and befriending and working with the likes of Johnny Cash, Carl Perkins, and so many more, to my mom's childhood belief she could clearly see the "Hollywood Sign'' in the flat-lands of Tennessee, cut to, my parents packing all their dreams in a car with no starter and playing poker to finance their way across the U.S. to California to (unbeknownst to them at that time) build a recording studio called "Nashville West" at the site of the legendary Decca Records (where Bing Crosby formerly recorded White Christmas), right next door to the legendary Paramount Studio's entrance, all to unleash those dreams''.

6(1) - ''BONNIE B'' (1)- B.M.I. - 2:42
Composer: - Charles Underwood
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Chatter - Count-In - Take 1
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-A2 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-16 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

6 - STUDIO CHATTER 1 - 0:24
Recorded: - January 21-25, 1960
Released: - October 2015 - Not Originally Issued
First appearance: - B ear Family Records (CD) 500/200rpm BCD 17254-11-15 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

6(2) - ''BONNIE B'' (1) - B.M.I. - 2:29
Composer: - Charles Underwood
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 1 Channel B
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-B4 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-16 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

6 - STUDIO CHATTER 2 - 0:30
Recorded: - January 21-25, 1960
Released: - October 2015 - Not Originally Issued
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-17 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

6(3) - ''BONNIE B'' (1) - B.M.I. - 2:27
Composer: - Charles Underwood
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Chatter - Take 2 Channel B
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109-1/2 mono
SUN RECORDS INTO THE 60S - FEEL SO GOOD
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-18 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

6(4) - ''BONNIE B'' (1) - B.M.I. - 2:41
Composer: - Charles Underwood
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Chatter - Take 3 Channel B
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1988
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2004-B2 mono
JERRY LEE LEWIS - DON'T DROP IT
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-19 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

6 - STUDIO CHATTER 3 - 0:22
Recorded: - January 21-25, 1960
Released: - October 2015 - Not Originally Issued
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-20 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

What better antidote for your aching ears than the sweet rolling tempo of ''Bonnie B''. This side remains one of the most enjoyable items in Jerry's Sun catalogue. Its lovely feel is established during the 6 bar intro when Jerry offers a barrelhouse right hand chord against some two string guitar work neatly lifted from Bill Doggett's ''Honky Tonk''. The mixture works well and is repeated during the piano solo. If you listen closely, you'll find a clear case for unconscious plagiarism here between sweet Miz Bonnie and Melvin Endsley's classic ''Singing The Blues''. It's hard to guess composer Charles Underwood's lyrical intent here. What is the song really telling us? After extolling the virtues of sweet young Bonnie (Underwood's future wife, by the way), Jerry makes it clear that just because she's underage doesn't mean she ought to hesitate about satisfying his lust. Was this what radio programmers needed to hear with the memory of the childbride scandal not so distant?

6(5) - ''BONNIE B'' (1) - B.M.I. - 2:18
Composer: - Charles Underwood
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 462 - Master Take 4
Recorded: - January 21-25, 1960
Released: - November 21, 1961
First appearance: - Sun Records (S) 45rpm standard single > Sun 371-A < mono
BONNIE B / MONEY
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-4-10 mono
THE SUN SINGLES COLLECTION - VOLUME 4

6(6) - ''BONNIE B'' (1) - B.M.I. - 0:47
Composer: - Charles Underwood
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Incomplete Take 5 - Not Originally Issued
Recorded: - January 21-25, 1960
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-22 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

6(7) - ''BONNIE B'' (1) - B.M.I. - 2:42
Composer: - Charles Underwood
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Chatter - Take 6
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-23 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

7(1) – ''AS LONG AS I LIVE'' - B.M.I. - 2:28
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None – Count-In - Take 1
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-24 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

