CONTAINS
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1962 SESSIONS (1-3)
January 1, 1962 to March 31, 1962

Studio Session for Hayden Thompson, 1962 / Arlen Records
Studio Session for Mack Self, 1962 / Hi Records
Studio Session for Bill Yates & Billy Adams, Early 1962 / HOTB Records
Studio Session for Jeb Stuart, Early 1962 / Sun Records
Studio Session for Jeb Stuart, Unknown Date(s) / Sun Records
Studio Session for Jerry Lee Lewis, January 4, 1962 / Sun Records
Studio Session for Elmo Lewis, January 5, 1962 / Sun Records
Studio Session for Jerry Lee Lewis, January 5, 1962 / Sun Records
Studio Session for Charlie Rich, January 17, 1962 / Sun Records
Studio Session for Eddie Bond, January 29, 1962 / Sun Records
Studio Session for Eddie Bond, January 29, February 13, 1962 / Sun Records
Studio Session for Thomas Wayne, February 15, 1962 / Sun Records

- The Tragedy -

Studio Session for Harold Dorman, March 12, 1962 / Sun Records
Studio Session for David Wilkins, March 12, 1962 (1) / Sun Records
Studio Session for David Wilkins, Unknown Date(s) (2) / Sun Records
Studio Session for Frank Ballard with Phillip Reynolds Band, March 18, 1962 / Sun Records
Studio Session for Frank Ballard with Phillip Reynolds Band, Unknown Dates 1962 / Sun Records
Studio Session for Charlie Rich, 1962 / Sun Records
Studio Session for Charlie Rich, March 20, 1962 / Sun Records
Studio Session for Carl Mann, March 20, 1962 / Sun Records
Studio Session for Carl Mann, March 30, 1962 / Sun Records

Carl Mann Speaks -

For Biographies of Artists see: > The Sun Biographies <
Playlists of the Artists can be found on 706 Union Avenue Sessions of > YouTube <
  

© - 706 UNION AVENUE SESSIONS - ©

1962

The cars continued to evolve as more compacts appeared and sold well in the United States. The Cold War continued to worsen when the Russians placed Ballistic Missiles on Cuban land just 90 miles away from the coast of Florida in and JFK called the bluff by threatening war unless they were removed which they were but for a short time the world was on the brink of nuclear war and self destruction. The president then set a goal of landing a man on the moon before the end of the decade and became more involved in politics in Southeast Asia by training South Vietnamese pilots. Folk music was evolving into protest music thanks to young artists like Bob Dylan and the birth of Surfing music by the beach boys grew in popularity meanwhile in England the Beatles record the single "Love Me Do". The new hit on TV for that year was "The Beverly Hillbillies" and the first of the James Bond movies "Dr No" was an instant success, some of the other movies released included "Spartacus" and "El Cid".

The Space Needle an observation tower in Seattle, Washington is completed in time for the 1962 World's Fair. The Space Needle is 605 ft high, 138 ft wide, and weighs 9,550 tons. It was completed in less than 1 year just in time for the opening of the 1962 World's Fair. The domed top housing the top five levels including rotating SkyCity restaurant at 500 ft and an observation deck at 520 ft. The last elevator car was installed the day before the Fair opened on April 5, 1962. During the Worlds Fair the Space Needle drew over 2.3 million visitors, when nearly 20,000 people a day used its elevators. this was nearly 1/4 of all the visitors to the Worlds Fair. The Space Needle is considered an icon of Seattle and still one of the most popular places to visit and photograph over fifty years later.

1962

Motown continues to expand its power-base scoring number 1 rhythm and blues hits by both Mary Wells and the Contours and while attracting musical talent from all over Detroit that will soon result in the label becoming the biggest in the country.

Southern soul has its first major hit with the instrumental "Green Onions" by Booker T. & The MG's.

Ray Charles successfully melds country music with soul and crosses into the pop realm with the album "Modern Sounds In Country & Western Music".

The surf music craze, begun by instrumentalists in the previous few years, adds vocals when the Beach Boys score their first hit "Surfin' Safari".

Surf-rock guitarist Dick Dale debuts the new Fender Reverb amplifier.

The pacific-northwest becomes a hotbed for "garage bands" such as The Sonics, The Kingsmen and The Wailers which signals a more rebellious youthful aesthetic coming back to rock.

The Four Seasons greaser vocal harmonies explodes on the scene with three consecutive number 1 hits in the waning months of the year.

1950's legends Fats Domino, Clyde McPhatter, The Everly Brothers, LaVern Baker and Bo Diddley score their final major hits after a decade in the spotlight.

Marking drastic change from only a few years back female artists account for nearly half of all number one rhythm and blues hits in the calendar year.

1962

Various members of Booker T & the MG's moonlight from Stax Records, as session men at Sun. Out of the blue, the Phillips International imprint is involved in a flurry of album activity.

The Supremes first recordings are released.

James Brown record his famous Live At the Apollo album in New York City.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR THE BLACKWOOD BROTHERS
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE(S) 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – CECIL SCAIFE
 
No Details
 
GIVE ME TIME
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None – Sun Unissued
Recorded: - Unknown Date(s)
 
THE GREATEST GIFT OF THESE IS LOVE
Composer: - Traditional
Publisher: - Copyright Control
Matrix number: - None – Sun Unissued
Recorded: - Unknown Date(s)
 
JUST HAVE A TALK WITH THE LORD
Composer: - Traditional
Publisher: - Copyright Control
Matrix number: - None – Sun Unissued
Recorded: - Unknown Date(s)
 
STAY CLOSE TO GOD
Composer: - Traditional
Publisher: - Copyright Control
Matrix number: - None – Sun Unissued
Recorded: - Unknown Date(s)
 
Note: Sam Phillips also recorded many radio shows of the Blackwood Brothers for the Brothers' own label in  the 1950s.
 
Name (Or. No. Of Instruments)
The Blackwood Brothers Quartet for this project were Cecil Blackwood,
J.D. Sumner, Bill Shaw, James Blackwood, & Wally Varner.
 
For Biography of The Blackwood Brothers see: < The Sun Biographies <
 
© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

Session Published for Historical Reasons
 
STUDIO SESSION FOR HAYDEN THOMPSON
FOR ARLEN RECORDS 1962
 
BILL HALL-WAY RECORDING STUDIO
BEAUMONT, TEXAS
ARLEN SESSION: UNKNOWN DATE 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – JACK CLEMENT
 
Hayden Thompson was still working regularly in the music business in the early 1960s despite his lack of recording success. After he left the Tally Ho, he played Sam Scott's Big Shower Of Stars, American Swing Around, and the WGN Barn Dance. But throughout the early 1960s, Hayden would regularly visit Booneville and Memphis, and at one point he tried out as vocalist with the Bill Black Combo, only to lose out to Jumpin Gene Simmons, who went on to have several hits with the band. Nevertheless, Hayden did make a number of recordings on these trips home, mainly with Roland Janes and Jack Clement, the men who had masterminded his best Sun sessions. Only one disc was issued from these sessions, but it was a classic, ''Queen Bee'' and ''Pardon Me''.
 
Jack Clement had left Sun Records and been working both on his own account in Memphis and with RCA Victor Records in Nashville before connecting with Bill Hall and putting together a successful record production studio, Hall-Way, in Texas, leasing songs to major labels. They were hot with a hit single by Dickey Lee, another former Sun artist, called ''Patches''. Hayden remembered: ''I ran into Jack Clement again in Memphis one time in the early summer of 1962, and he was running a successful studio down in Beaumont, Texas. He told me, If you'll come down, we'll get my boys together and cut something'.
 
He wanted to record ''I'll Be Home Again'' and other songs associated with Elvis Presley, and had the idea that he was going to lease it to a major label. So that was what we planned to do. But when I arrived there, he had changed his mind. He had written this song called ''Queen Bee'', that he was looking for a singer to record. And I had a song I liked called ''Pardon Me'', so we went with those two sides instead''.
 
Jack Clement shopped the masters around for quite a few months before making a deal with Harry Finfer in Philadelphia. ''In 1963, Jack found a label in Philadelphia called Arlen Records that wanted to take my recordings'', Hayden explained. But he soon realized that this was not going to be his big break and more than his earlier discs had been. Alen didn't have the expertise to promote the record well enough. ''I never did meet the Arlen people'', Hayden said.
 
QUEEN BEE
Composer: Jack Clement
Publisher: - B.M.I. - Hall-Clement Music Incorporated
Matrix number: - H.T. 1 - Master (1:50)
Recorded: - Unknown Date 1962
Released: - June 1963
First appearance: - Arlen Records (S) 45rpm standard single Arlen 728-A mono
QUEEN BEE / PARDON ME
Reissued – 2008 Bear Family Records (CD) 500/200rpm BCD 16131-32 mono
HAYDEN THOMPSON – THE SUN YEARS PLUS
 
''Queen Bee'' was taken as an uptempo balled, less dramatic than the Profile record but possibly even better. It follows a slightly folksy, guitar-led formula with bright, flying vocals and trickling bass that Jack Clement tried out over a number of years with a number of different singers. ''Pardon Me'' was another brilliantly sung performance by Hayden, making best use of his light, soaring higher register and his deeper Presleyish inflections. There is an understated guitar and piano-led backing by Jack Clement and his studio musicians. Of all Hayden's early single records, this was the one that could and should have made it to the big-time.
 
PARDON ME
Composer: Hayden Thompson
Publisher: - B.M.I. - Jack Music Incorporated
Matrix number: - H.T. 2 - Master (2:37)
Recorded: - Unknown Date 1962
Released: - June 1963
First appearance: - Arlen Records (S) 45rpm standard single Arlen 728-B mono
PARDON ME / QUEEN BEE
Reissued – 2008 Bear Family Records (CD) 500/200rpm BCD 16131-33 mono
HAYDEN THOMPSON – THE SUN YEARS PLUS
 
PARDON ME (2)
Composer: Hayden Thompson
Publisher: - B.M.I. - Jack Music Incorporated
Matrix number: - None – Not Originally Issued
Recorded: - Unknown Date 1962
Released: - 1986
First appearance: - Sunjay Records Sweden (LP) 33rpm SJLP 569 mono
HAYDEN THOMPSON – EARLY DAYS
 
PARDON ME (3)
Composer: Hayden Thompson
Publisher: - B.M.I. - Jack Music Incorporated
Matrix number: - None – Unissued
Recorded: - Unknown Date 1962
 
Name (Or. No. Of Instruments)
Hayden Thompson - Vocal
Jack Clement – Guitar
Unknown – Guitar, Piano, Bass,
Drums, Vocal Chorus on ''Queen Bee''
 
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 MACK SELF
FOR HI RECORDS 1962
 
HI STUDIO, OLD ROYAL MOVIE THEATER
1320 SOUTH LAUDERDALE AVENUE, MEMPHIS, TENNESSEE
HI SESSION: UNKNOWN DATE 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – BILL BLACK
 
''Britches'', Mack Self was plainly listening to Dave Dudley's ''Six Days On The Road'' when he put this energetic composition together. Mack was hardly alone in showing this influence. The guitar picking on Dudley's 1963 hit was felt far and wide within country music. Dudley's record also helped to spawn an entire genre of Trucker songs. The big difference here is Mack's character ''ain't gonna make it home'' whereas Dave Dudley sang for joy at the thought of seeing his baby tonight.
 
''Yesterday's Gone'', this one;s about a bunch of losers who hand around talking about the good old days when everything seemed so right. Forget it, says the singer. You can't bring back yesterday.
 
The title poses an interesting dilemma. This song bears the same title as Chad and Jeremy's hit from 1964, although the similarity ends there. Had Mack opened for a title change, he might have borrowed a phrase from his first line, but that would have gotten him to ''Down At The Boondocks'', close enough to ''Down In The Boondocks'', a 1965 hit by Billy Joe Royal. Again, no similarity other than the title, but you can see how impressionable Mack could become when he put on his songwriter's hat.
 
BRIDGES
Composer: - Mack Self
Publisher: - B.M.I. - Copyright Control
Matrix number: - None – Not Originally Issued (1:54)
Recorded: - Unknown Date 1962
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16519-30 mono
MACK SELF - THE SUN YEARS PLUS
 
YESTERDAY'S GONE
Composer: - Mack Self
Publisher: - B.M.I. - Copyright Control
Matrix number: - None – Not Originally Issued (1:37)
Recorded: - Unknown Date 1962
Released: - 2007
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16519-26 mono
MACK SELF - THE SUN YEARS PLUS
 
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 - ©

1962

The follow-ups from Jerry Lee Lewis this year included a gesture toward the Twist craze, ''I've Been Twistin''' (which was a revamped version of Junior Parker's 1953, ''Feelin' Good''.

There was also a revival of Chuck Berry's ''Sweet Little Sixteen'', which actually grazed the Hot 100. However, Jerry could never recapture the success of ''What'd I Say''.

Although his releases continued to include cover versions or revivals of rhythm and blues hits, like ''Money'', ''Save The Last Dance For Me'', ''Teenage Letter'', ''Good Golly Miss Molly''. Phillips even shipped another album, ''Jerry Lee's greatest!'', in the wake of ''What'd I Say''.

However, the emphasis upon revivals showed once again that music publishers were no longer submitting the cream of their new material to him. It was one more annoyance to gall him as chart success seemed to lag behind his success on the road.

The end of his contract with Sun, which was coming into view, held out the promise of an aggressive new approach to his recording career.

1962

In 1962, Bill Black give former Sun recording artist, Edwin Bruce, a three-record deal with Scepter-Wand Records. One of the songs, ''See The Big Man Cry'', was arranged by yet another Sun alumnus, Bill Justis. Ed moved to Nashville, trying to peddle songs, but his biggest success came when Bill Black placed one of his songs, ''Save Your Kisses'', on the flip side of Tommy Roe's ''Sheilla''.

© - 706 UNION AVENUE SESSIONS - ©

Session Published for Historical Reasons
 
STUDIO SESSION FOR BILL YATES & BILLY ADAMS
FOR HOTB RECORDS 1962
 
ROYAL RECORDING STUDIO
1320 SOUTH LAUDERDALE STREET, MEMPHIS, TENNESSEE
HOTB SESSION: UNKNOWN DATE EARLY 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - PROBABLY RUBEN CHERRY
AND/OR WILLIE MITCHELL
 
There were a number of impressive recordings left over from the HOTB sessions. As well as unissued takes   of the songs issued by Bethlehem, included here the ballads ''I'm So Lonely Without You'', ''World Of Make   Believe'', a song earlier recorded by Nashville singer Johnny Bragg (of the Prisonaires) on Decca, and   ''Before I Lose My Mind'', recorded in 1961 by Ferlin Husky. Yates also made a classy version of ''I Believe   To My Soul'', one of Ray Charles' smaller but best hits. Then there is ''Bill's Jazz'', an instrumental featuring   not only Bill's keyboard skils and Billy Adams' drumming but the sax playing of Russ Carlton, who was also   known as ''Billy'' within the group according to bass player Jesse Carter: ''Billy Adams was used to playing   with so many different musicians in town that when he called someone out to play a solo he'd just call them  ''William''.
 
I'M SO LONELY WITHOUT YOU
Composer: - Unknown
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - HOTB Not Originally Issued (2:11)
Recorded: - Unknown Date Early 1962
Release: - June 14, 2013
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17277-15 mono
BILL YATES - THE SUN YEARS PLUS
 
I BELIEVE TO MY SOUL
Composer: - Ray Charles
Publisher: - B.M.I. - Progressive Music - Unichappell Music Incorporated
Matrix number: - None - HOTB Not Originally Issued (2:08)
Recorded: - Unknown Date Early 1962
Release: - June 14, 2013
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17277-16 mono
BILL YATES - THE SUN YEARS PLUS
 
WORLD OF MAKE BELIEVE
Composer: - Pee Wee Maddux-Mario Carpenter-Pete McCord
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - HOTB Not Originally Issued (3:13)
Recorded: - Unknown Date Early 1962
Release: - June 14, 2013
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17277-17 mono
BILL YATES - THE SUN YEARS PLUS
 
BEFORE I LOSE MY MIND (1)
Composer: - Vic McAlpin-Roy Drusky
Publisher: - B.M.I. - Acclaim Music
Matrix number: - None - HOTB Not Originally Issued (3:00)
Recorded: - Unknown Date Early 1962
Release: - June 14, 2013
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17277-18 mono
BILL YATES - THE SUN YEARS PLUS
 