The recordings of ''As Long As I Live'' fall into two distinct groups. The first seven possess that residual stamp of the ''Bonnie B'' arrangement, whereas the remainder evince a contrasting tone which indicates they may well have been cut on another day of the extended session. Within each group, there is sufficient variation bot in Lewis's singing and, more so, in the solos to tell each take apart with relative ease; Jerry Lee is in his element performing ad-lib licks on the keyboard while, on occasions, he either quite deliberately mixes things up lyrically or even loses his way altogether. For example, notice how in the first four takes the second line following the solo is delivered variously as ''I gotta set your lips on fire'', ''I want to set your lips on fire'', ''I want to feel your lips of fire'' and ''honey, I've got to feel your lips of fire'', while take 3 ends prematurely when Jerry Lee fails to repeat the last line. In take 5 we become aware of a further change in lyrical content; the song now concludes not with the boast ''I'm gonna make this whole world yours and mine'' but instead settles for the rather more passive ''I want to be your one desire''. In the second verse of take 6 Jerry Lee strays off the lyric altogether when singing ''you do something to me''; to all intents and purposes this renders the track a ''dud'' but along the way there's still much to admire. As matters progress, with Sam sounding suitably impressed, the remaining wrinkles are ironed out and take 7 faithfully repeats the efficacious formula of its immediate predecessor but with Jerry Lee now having mastered the lyric. (*)

7(2) – ''AS LONG AS I LIVE'' - B.M.I. - 2:26
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None – Count-In - Take 2
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109 1/1 mono
SUN RECORDS INTO THE 60S - FEEL SO GOOD
Reissued: - O ctober 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-25 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

7(3) – ''AS LONG AS I LIVE'' - B.M.I. - 2:32
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None – Count-In - False Start Take 3
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-26 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

7(4) – ''AS LONG AS I LIVE'' - B.M.I. - 2:40
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None – Chatter - Take 4
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-27 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

7(5) – ''AS LONG AS I LIVE'' - B.M.I. - 0:23
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None – Count-In - False Start
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-28 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

7(6) – ''AS LONG AS I LIVE'' - B.M.I. - 2:31
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None - Count-In - Take 5
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-29 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

7(7) – ''AS LONG AS I LIVE'' - B.M.I. - 2:41
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None – Chatter - Count-In - Take 6
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-A6 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-30 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

7(8) – ''AS LONG AS I LIVE'' - B.M.I. - 2:34
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None – Chatter - Count-In - Take 7
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - September 1989
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15420-6-24 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-31 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

7(9) – ''AS LONG AS I LIVE'' - B.M.I. - 2:06
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None – Count-In - 3 False Starts
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1988
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2004-B3 mono
JERRY LEE LEWIS - DON'T DROP IT
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-32 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

7(10) – ''AS LONG AS I LIVE'' - B.M.I. - 2:29
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None – Take 1 Track 8
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1988
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2004-B3 mono
JERRY LEE LEWIS - DON'T DROP IT
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-33 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

There were few complaints from diehard Jerry Lee fans about this side, however. ''As Long As I Live'' was written by former Memphis rockabilly Dorsey Burnette. It is an energetic performance on all counts in the 1-6-2-5 gospel progression. Instrumentally, the record really soars, with Jerry's piano and Jimmy Van Eaton's drumming pushing each other to greater heights. Van Eaton's crisp work on the closed hi-hat during the final verse is a moment to treasure.

7(11) - ''AS LONG AS I LIVE'' - B.M.I. - 2:38
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - None - Count-In - False Start - Take 3 Master
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - September 1989
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15420-6-26 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-34 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

The second suite of just two complete recordings of ''As Long As I Live'', prefaced both by Sam's confusion and a false start, sees a return to the more dramatic lyric hinting at megalomania, albeit Jerry Lee fluffs the first attempt. The plan all comes together with the accomplished final take that was eventually mastered for a 1961 release.