BILLS' JAZZ (1)
Composer: - Billy Adams-Bill Yates-Russ Carlton
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - HOTB Not Originally Issued (2:28)
Recorded: - Unknown Date Early 1962
Release: - June 14, 2013
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17277-33 mono
BILL YATES - THE SUN YEARS PLUS
 
BILLYS' JAZZ (2)
Composer: - Billy Adams-Bill Yates-Russ Carlton
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - HOTB Not Originally Issued (3:55)
Recorded: - Unknown Date Early 1962
Release: - June 14, 2013
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17116-31 mono
BILLY ADAMS - THE SUN YEARS PLUS
 
Name (Or. No. Of Instruments)
Bill Yates - Vocal, Piano and Organ
Lee Adkins - Guitar
Vance Yates or Jesse Carter or Donald Dunn - Bass
Billy Adams - Drums
Russ Carlton - Saxophone
 
For Biographies of Artists see: < The Sun Biographies <
 
© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR JEB STUART
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE EARLY 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR CECIL SCAIFE
 
Composer: - Tillis-Webb Pierce
Publisher: - B.M.I. - Cedar Music
Matrix number: - P 427 - Master (2:00)
Recorded: - Unknown Date 1962
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3580-A mono
I AIN'T NEVER / IN LOVE AGAIN
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-4/13 mono
THE SUN SINGLES COLLECTION - VOLUME 6
 
Webb and Jeb: together again. Or, actually, together for the first time. Jeb takes on Webb Pierce's massive hit from 1959, a song that has been recorded by everyone from The Four Preps to Isaac Hayes. There's nothing wrongs with Jeb's approach which, truth to tell, is pretty close to how Webb read it the first time around. If anything, Jeb adds some melisma to some of those vocal lines and it turns out they simply don't need it. This is one song that benefits not one iota from going to church.
 
It's just a good, solid, catchy tune, whether Webb is reading it straight or John Fogerty is doing his one-man band version in 1973. For all intents and purposes, this is Jeb singing with Booker T. and the MGs.
 
The session personnel includes Booker T. himself on organ, Steve Cropper on guitar, and Al Jackson on drums. Perhaps the most unusual thing about this record is the opening. Listen closely to it. Sound familiar? Why, that's nobody but the ''Signifying Monkey'', himself, jumping right out of his coconut tree on Sun 228. Was this coincidence or do you think they knew what they were borrowing? Jeb insisted that Webb Pierce thought enough of Jeb's record to invite him to pose alongside the famous silver dollar-encrusted Pontiac, but Sun sent Jerry Lee Lewis for the photo op instead.

''In Love Again'' pays a mighty big debt to Miz Barbara George, the barely teenage singer who scored a big 1961 New Orleans hit with ''I Know''. The similarity shows up immediately in the first two words, and reappears in the horn solo. Regardless of its source, this is a very churchy record, written by Sun's in-house arranger, Vinnie Trauth (who was fooling with a musician's wife – a liaison that would soon prompt a hurried exit from both Sun and Tennessee). 

This was Jeb's last appearance on Phillips International. A few years later, in 1969, he was writing letters to Knox Phillips, trying to rekindle the flame and get the Phillips clan to produce, distribute or release his recordings again. As far as we can tell, no such arrangement ever came to pass. Stuart moved from label to ever-smaller label, turning up for brief periods on Kent, King, Great American, Pure Gold, Youngstown, Eureka, and Vlomax. He later moved to Miami, and still lives there (1998). Interviewed in 1987, he said that he was learning Yiddish to better serenade Jewish retirees.
 
Composer: - Vinnie Trauth
Publisher: - B.M.I. - Knox Music Incorporated
Matrix number: - P 428 - Master (2:37)
Recorded: - Unknown Date 1962
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3580-B mono
IN LOVE AGAIN / I AIN'T NEVER
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-4/14 mono
THE SUN SINGLES COLLECTION - VOLUME 6
 
Composer: - Vinnie Trauth
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:26)
Recorded: - Unknown Date 1962
Released: - 1965
First appearance: - Bingo (Memphis) (S) 45rpm standard single Bingo 1001 mono
WILL I EVER BE FREE / THE GREASY FROG
Reissued: - April 1989 Charly Records (LP) 33rpm Sun Box 109-5/14 mono
SUN RECORDS INTO THE 60S - BETCHA GONNA LIKE IT
 
> WILL I EVER BE FREE <
Composer: - Vinnie Trauth
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Long Version - Not Originally Issued (2:33)
Recorded: - Unknown Date 1962
Released: - 1965
First appearance: - Bingo (Memphis) (S) 45rpm standard single Bingo 1001 mono
WILL I EVER BE FREE / THE GREASY FROG
Reissued: - April 1989 Charly Records (LP) 33rpm Sun Box 109-10/6 mono
SUN RECORDS INTO THE 60S - BETCHA GONNA LIKE IT
 
Name (Or. No. Of Instruments)
Jeb Stuart – Vocal
Scotty Moore - Guitar
Steve Cropper – Guitar
Booker T – Organ
Lewie Steinberg - Bass
Larry Muhoberac - Piano
Al Jackson - Drums
Floyd Newman – Tenor Saxophone
Robert Oldham - Saxophone
George Tidwell - Saxophone
 
For Biography of Jeb Stuart see: < The Sun Biographies <
Jeb Stuart's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR JEB STUART
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE EARLY 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR CECIL SCAIFE
 
Jeb Stuart appeared on four singles on the Phillips International label between 1960 and 1962 that in many ways reflects the rise of soul music in Memphis. In addition to his full recording sessions, Stuart also left at least 17 demos behind, often featuring just his vocals and an uncredited piano player. We can almost certainly identify that soulish piano as belonging to Charlie Rich. Rich was coming into his own as a soul singer and musician during this period, as his own releases for the PI label amply demonstrate.
 
BABY PLEASE*
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
THE BULLFROG
Composer: - Jeb Stuart
Publisher: - B.M.I. - Rise Satin Music
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Date(s)
Released: - 1987 P-Vine Records (LP) 33rpm PLP-343-B-4 mono
EARLY MEMPHIS SOUNDS - DEEP SOUL CLASSICS VOLUME 6
 
FAREWELL GOODBYE*
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
FEEL SO GOOD*
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
Composer: - C. Clausol-Jeb Stewart
Publisher: - B.M.I. - Rise Satin Music
Matrix number: - None - Not Originally Issued (2:35)
Recorded: - Unknown Date(s) Early 1962
Released: - 1987 P-Vine Records (LP) 33rpm PLP-343-B-7 mono
EARLY MEMPHIS SOUNDS - DEEP SOUL CLASSICS VOLUME 6
  
Composer: - Jeb Stuart
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:17)
Recorded: - Unknown Date(s) Early 1962
Released: 2021
First appearance: Countdown Media Internet Sample mono
THE SUN RECORDS DANCE PARTY
 
I AIN'T NEVER*
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
Composer: - Hank Williams
Publisher: - B.M.I. - Hiriam Music
Matrix number: - None - Demo (2:22)
Recorded: - Unknown Date 1962 - Not Originally Issued
Released: 2019
First appearance: Bear Family Records (CD) 500/200rpm BCD 17504-8 mono
SUN SHINES ON HANK WILLIAMS
 
Stuart's fine vocal on ''I Can't Help It'' gives extra dimension to the song showing the range of styles that Sun artists were able to bring to songs associated with Hank Williams. That range also demonstates that the songs themselves were strong enough to transcend the ''hillbilly'' stigma and support a host of musical and stylistic approaches.
 
NEVER LET ME DOWN*
Composer: - Unknown
Publisher: - Ram Music Incorporated
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Date(s) 1962
 
Composer: - Buck Ram
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:56)
Recorded: - Unknown Date(s) Early 1962
Released 2021
First appearance: Sun Entertainmen Internet Sample mono
JEB STUART - THE DOORS TO SUN RECORDS - BALLADS (30 TIMELESS FAVORITES)
 
TAKE MY LOVE*
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
TALK, TALK*
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
THINGS ARE GETTING TOUGH*
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
REAL FINE DOLL
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
UNCHAINED MELODY*
Composer: - Hy Zaret-Alex North
Publisher: - Frank Music Corporation
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
  
Name (Or. No. Of Instruments)
Jeb Stuart – Vocal
Unknown Musicians
Charlie Rich - Piano*
 

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

© - 706 UNION AVENUE SESSIONS - ©

JANUARY 1, 1962 MONDAY

The Twisters appear on the New Year's edition of American Bandstand.

The US Navy SEALS are created as the U.S. Navy's principal special operations force, the special force was in existance prior dating back to World War II when the Navy "Scouts and Raiders" was formed.

JANUARY 2, 1962 TUESDAY

Joey Dee and the Starliters are at the Crescendo Club in Los Angeles for three weeks.

Ray Stevens moves from Atlanta to Nashville to work with Mercury Records, recorded ''Ahab, The Arab'' within his first six months.

Capitol released Buck Owen's ''Nobody's Fool But Yours''.

JANUARY 4, 1962 THURSDAY

More than six months after he first attempted it, Faron Young recorded Willie Nelson's ''Three Days'' at the Bradley Film and Recording Studio on Nashville's Music Row.

George Jones recorded ''She Thinks I Still Care'' at the Bradley Film and Recording Studio in Nashville, Tennessee.

Ray Charles' trial for heroin possession is set to begin in Indianapolis. Charles' attorney moves to have the charges dropped. The case is bound over till January 30.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR JERRY LEE LEWIS
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: THURSDAY JANUARY 4, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR CECIL SCAIFE
 
''Ramblin' Rose'' itself was paired with Jerry Lee Lewis's resurrection of an early Sun hit, the Junior Parker number ''Feelin' Good'', this being the main focus of attention at Lewis's first recording date in 1962, on January 4, back at 639 Madison Avenue. In its new guise ''I've Been Twistin''' set a conundrum which has, in the past, led some to think that there are as many as four alternate takes of Lewis's reading of the song to experience, three having been defined in the 1983 list. The ''slate'' numbers called by Sam Phillips indicate that there were, indeed, at least four recordings but the reality is that only two takes survive, together with the issued master, the latter being an amalgam of parts of the raw performances. The original release display just how adapt Sam was at exploiting the potential of magnetic tape to frame the results he wanted.
 
The editing action takes place about two minutes and fifteen seconds into each take; fortuitously both maintain much the same pace throughout so this is the point at which to listen closely and compare the two originals and the ''third version'' represented by the finished product on the issued master. (*)
 
Composer: - Herman Parker Jr.
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - U 467 - Take 3 Master (3:21)
Recorded: - January 4, 1962
Released: - January 19, 1962
First appearance: - Sun Records (S) 45rpm standard single Sun 374-A mono
I'VE BEEN TWISTIN' / RAMBLIN' ROSE
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-4/15 mono
THE SUN SINGLES COLLECTION - VOLUME 4
 
Excluding Jerry's earliest records for Sun at the start of his career five years later, this was undoubtedly his strongest two-sided release (Sun 374) in memory. Indeed, none of his subsequent releases on the original Sun label would even come close to the standard. Both sides, ''I've Been Twistin'''and ''Rambling Rose'' deserved to have been hits in terms of their musical standard and their synchrony with the marketplace in early 1962. Sadly, neither dented the charts. It's a wonder Sam Phillips (and Jerry himself didn't wonder, ''If you can't make money like this, what's the point?''. ''Twistin'''is a wonderful remake of ''Feelin' Good'', Little Junior Parker's Sun classic from July 1953. Jerry has retained all its zany charm and backwoods folkways, and force-fed them into the twist craze. Instead of the disaster this should have been, the record retains a surprising amount of energy and good nature 35 years later. It my seems like Jerry was reprising 'ancient' material here, yet his source was less than a decade old when he tried his hand at it. It has been four times that long since Jerry's record was released in 1962.
 
Composer: - Herman Parker Jr.
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - None – Take 1 (3:21)
Recorded: - January 4, 1962   - Not Originally Issued
Released: - April 1974
First appearance: - Hallmark Records (LP) 33rpm SHM 823-B2 stereo
JERRY LEE LEWIS - VOLUME 1 - GREAT BALLS OF FIRE
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-7/24 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
 
Notice that at the operative moment (2:15) on take 1, at the point that Jerry Lee sings ''I said'' immediately before he launches into the prolonged ''whoa-hooah'' (...choose your own phonetics), a guitar note is heard. That same note can also be detected on the Sun 374 master. Up to tis point, there are numerous references in the spoken/sung words both to distinguish take 1 from take 2 and to align the master squarely with take 1. As take 1 develops beyond 2:15, the guitar is silent throughout Jerry Lee's extended wail. However, on the issued master, during the course of ''whoa-hooah'', you will hear another guitar note struck at 2:18. Staying with the master, we then hear an additional exclamation at the end of the wail, ''well I'' before Jerry Lee sings ''feel so good''. Go back to take 1; he comes out of the wail straight into ''feel so good''; there's no ''well I'' receding the familiar refrain ''feel so good''. Now, check take 2; there's no note audible behind Jerry Lee singing ''I said'' prior to ''whoa-hooah'' but, as the wail develops, there's the guitar again. So, just as soon as Jerry Lee utters ''I said'' we find the evidence of where the tapes have been snipped to move seamlessly from take 1 to take 2. (*)
 
Composer: - Herman Parker Jr.
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - None – With Count-In - Take 2 or 4 (3:21)
Recorded: - January 4, 1962   - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sun Box 102-11-B1 mono
JERRY LEE LEWIS – THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-7/26 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
 
It would appear that Sam Phillips didn't think much of Jerry Lewis's hesitancy at around the 2:43 mark on the first take and recognised that an improvement could be wrought by grafting on the latter part of the second take to the bulk of the first to manufacture ''take 3'', i.e. the master. To add to the confusion, the release in the late 1980s of an extra few seconds of take 1, which took listeners beyond the original fade out, gave rise to the spurious claim that a third alternate existed. Nor were matters helped by Shelby Singleton having published an LP in 1977 featuring both take 1 as ''I've Been Twistin'' and the Sun 374 master as ''Feel So Good'', an exercise that was something of a disservice to fans. But let's be clear, there are only two takes of ''Ive Been Twistin''', plus the spliced master. (*)

The twist craze was, of course, at its height, Jerry Lee used the opportunity to -re-record ''Whole Lot Of Shakin' Going On'' in the latest popular idiom. One can't help feeling that this might have had more chance of success than the revival of Junior Parker's shuffling blues number had Sam Phillips had the nerve to release it. Listeners may be wondering why only one take of ''Whole Lotta Twistin' Goin' On'' is to be found, given that previously published discographies have indicated that there were two distinct recordings. The notionally shorter version was the first outing for the song when it materialised on a Charly LP in 1954. The fact is that this so-called ''take 1'', which will not be found in this collection, was simply an edit of the longer, full recording, with a passage of some 27 seconds, commencing at 2:27, having been excised. This piece of engineering lends weight to the idea that consideration may well have been given to issuing the recording back in 1962, although even after the removal of some of the more risqué commentary there was still potentially sufficient innuendo remaining to provoke offence. It's an intriguing ''might have been'' which serves as a further reminder that Sam was very capable of adding a ''twist'' pf his own to the proceedings. (*) 

Composer: - David Curley Williams-Sonny David
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - None – Take 1 (3:20)
Recorded: - January 4, 1962  - Not Originally Issued
Released: - November 1974
First appearance: - Charly Records (LP) 33rpm CR 300002-A3 stereo
JERRY LEE LEWIS AND HIS PUMPING PIANO
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-7/25 stereo 
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
 
Jerry has often claimed that his biggest hits were recorded in one take, and although it’s definitely not true of ''Great Balls Of Fire'', ''Breathless'' and ''High School Confidential'' it’s at least partly true with this song. Prior to recording the hit version (probably several weeks earlier though exact dates are lost) he quickly ran-through 4 takes of the song: although these are perfectly  okay, they lack the passion of the well-known version and weren’t released at the time (the first released version from 1957 session was on ‘The Sun Years’ box-set in 1983, with other takes following over the next few years). The single (his 2nd single following ‘Crazy Arms’) changed his life of course, launching his career and becoming one of the most revered (and covered) rock and roll songs of all time.
 
Now in 1962 his career was pretty much washed-up, and in an attempt to cash-in on the then-current “twist” craze he recorded 2 takes as ‘Whole Lotta Twistin’ Goin’ On’. Unfortunately not released at the time (a shame as the song might’ve been a hit all over again), it was first issued on Charly’s  ''Jerry Lee Lewis & His Pumpin’ Piano'' in 1974, with the very similar alternate take appearing on the United States ''Golden Rock And Roll'' album 3 years later. The 1963 re-cut for ''Golden Hits'' has a very similar “twist” beat to the 1962 versions, and would be a candidate for the best cut if it wasn’t for the over-production. In 1973 he cut the song again for ''The Session'', a modern (for the time) “rock” treatment that works well apart from the unfortunate faded-in intro, and in 1988 he recorded it once again for the ''Great Balls Of Fire''! movie and soundtrack album, again a more than creditable version.
 