7(11) - ''AS LONG AS I LIVE'' - B.M.I. - 2:38
Composer: - Dorsey Burnette
Publisher: - Corel Music
Matrix number: - U 454 - Take 3 - Master
Recorded: - January 21-25, 1960
Released: - September 1, 1961
First appearance: - Sun Records (S) 45rpm standard single > Sun 367-B < mono
AS LONG AS I LIVE / SAVE THE LAST DANCE FOR ME
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-4-2 mono
THE SUN SINGLES COLLECTION - VOLUME 4

8(1) - ''I CAN'T HELP IT (YOU CAN'T HELP IT)'' (2) - B.M.I. - 2:04
Composer: - Hank Williams
Publisher: - Acuff Rose Music Incorporated
Matrix number: - None – Count-In - Take 1 Channel B
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-35 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

8(2) - ''I CAN'T HELP IT (YOU CAN'T HELP IT)'' (2) - B.M.I. - 2:00
Composer: - Hank Williams
Publisher: - Acuff Rose Music Incorporated
Matrix number: - None – Count-In - Take 2
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-B5 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-36 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

8(3)(4) - ''''I CAN'T HELP IT (YOU CAN'T HELP IT)'' (2) - B.M.I. - 2:25
Composer: - Hank Williams
Publisher: - Acuff Rose Music Incorporated
Matrix number: - None – Count-In - 3 False Starts - Take 3
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109-1/6 mono
SUN RECORDS INTO THE 60S - FEEL SO GOOD
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-19 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

Jerry cut several Hank Williams classics at Sun (and quite a few for other labels), including this ''I Can't Help It'' heartfelt performance from his 1956/1957 session. For several years only available on an early 1970s bootleg, it was finally made available officially on Charly’s 1977 ''Nuggets Volume Two'' compilation. At one of his final Sun sessions at 639 Madison Avenue in January 1960 Jerry cut several speeded up takes, altering the lyrics from ''I Can’t Help It (If I’m Still In Love With You)'' to ‘You Can’t Help It (If You’re Still In Love With Me)''! An interesting (and egotistical) experiment, they didn’t see the light of day until the late 1980s.

8 - STUDIO CHATTER - 0:27
Recorded: - January 21-25, 1960
Released: - October 2015 - Not Originally Issued
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-11-39 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

The new Sun studio on Madison Avenue sailed its maiden voyage at the hands of five days of Jerry Lee Lewis sessions. Over 60 recordings were logged in, including a hilarious sequence of takes on which Jerry Lee turned his inimitable personality loose on a somber Hank Williams classic. And so ''I Can't help It'' became ''You can't Help It''. And that moment when Sam Phillips, engineering the session, innocently asks ''Who wrote that? Hank Williams?''. Jerry's answer, not surprisingly, is ''Jerry Lee Lewis'' (8 above).

8(5) - ''I CAN'T HELP IT (YOU CAN'T HELP IT)'' (2) - B.M.I. - 1:55
Composer: - Hank Williams
Publisher: - Acuff Rose Music Incorporated
Matrix number: - None – Take 4
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109-1/6 mono
SUN RECORDS INTO THE 60S - FEEL SO GOOD
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-11-40 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

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

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

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

9(2) - ''YOUR CHEATIN' HEART'' (2) - B.M.I. - 1:47
Composer: - Hank Williams
Publisher: - Acuff Rose Music Incorporated
Matrix number: - None - Fast
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-A3 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-1 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

"Your Cheatin' Heart" is a song written and recorded by country music singer and songwriter Hank Williams in 1952, regarded as one of country's most important standards. Country music historian Colin Escott writes that "the song, for all intents and purposes, defines country music''. He was inspired to write the song while driving with his fianceé from Nashville, Tennessee to Shreveport, Louisiana. After describing his first wife Audrey Sheppard as a "Cheatin' Heart", he dictated in minutes the lyrics to Billie Jean Jones. Produced by Fred Rose, Williams recorded the song on his last session at Castle Records in Nashville, Tennessee, on September 23, 1952.