Composer: - Stan Kesler
Publisher: - B.M.I. - Knox Music Incorporated – Beckie Music
Matrix number: - U 355 - Master Take 1 (2:41)
Recorded: - January 4, 1962
Released: - March 15, 1965
First appearance: - Sun Records (S) 45rpm standard single Sun 396-B mono
I KNOW WHAT IT MEANS / CARRY MY BACK TO OLD VIRGINIA
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15805-2/4 mono
THE SUN SINGLES COLLECTION - VOLUME 5
 
Jerry Lee talk and sings his way through ''I Know What It Means'', a leftover from this January 1962 session. The bass heavy arrangement is a curious hybrid of old timey and bluesy elements. All in all, this track is a perfect example of a B-side.
Composer: - Stan Kesler
Publisher: - B.M.I. - Knox Music Incorporated – Beckie Music
Matrix number: - None - Take 2 (2:39)
Recorded: - January 4, 1962   - Not Originally Issued
Released: - November 1982
First appearance: - Sun International (LP) 33rpm Sun 145-B4 stereo
JERRY LEE LEWIS - ROOTS
Reissued: -   October 2015   Bear Family Records (CD) 500/200rpm BCD 17254-13/24 stereo
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS
 
Composer: - Sonny Terry
Publisher: - B.M.I. - Copyright Control
Matrix number: - None – Unknown Take (1:44)
Recorded: - January 4, 1962   - Not Originally Issued
Released: - October 1975
First appearance: - Charly Records (LP) 33rpm CR 300 006-B3 mono
JERRY LEE LEWIS - 16 SONGS NEVER RELEASED BEFORE – VOLUME 1
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-7/28 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
 
Two very different recordings of ''High Powered Woman'' were recorded by Jerry Lee at Sun, though none were released until well into the 1970s. The June 14, 1961 version features a ‘Whole Lotta Shakin’ Goin’ On’ intro and some very fine saxophone, and wasn’t released until the Sun International ''Golden Rock And Roll'' collection in 1977. This January 1962 cut features a strong Ray Charles influence right down to the ''What’d I Say'' inspired intro, though at around 1 minute and 43 seconds it’s even shorter than the 2 minute version from a year earlier.
 
Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal & Piano
Roland Janes - Guitar
Brad Suggs - Guitar
R.W. McGee - Bass
Al Jackson - Drums
 
 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 - ©
© - 706 UNION AVENUE SESSIONS - ©
 
STUDIO SESSION FOR ELMO LEWIS
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: FRIDAY JANUARY 5, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – SAM C. PHILLIPS
AND/OR CECIL SCAIFE
 
During the autumn of 1963 Jerry Lee Lewis' contract with Sun Records expired. Sam Phillips desperately   tried to keep Jerry Lee by. Before that, he signed contracts with his sister Linda Gail (1963), and Elmo   (1962). But that didn it change Jerry Lee's mind, he decided to go to Smash Records, a division of Mercury   Records. Frank Casone became Jerry Lee's new manager. The first thing he did when he went to Nashville   under the Smash label was to re-record all his Sun hits, some old rhythm & blues numbers, a few old country   song, some rock tunes and one of his own pieces called ''He Took It Like A Man''. The first album was called   The Golden Hits Of Jerry Lee Lewis.
 
4 UNISSUED UNKNOWN TITLES
 
Name (Or. No. Of Instruments)
Elmo Lewis – Vocal and Piano
Jerry Lee Lewis - Piano
Roland Janes – Guitar
Scotty Moore – Guitar
Jay W. Brown – Bass
Al Jackson – Drums
Shirley Sisk - Organ
 
Elmo Lewis, the father of Jerry Lee Lewis, was a carpenter and a member of the Church of God, and lived on his son's ranch on Malone Road in Nesbit, Mississippi, where he raised cattle.
 
Elmo Lewis, was born in Ferriday, Concordia Parish, Louisiana on January 8, 1902, mortgaged his home when his son was a child to buy him his first piano. He moved to Memphis in the late 1950s after Jerry Lee became an international recording artist with the release in 1956 of his first Sun hit, " A Whole Lot of Shaking Going On".
 
The elder Lewis was fond of singing and entertaining and frequently attended the annual Country Music Association and Disk Jockey Convention in Nashville with his son.
 
Elmo Lewis, died at the age of 77 on July 21, 1979 at Doctors Hospital. He had been hospitalized since June 11, suffering from cancer. Elmo is buried in Calhoun Cemetery near Clayton, Louisiana.
 
 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 - ©

© - 706 UNION AVENUE SESSIONS - © 

STUDIO SESSION FOR JERRY LEE LEWIS
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: FRIDAY JANUARY 5, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR SCOTTY MOORE OR UNKNOWN
 
Jerry began this January 5, 1962 session with ''Sweet Little Sixteen''. What might have simply been a warmup take to get things going, apparently had more planning behind it. This song was tried on at least three occasions, suggesting that it was being groomed for release right from the start. Jerry rarely turned in a bad version of a Chuck Berry song and this is no exception. It's surprisingly laid-back compared with Chuck Berry's original, and it is revealing to note that on at least one of the surviving alternate versions Jerry storms its way through the changes and includes some driving piano work. When it came time to select a version for release, the powers at Sun rightly concluded that laid-back and mellow were the order of the day.
 
Composer: - Chuck Berry
Publisher: - B.M.I. - Chuck Berry Music – Arc Music
Matrix number: - None – Fast - Count-In - Take 1 (2:35)
Recorded: - January 5, 1962 –  Not Originally Issued
Released: - December 1969
First appearance: - Sun International (LP) 33rpm Sun LP 107-B2 mono
JERRY LEE LEWIS - ROCKIN' RHYTHM AND BLUES
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-8/1 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
 
Composer: - Chuck Berry
Publisher: - B.M.I. - Chuck Berry Music – Arc Music
Matrix number: - None – Take 2 (2:28)
Recorded: - January 5, 1962 –  Not Originally Issued
Released:  -  April 1993
First appearance: - Charly Records (CD) 500/22rpm Sun Box 4-10/21 mono
JERRY LEE LEWIS - THE ULTIMATE - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-7/19 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
 
Composer: - Chuck Berry
Publisher: - B.M.I. - Chuck Berry Music – Arc Music
Matrix number: - None – Take 3 (2:31)
Recorded: - January 5, 1962 –  Not Originally Issued
Released:  -  April 1993
First appearance: - Charly Records (CD) 500/22rpm Sun Box 4-8/10 mono
JERRY LEE LEWIS - THE ULTIMATE - THE SUN YEARS
Reissued: -  October 2015  Bear Family Records (CD) 500/200rpm BCD 17254-13/28 stereo
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS
 
Composer: - Chuck Berry
Publisher: - B.M.I. - Chuck Berry Music - Arc Music
Matrix number: - None - Count-In - Stereo Master Take 4 (2:56)
Recorded: - January 5, 1962 –  Not Originally Issued
Released: - September 1989
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15420-8/5 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
Reissued: - October 2015   Bear Family Records (CD) 500/200rpm BCD 17254-16/28 stereo
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORK
 
Jerry Lee's wrestling with one of the relatively small number of songs recorded during the post 706 Union era to endure in multiple takes, here, at least, there is no cause to bemoan the implications of the high slate numbers uttered by Sam ahead of so many songs that remain only as ''on-offs'', ''Sweet Little Sixteen'', having been the subject of an isolated run-through at a June 1961 session, was revisited with the intention of producing a master for single release. Three of the four takes recorded on this occasion are distinguished by an introduction involving the bass player's rapid fire plucking of a single note which, together with the fact that the piano is at times almost inaudible in a mix dominated by the organ, reduces the force of Lewis's personality. In the end the third of these alternates was chosen for release on Sun 379. (*)
 
Composer: - Chuck Berry
Publisher: - B.M.I. - Chuck Berry Music - Arc Music
Matrix number: - U 477 - Take 4 Master (2:52)
Recorded: - January 5, 1962
Released: - July 7, 1962
First appearance: - Sun Records (S) 45rpm standard single Sun 379-A mono
SWEET LITTLE SIXTEEN / HOW'S MY EX TREATING YOU
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-4/25 mono
THE SUN SINGLES COLLECTION - VOLUME 4
 
"Sweet Little Sixteen" is a rock and roll song written and originally performed by Chuck Berry, who released it as a single in January 1958. It reached number two on the Billboard charts, Berry's highest position ever on the charts, with the exception of the suggestive number one hit "My Ding-A-Ling" in 1972. "Sweet Little Sixteen" also reached number one on the Rhythm & Blues Best Sellers chart. Rolling Stone magazine ranked the song number 272 on their list of The 500 Greatest Songs of All Time in 2004.
 
Eddie Cochran performed a live version in 1960 which was released posthumously on his ''On The Air'' album. There is a cover version by Joe Brown and the Bruvvers on their 1962 album ''Pictures Of You. The Beach Boys' 1963 song "Surfin' USA" has virtually the same melody, with new lyrics that focus on the Beach Boys' ongoing theme of surfing. Following litigation by Berry the song is credited to Berry/Wilson.
 
Between 1963 and 1965 the Beatles performed the song on BBC radio. It can be heard on the compilation album Live at the BBC.

John Lennon recorded the song again for his album Rock 'n' Roll. The Animals' version is available on their 1966 album Animalisms. Ten Years After released a live version of this song on their 1970 album Watt. Jesse Colin Young also covered it on his 1972 album Together. Fictional synth pop band Silicon Teens recorded a version of the song for their 1980 album Music For Parties released on Mute Records. Rock and roll phenomenon artist Jerry Lee Lewis also re-covered this song for Sun Records with Beatles drummer Ringo Starr; this version appeared on Lewis's 2006 duet album ''Last Man Standing''. The Rolling Stones covered this song on their 1978 US Tour.

Experimentally, for one take, they upped the tempo and gave Lewis himself greater licence on a more vivacious recording that was destined to remain unheard until Shelby Singleton saw fit to publish it on an LP in 1969. At the time of that unveiling, accidental or otherwise, given that this take was also presented in lieu of the authentic Sun 379 recording on a contemporaneous 45rpm single, many thought that Sam Phillips had missed a trick and that this was Lewis's best reading of the Chuck Berry song. He also had another stab at Fats Domino's ''Hello Josephine'', though with an earlier version dating from a June 1961 session having already been released on the LP ''Jerry Lee's Greatest'' it's difficult to imagine there was any serious intent to do very much with the song. It was no doubt a casual, spur of the moment, decision to record it again. (*)

''My Girl Josephine" is a song written by Fats Domino and Dave Bartholomew. Domino recorded the song on Imperial records (Imperial 5704) in 1960, and it charted number 7 on the Billboard Rhythm & Blues charts and number 14 on the Billboard pop charts.

According to Allmusic, the song has also been performed by The Bill Black Combo, Curley Bridges, Van Broussard, Snooks Eaglin, Chris Farlowe, The Flamin' Groovies, Michael Herman, The Holmes Brothers, Jerry Jaye, Jerry Lee Lewis, Sandy Nelson, Tracy Pendarvis, Queen Ida & Her Zydeco Band, Noel Redding, Warren Storm, Super Cat, and Billy Vera, among others.

> HELLO JOSEPHINE (2) < 
Composer: - Dave Bartholomew-Fats Domino
Publisher: - B.M.I. - Bartholomew Music
Matrix number: - None – Unknown Take (2:25)
Recorded: - January 5, 1962 – Not Originally Issued
Released: - December 1969
First appearance: - Sun International (LP) 33rpm Sun LP 107-B2 mono
JERRY LEE LEWIS - ROCKIN' RHYTHM AND BLUES
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-8/2 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

> SET MY MIND AT EASY <
Composer: - Red West
Publisher: - B.M.I. - Sun Entertainment
Matrix number: - None - Take 1 (1:44)
Recorded: - January 5, 1962 – Not Originally Issued
Released: - January 1974
First appearance: - Sun International (LP) 33rpm NY-6-A5 mono
JERRY LEE LEWIS - COLLECTORS EDITON
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-83 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

Jerry Lee trying something of the pop-country number ''Set My Mind At Ease'', of which three takes remain. It need be explained that the quality of the third, hitherto unreleased, has been compromised very slightly by a tape crease at around the 52 seconds mark. Not for the first time the casual insertion of the word ''honey'', here prefacing the fourth line of the song, gives an early pointer to the individual status of the take in question. (*)

> SET MY MIND AT EASY <
Composer: - Red West
Publisher: - B.M.I. - Sun Entertainment
Matrix number: - None - Take 2 (2:04)
Recorded: - January 5, 1962 – Not Originally Issued
Released: - May 1987
First appearance: - Pickwick Records (CD) 500/200rpm PWK 015-9 mono
THE COUNTRY SOUND OF JERRY LEE LEWIS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-16/31 stereo
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORK

Robert Gene "Red" West, born 1936 in Memphis, Tennessee to Lois and Newton Thomas West. West is an American actor, film stuntman and songwriter. He was a close high school friend of rock and roll singer Elvis Presley. He is probably best known to American film audiences for his role as Red in Road House, alongside Patrick Swayze.

An excellent athlete and former U.S. Marine, West played football for his high school and junior college (Jones County Junior College) teams and was a boxer in the Golden Gloves championships. Red West contributed to several songs written for Elvis Presley in 1961 and 1962. He received help from Elvis Presley in writing two songs in the early 1960s, which were collaborations, "You'll Be Gone" and "That's Someone You Never Forget''. "You'll Be Gone" was also co-written with Charlie Hodge, and appeared on the ''Girl Happy'' soundtrack album and as a 45 single in 1965. The single reached number 35 on the Canadian singles chart in 1965. "That's Someone You Never Forget" was the final track on the 1962 album ''Pot Luck'' and was released as a 45 B side single in 1967 and was featured on the Artist of the Century compilation.

Red West also wrote ''Set My Mind At Easy'' for Jerry Lee Lewis and co-wrote "If You Think I Don't Need You" with Joey Cooper for the motion picture ''Viva Las Vegas''. He teamed up with Joey Cooper again on "I'm A Fool", which Ricky Nelson recorded. "I'm A Fool" later became a hit for Dino, Desi and Billy, the partnership of Dean-Paul "Dino" Martin, Desi Arnaz Jr., and William "Billy" Hinsche. Red West also cowrote the song "Separate Ways" for Elvis in 1972. The song was the title of an Elvis album released on RCA's budget album line, Camden, in January 1973. The song "Separate Ways" was the B side release of the single "You Were Always On My Mind" in November 1972. The single reached number 20 on Billboard's Hot 100. It reached number 16 on the Country Music Billboard chart. Again, largely due to the success of "Always On My Mind".

When Presley was making films in the 1960s in Hollywood, Red West appeared in small roles in sixteen of the star's films. During this time, West became good friends with actor Nick Adams and his physical abilities got him hired on as a stuntman on Adams' television series, ''The Rebel''. From there, West went on to do more stunt work in film as well as developing a career as an actor in a number of motion pictures and on television. He was often on screen as a henchman in the television series ''The Wild Wild West''. West played master sergeant Andy Micklin on ''Baa Baa Black Sheep''. He guest starred twice on the CBS hit detective series ''Magnum, P.I.'' as different characters, as four different ones on ''The A-Team'', the Knight Rider pilot episode "Knight Of The Phoenix", on ''The Fall Guy'' and in ''The Once And Future King'' (The Twilight Zone). In 1989 West appeared in the action film ''Road House'' with Patrick Swayze as Red Webster, the auto parts store owner. West continued to work in motion pictures as of early February 2013. His most recent role was in the 2013 film ''Safe Haven''.

In 1976, Red West was involved in a series of heavy-handed incidents in Las Vegas with aggressive fans that got out of hand, drawing criticism by the media. More than that, West was becoming more vocal about Presley's drug problem and how he needed help. As a result, Red West, his cousin Sonny, and a third bodyguard named David Hebler was fired by Elvis Presley and subsequently helped write the book Elvis: What Happened, which was published weeks before Presley's death. The book, according to West in the book, was an attempt to help Presley, but believed by some to be an attempt to retaliate and earn an income after being fired.