"Your Cheatin' Heart" was released in January 1953. Propelled by Williams' recent death during a trip to a New Year's concert in Canton, Ohio, the song became an instant success. It topped Billboard's Country and Western chart for six weeks, while over a million units were sold. The success of the song continued. Joni James' version reached number two on Billboard's Most Played in Jukeboxes the same year, while Ray Charles' 1962 version reached number 29 on the Billboard Hot 100 and 13 on the UK Singles Chart. The song ranked at 217 on Rolling Stone's 500 Greatest Songs of All Time, and was ranked number 5 on Country Music Television's 100 Greatest Songs in Country Music.

By 1952, Williams was enjoying a successful streak, releasing multiple hits, including "Honky Tonk Blues", "Half As Much", "Settin' The Woods On Fire", "Jambalaya (On the Bayou)" and "You Win Again". While his career was soaring, his marriage to Audrey Sheppard became turbulent. He developed serious problems with alcohol, morphine and painkillers prescribed to ease his severe back pain caused by spina bifida. The couple divorced on May 29, and Williams moved in with his mother. Soon after, Williams met Billie Jean Jones backstage at the Ryman Auditorium, a native of Shreveport, Louisiana, who was, at the time, dating Faron Young. Williams started dating Jones, upon the end of her relationship with Young and soon began to plan their marriage. While driving from Nashville, Tennessee to Shrevenport to announce the wedding to her parents, Williams talked to her about his previous marriage and described Audrey Sheppard as a "cheatin' heart", adding that one day she would "have to pay". Inspired by his line, he instructed Jones to take his notebook and write down the lyrics of the song that he quickly dictated to her. The finished composition included the line "You'll walk the floor, the way I do", which evoked Ernest Tubb's hit "Walking The Floor Over You".

Williams recorded the song on September 23 at the Castle Studios in Nashville. The session, which became Williams' last, also produced the A-side "Kaw-Liga", as well as the songs "I Could Never Be Ashamed of You" and "Take These Chains fRom My Heart". It was produced by Williams' publisher Fred Rose, who made minor arrangements of the lyrics of "Your Cheatin' Heart". Williams described the song to his friend, Braxton Schuffert, as he was about to play it, as "the best heart song (he) ever wrote". Williams is backed on the session by Tommy Jackson (fiddle), Don Helms (steel guitar), Chet Atkins (lead guitar), Jack Shook (rhythm guitar), and Floyd "Lightnin'" Chance (bass).

While traveling to a scheduled New Year's show in Canton, Ohio, the driver found Williams dead on the backseat of the car during a stop in Oak Hill, West Virginia. "Your Cheatin' Heart" was released at the end of January 1953. Propelled by Williams' death, the song and the A-side "Kaw-Liga" became a hit, selling over a million records. Billboard initially described the songs as "superlative tunes and performances", emphasizing the sales potential. Within a short time from its release, the song reached number one on Billboard's Top Country and Western Records, where it remained for six weeks. A demo version of Williams singing "Your Cheatin' Heart" with just his guitar, likely recorded in 1951, is also available.

Released in the wake of his passing, the song became synonymous with the myth of Hank Williams as a haunted, lonely figure who expressed pain with an authenticity that became the standard for country music. The name of the song was used as the title of Hank Williams' 1964 biopic. "Your Cheatin' Heart", as well as other songs by Williams were performed on the movie, with George Hamilton dubbing the soundtrack album recorded by Williams' son, Hank Williams, Jr. In the 2003 documentary series ''Lost Highway'', country music historian Ronnie Pugh comments, "It's Hank's anthem, it's his musical last will and testament. It's searing, it's powerful, it's gripping. If you want to say this is his last and best work, I wouldn't argue with that''. AllMusic described the track as the "signature song" of Hank Williams, and an "unofficial anthem" of country music. Rolling Stone magazine called it "one of the greatest country standards of all time", ranking it at number 217 on their list of the 500 Greatest Songs of All Time. The song ranked at number 5 in Country Music Television's 100 Greatest Songs in Country Music in 2003, Two Pepsi Super Bowl commercials featured the song, one aired during Super Bowl XXX, featured Williams' recording while a Coca-Cola deliveryman grabbed a Pepsi. The second one, aired during Super Bowl XLVI, featured the same situation, but with the song covered by Jennifer Nettles of Sugarland. The song forms the title of the 1990 TV drama 'Your Cheatin' Heart' by John Byrne.

ther significant recordings are, February, 1953 by Hank Williams (MGM 11416); February, 1953 by Joni James; September, 1958 by George Hamilton IV (ABC Paramount 9946); March, 1959 by Billy Vaughn, an instrumental (Dot 15936); November, 1962 by Ray Charles (ABC Paramount 10375); 1965 Elvis Presley for his LP ''Elvis For Everyone'' (RCA Victor LSP-3450).