> SET MY MIND AT EASY <
Composer: - Red West
Publisher: - B.M.I. - Sun Entertainment
Matrix number: - None - Take 3 (2:03)
Note: Irreparable tape crease at 0:52secs
Recorded: - January 5, 1962 – Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-14/4 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

On this session, Jerry Lee Lewis turned again to the work of his childhood idol, Jimmie Rodgers. In the early 1970s, three distinct masters of ''Waiting For A Train'' would find their way onto Sun International 45rpm discs, including two variants dating from June 5 (Take 2) and September 11, 1962 on successive pressings of the original single SI 1119, first issued in October 1970, and a third (Take 1) on a ''Golden Treasure'' re-issue, Sun GT 69, a couple of years later. The lattermost was assumed to have been previously unreleased when pressed onto a UK Charly LP in 1979 but the truth is that it had already been playable on jukeboxes in the southern States for some years. (*)

> WAITING FOR A TRAIN (1) <
Composer: - Jimmie Rodgers
Publisher: - B.M.I. - Peer International
Matrix number: - None – Take 1 (1:53)
Recorded: - January 5, 1962 – Not Originally Issued
Released: - 1973
First appearance: - Sun International (S) 45rpm Sun 69 mono **
WAITING FOR A TRAIN / I CAN'T SEEM TO SAY GOODBYE
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-8/4 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

** - Sun International ''Golden Treasure Series''.

> WAITING FOR A TRAIN (1) <
Composer: - Jimmie Rodgers
Publisher: - B.M.I. - Peer International
Matrix number: - None – Take 2 Master (1:42)
Recorded: - January 5, 1962 – Not Originally Issued
Released: - September 1970
First appearance: - Sun International (S) 45rpm SI-1119 mono
WAITING FOR A TRAIN / BIG LEGGED WOMAN
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-8/6 stereo
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal & Piano
Roland Janes – Guitar
Scotty Moore – Guitar
Jay W. Brown – Bass
Al Jackson – Drums
Shirley Sisk - Organ

Jerry actually recorded ''Waiting For A Train'' at least 5 takes of this song at different sessions in 1962: In January of that year 2 takes were recorded, featuring the expected guitars, bass and drums plus Shirley Sisk on the organ. The slightly faster version was released first: mistitled ''All Around The Watertank'' it was issued on ''Olde Tyme Country Music'' in 1970, with the slower version appearing on the United Kingdom album ''Good Rockin’ Tonite'' 9 years later (the faster version was also released as single – backed by the dirty blues ''Big Legged Woman'' of all songs - and was a top 20 United States country hit). In September of 1962 he tackled the song another several times, this time without Shirley Sisk’s organ but with Boots Randolph’s saxophone! One of these takes was apparently issued on a Sun International single by mistake in the early 1970s (though this didn't seem to be common knowledge amongst fans until well into the 1980s), with the other takes released on various CDs during the 1980s. Lastly, he recorded the song again for the ''She Even Woke Me Up To Say Goodbye'' album in 1969. Backed by a very tasteful and nobtrusive string section, once again (to my ears) a late 1960s Smash recording blows away all the earlier versions.

Note: Shirley Sisk, born Ernestine Brooks in Memphis. First recorded for Sam Phillips as a pianist and vocalist with her sisterin- law Judy Dismukes on guitar. The session was on February 8, 1952 when ''Let Me Count The Curls'' and ''Mean Old Memphis'' were recorded. Sam Phillips assigned Chess master numbers and shipped masters to Chess and to local radio stations. However, Chess did not release the titles, but Acuff-Rose picked up the publishing rights to the song ''Let Me Count The Curls''. By the late 1950s and early 1960s, Shirley Sisk was back in Memphis, working out of the Echo studios as a pianist and organist. She was featured on a Phillips International disc by the Memphis Bells and in her own right on Sun 365, recorded at the Echo studio on Manassas Avenue in 1961. She owned Permanent Records in Memphis, which did not live up to its name.

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 6, 1962 SATURDAY

Bobby Vee hosts a March of Dimes benefit show in Houston, Texas.

EARLY JANUARY 1962

The Marcels open at the Gateway theater in their hometown of Pittsburgh.

JANUARY 7, 1962 SUNDAY

Ray Price recorded ''I've Just Destroyed The World (I'm Living In)'' and ''Pride'' at the Bradley Recording Studio in Nashville, Tennessee.

JANUARY 8, 1962 MONDAY

Decca released Brenda Lee's pop hit ''Break It To Me Gently'', Webb Pierce's ''Alla My Love'', Kitty Well's ''Unloved Unwanted''.

JANUARY 9, 1962 TUESDAY

Charges against Ray Charles for heroin possession are dropped when an Indianapolis judge rules police did not have a proper search warrant. The next month, Charles recorded ''Modern Sounds In Country And Western Music''.

JANUARY 10, 1962 WEDNESDAY

Decca released Patsy Cline's ''She's Got You''.

Roy Acuff ends a one-month tour of Spain and Morocco, sponsored by the United Service Organizations.

JANUARY 11, 1962 THURSDAY

Hank Snow recorded ''You Take The Future (And I'll Take The Past)'' during an evening session at RCA Studio B in Nashville, Tennessee.

Columbia released Johnny and Jonie Mosby's ''Don't Call Me From A Honky Tonk''.

JANUARY 12, 1962 FRIDAY

Brook Benton starts a week at the Regal Theater in Chicago.

Mitch Miller, who produced several Marty Robbins hits, nabs gold albums for ''Holiday Sing Along With Mitch'' and ''Party Sing Along With Mitch''. The Christmas release includes ''Rudolph, The Red-Nosed Reindeer''.

Claudia Church is born in Lenoir, North Carolina. A singer and model, she marries Rodney Crowell in 1998.

JANUARY 13, 1962 SATURDAY

Bobby Vee hosts a March of Dimes benefit performance in Corpus Christi, Texas.

Trace Adkins is born in Springhill, Louisiana. The deep-voiced singer earns the Academy of Country Music's Top New Male award, joins Grand Ole Opry and broaden his audience with a stint on ''The Celebrity Apprentice''.

JANUARY 15, 1962 MONDAY

The Shirelles sing "Baby It's You" on American Bandstand.

Decca Records released whisperin' Bill Anderson's first album, ''Bill Anderson Sings Country Heart Songs''.

MID JANUARY 1962

The Drifters are at the Nichigek Theater in Tokyo, Japan. The Ronettes are appearing at the Peppermint Lounge In Miami. Micky Baker, of Mickey and Sylvia, leaves to live in Paris where he plans to start a music school.

JANUARY 16, 1962 TUESDAY

Gene Pitney sings "Town Without Pity" on American Bandstand.

George Hamilton IV recorded ''If You Don't Know I Ain't Gonna Tell You'' at Nashville's RCA Studio B.

© - 706 UNION AVENUE SESSIONS - © 

Another bluesman whose work had been long part of Charlie Rich's repertoire was Jimmy Reed. Martin Willis recalls, ''Big Boss Man'' was one of Charlie's favorite tunes. He'd do it over and over again at gigs. It's surprising he never did record it at Sun because he played the song constantly during those years. When he finally did record it for RCA they sent the tapes over to the Phillips studio and I overdubbed a sax solo on it.
 
When the album came out, I was surprised to hear that they didn't use it. So I turned around and played the same sax break on Conway Twitty's version of the song when he recorded it on his album Rhythm &n Blues 1963, which Bill Justis produced''.
 
Hardly anyone recording in the early 1960s wasn't affected by the pop-gospel style of Ray Charles. Whether the use of his vocal mannerism or his churchy chord changed (1 - 6 minor or the 1 – 6-7 – 2-7 – 5-7 sequence). Of all his work ''Easy Money'' is Rich's most explicit debt to Ray Charles. The flipside ''Midnite Blues'' is another matter. Tightly recorded in Nashville at Sam Phillips' new studio, Rich and his sidemen turn in a staggering performance here. For a change, the vocal chorus is an integral part of the arrangement, extending Rich's melody lines and echoing his lyrics. This impassioned performance remains one of Rich's finest recordings.
 
STUDIO SESSION FOR CHARLIE RICH
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: WEDNESDAY JANUARY 17, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR CECIL SCAIFE
 
''Midnite Blues'' rivals the best of Charlie Rich's work at Sun. Driven by Al Jackson's crisply recorded drum track and a gospelly female chorus, this track cooks from its percussive opening to those delicious single stroke drum rolls of the fade. With the exception on the instrumental ''Red Man'', this is the only track issued by Charlie Rich in a minor key. Rich's vocal sounds almost overcome by emotions – his reading of the line ''Every time....'' has tremendous emotional power, as does the changeover to a major chord in the release. It is hard to describe any of Rich's Sun records as overlooked, but this one may quality for under appreciated.
 