10(1) - ''BABY, BABY BYE BYE'' (1) - B.M.I. - 2:01
Composer: - Hughie Piano Smith-Daniel White
Publisher: - Knox Music Incorporated
Matrix number: - None - Count-In - Take 1
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109-1/8 mono
SUN RECORDS INTO THE 60S - FEEL SO GOOD
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-12-1 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

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 crotical 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. (*)

10(2) - ''BABY, BABY BYE BYE'' (1) - B.M.I. - 2:01
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - None - Count-In - Take 2
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-2 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(3) - ''BABY, BABY BYE BYE'' (1) - B.M.I. - 2:03
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - None - Chatter - Count-In - Take 3
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1988
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2004-A5 mono
JERRY LEE LEWIS - DON'T DROP IT
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-17 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

10(4) - ''BABY, BABY BYE BYE'' (1) - B.M.I. - 2:07
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - None - Chatter - Count-In - Take 4
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-4 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(5) - ''BABY, BABY BYE BYE'' (1) - B.M.I. - 1:48
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - None - Incomplete Take 5
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-5 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(6) - ''BABY, BABY BYE BYE'' (1) - B.M.I. - 2:10
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - None - Chatter - Count-In - Take 6
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-6 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(7) - ''BABY, BABY BYE BYE'' (1) - B.M.I. - 2:04
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - None - Chatter - Take 7
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-7 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10 - STUDIO CHATTER 1 - 0:36
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-B1 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-12-8 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(8) - ''BABY, BABY BYE BYE'' (1) - B.M.I. - 1:56
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 8
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-B1 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-12-9 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10 - STUDIO CHATTER 2 - 0:26
Recorded: - January 21-25, 1960
Released: - October 2015 - Not Originally Issued
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-10 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(9) - ''BABY, BABY BYE BYE'' (1) - B.M.I. - 2:01
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 9
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-11 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10 - STUDIO CHATTER 3 - 0:21
Recorded: - January 21-25, 1960
Released: - October 2015 - Not Originally Issued
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-12 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(10) - ''BABY, BABY BYE BYE'' (1) - B.M.I. - 1:56
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - None - Incomplete Take 10
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - April 1993
First appearance: - Charly Records (CD) 500/22rpm Sunbox 4-9-25 mono
JERRY LEE LEWIS - THE ULTIMATE - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-12-13 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10 - STUDIO CHATTER 4 - 0:23
Recorded: - January 21-25, 1960
Released: - October 2015 - Not Originally Issued
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-14 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

10(11) - ''BABY, BABY BYE BYE'' (1)- B.M.I. - 2:01
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - None - Take 11 - Undubbed Master
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - 1989
First appearance: - Bear Family Records (CD) 500/200rpm BCD 1542-6-18 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-12-15 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

''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.

Jerry 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.

10(11) - ''BABY, BABY BYE BYE*'' (1) - B.M.I. - 2:18
Composer: - Hughie Piano Smith
Publisher: - Knox Music Incorporated
Matrix number: - U 393 - Take 11 Overdubbed Master
Recorded: - January 21-25, 1960
Released: - March 1960
First appearance: - Sun Records (S) 45rpm standard single > Sun 337-B < mono
BABY, BABY BYE BYE / OLD BLACK JOE
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-1-18 mono
THE SUN SINGLES COLLECTION - VOLUME 4

11(1) - ''OLD BLACK JOE'' (1) B.M.I. - 2:18
Composer: - Jerry Lee Lewis-Stephen Foster
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Count-In - Take 1 - Chatter
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-16 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

The real 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. (*)

11(2) - ''OLD BLACK JOE*'' (1) - B.M.I. - 0:34
Composer: - Jerry Lee Lewis-Stephen Foster
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Count-In - False Start
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-17 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

11(3) - ''OLD BLACK JOE'' (1) - B.M.I. - 1:57
Composer: - Jerry Lee Lewis-Stephen Foster
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 2
Recorded: - January 21-25, 1960
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-B3 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-12-18 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

11(4) - ''OLD BLACK JOE'' (1) - B.M.I. - 2:10
Composer: - Jerry Lee Lewis-Stephen Foster
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Take 3 - Undubbed Master
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109-1/7 mono
SUN RECORDS INTO THE 60S - FEEL SO GOOD
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-12-19 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

11(4) - ''OLD BLACK JOE*'' (1) - B.M.I. - 2:06
Composer: - Jerry Lee Lewis-Stephen Foster
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 392 - Take 3 Overdubbed Master
Recorded: - January 21-25, 1960
Released: - March 1960
First appearance: - Sun Records (S) 45rpm standard single > Sun 337-A < mono
OLD BLACK JOE / BABY, BABY BYE BYE
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-1-17 mono
THE SUN SINGLES COLLECTION - VOLUME 4

11(5) - ''OLD BLACK JOE'' (1) - B.M.I. - 2:14
Composer: - Jerry Lee Lewis-Stephen Foster
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Count-In - Take 1
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1988
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2004-B4 mono
JERRY LEE LEWIS - DON'T DROP IT
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-20 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

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).

The 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.

12(2) – ''HOUND DOG'' (2) - B.M.I. - 2:06
Composer: - Jerry Leiber-Mike Stoller
Publisher: - Jerry Leiber Music – Mike Stoller Music
Matrix number: - None - Take 8
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1988
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2004-A2 mono
JERRY LEE LEWIS - DON'T DROP IT
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-25 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

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 Rrhythm 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.

"Hound 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''.

On 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''.

Elvis 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''.

Presley 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'''.

According 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 popular music.

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 that song'''.

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.

By 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 - Doný 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.

13(1) – ''WHAT'D I SAY'' (1) - B.M.I. - 2:25
Composer: - Ray Charles
Publisher: - Unichappel Music Incorporated
Matrix number: - None - Take 1
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - April 1989
First appearance: - Charly Records (L) 33rpm Sunbox 109-1/3 mono
SUN RECORDS INTO THE 60'S - FEEL SO GOOD
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-25 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

13(2) – ''WHAT'D I SAY'' (1) - B.M.I. - 2:39
Composer: - Ray Charles
Publisher: - Unichappel Music Incorporated
Matrix number: - None - Count-In - Take 2
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1988
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2004-B1 mono
JERRY LEE LEWIS - DON'T DROP IT!
Reissued: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-12-23 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

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 Ferriday''. (*)

''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.

14(2) – ''KEEP YOUR HANDS OFF OF IT/BIRTHDAY CAKE'' (2) - B.M.I. - 2:32
Composer: - Jay McShann
Publisher: - Conrad Music
Matrix number: - None - Chatter - Count-In - Take 1
Recorded: - January 21-25, 1960 - Not Originally Issued
Released: - November 1987
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2003-A1 mono
JERRY LEE LEWIS - KEEP YOU HANDS OFF OF IT!
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-28 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal & Piano
Roland Janes - Guitar
Leo Ladner or J.W. Brown - Bass
Jimmy M. Van Eaton - Drums

* - Overdubbed Gene Lowery Singers consisting of
Edwin Bruce, Sara Bruce, Nita Smith,
Lee Holt, Vocal Harmony

As a footnote to this mammoth session features the masters of both ''Baby Baby Bye Bye'' and ''Old Black Joe'', as ultimately complemented by the vocal chorus and issued together on the single Sun 377, issued on The Sun Singles Collection, Volume 4 (BCD 15804-1-17-18) in 1997.

There are also to unsheathe the overdubbing process, and reveal, for the first time, the related tapes of the Gene Lowery Singers at work, issued on BCD 17254-18. These provide an intriguing opportunity to step into the sound booth with the backing singers and focus on their contribution being enacted in real time over the playback of the original recording. On hearing these tapes it is apparent that, but for a judicious edit, the issued version of ''Baby Baby Bye Bye'' might well have sounded rather more populated, with the earlier onset of the backing track. Equally, perhaps something was lost in the engineers having all but eliminated from the issued record any evidence the impressive male bass voice accompanying ''Old Black Joe'', which it is now possible to hear clearly in the deconstructed performance. (*)

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

© - 706 UNION AVENUE SESSIONS - ©

JANUARY 26, 1960 TUESDAY

Duane Eddy, Santo and Johnny and the Diamonds begin an Australian tour.

Janice Rogers, Kenny Roger's first wife, files for divorce, accusing him of ''cruel, harsh and inhuman treatment''.

Texas resident Janis Joplin, destined to recorded ''Me And Bobby McGee'', runs off with three male friends for a weekend in New Orleans. The men are briefly threatened with statutory rape charges.

JANUARY 27, 1960 WEDNESDAY

Webb Pierce recorded a cover of Warner Mack's ''Is It Wrong (For Loving You)'' at Nashville's Bradley Film and Recording Studio, with Mel Tillis playing guitar.

JANUARY 27, 1960 WEDNESDAY

Carl Perkins and Warren Smith join Johnny Cash who is currently touring middle-America.

JANUARY 29, 1960 FRIDAY

Brook Benton headlines the Apollo Theater for a week.

Songwriter Tim Johnson is born in Noti, Oregon. He authors Kellie Pickler's ''Things That Never Cross A Man's Mind)'', Tracy Byrd's ''The Truth About Men'' and Jimmy Wayne's ''Do You Believe Me Now''.

JANUARY 30, 1960 SATURDAY

Dee Clark, Chuck, Berry, the Passions and the Fireballs appear on The Dick Clark Show.

© - 706 UNION AVENUE SESSIONS - ©

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. (*)

STUDIO SESSION FOR JERRY LEE LEWIS
FOR SUN RECORDS PROBABLY EARLY 1960

SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATES EARLY 1960
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - CHARLES UNDERWOOD

Note: This is the first session recorded in stereo.

1 - ''THE WILD SIDE OF LIFE'' - B.M.I. - 2:45
Composer: - Arlie A. Carter-William Warren
Publisher: - Acuff Rose Music
Matrix number: - None - Unknown Take
Recorded: - Early 1960 - Not Originally Issued
Released: - August 1974
First appearance: - Power Pak (LP) 33rpm PO-247 mono
JERRY LEE LEWIS - FROM THE VAULTS OF SUN
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-4 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

"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''.

The 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.

2 - ''BILLY BOY'' - B.M.I. - 2:20
Composer: - Jerry Lee Lewis
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Count-In - Take 7
Recorded: - Early 1960 - Not Originally Issued
Released: - 1972
First appearance: - Hilltop Records (LP) 33rpm Hilltop JS 6120-A2 mono
JERRY LEE LEWIS - RURAL ROUTE NUMBER 1
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-5 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

"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.

3 – ''MY BONNIE'' - B.M.I. - 2:38
Composer: - Charles Edward Stuart
Publisher: - Sony-ATV Music Publishing
Matrix number: - None - Count-In - Take 4
Recorded: - Early 1960
Released: - January 1974
First appearance: - Sun International (LP) 33rpm Sun NY-6-B6 mono
JERRY LEE LEWIS - COLLECTORS EDITON
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-6-6 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

"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.

Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal & Piano
Roland Janes - Guitar
Leo Ladner - Bass
Jimmy M. Van Eaton - Drums
Martin Willis - Saxophone

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

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