Composer: - Charlie Rich
Publisher: - B.M.I. - Knox Music Incorporated
Matrix number: - P 417 - Master (2:50)
Recorded: - January 17, 1962
Released: - April 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3576-B mono
MIDNITE BLUES / EASY MONEY
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-4/5 mono
THE SUN SINGLES COLLECTION - VOLUME 6
Composer: - Charlie Rich
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:03)
Recorded: - January 17, 1962
Released: - 1998
First appearance: - Bear Family Records (CD) 500/200rpm BCD 16152-2/14 stereo
LONELY WEEKEND - THE SUN YEARS 1958 – 1962
 
''Time And Again'' purely and simply, this is one of Charlie Rich's latter day masterpiece at Sun Records. One can only guess why it never saw release. Perhaps its grimly adult content set a limit on what some viewed as its potential in a teen/pop market. In any case, Charlie's vocal and piano performance mark it as one of his finest hours at Sun.
 
Composer: - Callendar-Thomas
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (3:07)
Recorded: - January 17, 1962
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sun Box 109-6/2 mono
SUN RECORDS INTO THE 60S - KEEPERS OF THE FLAME
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 16152-2/3 stereo
LONELY WEEKEND - THE SUN YEARS 1958 - 1962
 
Name (Or. No. Of Instruments)
Charlie Rich - Vocal & Piano
Scotty Moore - Guitar
Brad Suggs - Guitar
Robert McGhee - Bass
Al Jackson - Drums
Floyd Newman - Tenor Saxophone
 
 For Biography of Charlie Rich see: < The Sun Biographies <
Charlie Rich's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
© - 706 UNION AVENUE SESSIONS - ©

JANUARY 17, 1962 WEDNESDAY

Brenda Lee is in Belgium.

JANUARY 18, 1962 THURSDAY

Songwriter and radio personality Devon O'Day is born in Alexandria, Virginia. A longtime member of the morning team at WSIX-FM in Nashville, she co-writes George Strait's 1994 hit ''The Big One''.

JANUARY 19, 1962 FRIDAY

The singles, Sun 373 ''How Well I Know'' b/w ''Big Dream'' by Rayburn Anthony and Sun 374 ''I've Been Twistin''' b/w ''Ramblin' Rose'' by Jerry Lee Lewis issued.

JANUARY 21, 1962 SUNDAY

Jackie Wilson performs "My Heart Belongs To Only You" on The Ed Sullivan Show.

Burl Ives recorded ''Funny Way Of Laughin''' during the evening at the Bradley Film and Recording Studio in Nashville, Tennessee.

JANUARY 22, 1962 MONDAY

Patsy Cline writes to friend Louise Seger about a 13-year-old steel guitarist rooming with her on a tour that includes Johnny Cash, George Jones and Carl Perkins, ''Looks like a blonde doll. And, what a showman''. The kid, Barbara Mandrell.

Burl Ives recorded ''Call Me Mr. In-Between'' in an afternoon session at Nashville's Bradley Recording Studio.

JANUARY 23, 1962 TUESDAY

Ray Stevens writes the pop novelty ''Ahab, The Arab'' in Nashville, Tennessee.

JANUARY 24, 1962 WEDNESDAY

Ray Steven recorded the comedic pop hit ''Ahab, The Arab'' at the Bradley Film and Recording Studio in Nashville, Tennessee.

Leroy Van Dyke recorded ''If A Woman Answer (Hang Up The Phone)'' at the Bradley Recording Studio in Nashville, Tennessee. The backing vocal group, the Merry Melody Singers, includes Ray Stevens.

Joe Dowell recorded the pop hit ''Wooden Heart (Muss I Denn)'' in Nashville, with Ray Stevens playing organ.

JANUARY 26, 1962 FRIDAY

Claude King recorded ''Wolverton Mountain'' at the Columbia Recording Studio in Nashville during an evening session.

Columbia released Charlie Phillips' only hit, ''I Guess I'll Never Learn''.

JANUARY 27, 1962 SATURDAY

Chubby Checker is the headeliner at the Cow Palace in San Francisco. Also on the bill are Jan and Dean, Bobby Freeman. Dick and DeeDee and the Untouchables. An estimated 15,000 attend and the show grosses $44,800.

JANUARY 28, 1962 SUNDAY

Johnny Tillotson leaves to tour the Far East. Del Shannon begins a two week tour of Japan.

A truck hits Charley Pride at a Montana smelter, damaging his ankle, which has a pin permanently embedded.

JANUARY 29, 1962 MONDAY

Peter, Paul and Mary sign to Warner Bros. It marks the first recording contract for Peter Yarrow, who will write and produce Mary MacGregor's ''Torn Between Two Lovers''.

© - 706 UNION AVENUE SESSIONS - ©
 
STUDIO SESSION FOR EDDIE BOND
FOR SUN RECORDS 1962
 
ECHO RECORDING STUDIO
14 NORTH MANASSAS AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: MONDAY JANUARY 29, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – LEN ROSSIE AND EDDIE BOND
 
The tapebox indicates that the session was held at Echo Studio, Memphis, Tennessee. ''Jack Clement had the Echo Studio on 14 North Manassas Avenue'', Sam Phillips told Martin Hawkins. ''He and Stan Kesler came to see me with those tapes. I had never seen the merit in Eddie Bond as a recording artist. He was a good disc jockey and a great showman. For some reason, Jack put the deal to me and I decided to go along with it. I did surprisingly well locally thanks to Eddie's contacts and the radio show''.
 
Early 1962 saw Eddie Bond back in Memphis recording at the 639 Madison or re nearly thirty sides were recorded during January and February; the fruits of these sessions being a selection of Gospel items that were eventually used on an album released in 1963, ''Eddie Bond Sings Greatest Country Gospel Hits'', plus a mixture of country standards and a couple of Bonds revivals.
 
Although not strictly recorded by Sun or Phillips International, these recordings were all bought in and have been embraced as Sun tracks as a result of the Phillips International album release.
 
We at Phillips International and Sun Records have long since been great admirers of Eddie Bond as a country singer. Although not as active as many on records, he is no novice at making fine records. However, it was only recently that we discovered his unusual talent and gifted way with Country Gospel Music.
 
Eddie, as you will hear on his album, is truly one of the outstanding gospel singers in the business. His unique and easy way with the varied types of selections contained herein proves of real style and "at homeness" in this category of music. John Hughey, who is musical director of the Eddie Bond Band, has displayed real taste in excellent backing for a perfect setting to Eddie's efforts.
 
Eddie has been a featured disc jockey with his all Country & Western Gospel program for the past six years, heard daily on radio station KWAM, Memphis, Tennessee. He has also made many guest appearances on Grand Ole Opry, Louisiana Hayride and "Big D" Jamboree.
 
Composer: - James Parker
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - S 241 - LP Master (2:40)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-B-6 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/29 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Hank Williams
Publisher: - B.M.I. - Acuff Rose Publishers
Matrix number: - S 241 - LP Master (1:34)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-B-3 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/26 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Albert E. Brumley
Publisher: - S.E.S.A.C. - Stamps Quartet Music Incorporated
Matrix number: - S 240 - LP Master (2:20)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-A-5 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2-22 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Traditional-W. S. Stevenson
Publisher: - B.M.I. - Public Domain
Matrix number: - S 241 - LP Master (2"48)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-B-1 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/24 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Len Rossi
Publisher: - B.M.I. - Public Domain
Matrix number: - S 241 - LP Master (1:39)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-B-4 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/27 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Naomi Nix
Publisher: - B.M.I. - Public Domain
Matrix number: - S 240 - LP Master (2:40)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-A-1 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/18 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - J.F.G. Wright
Publisher: - B.M.I. - Public Domain
Matrix number: - S 241 - LP Master (2:41)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-B-5 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/28 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Martha Lou Carson
Publisher: - B.M.I. - Copyright Control
Matrix number: - S 240 - LP Master (1:39)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-A-3 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/20 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - D. de Marbelle
Publisher: - B.M.I. - Public Domain
Matrix number: - S 240 - LP Master (2:54)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-A-4 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/21 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - J.S. Coates
Publisher: - B.M.I. - Stamps-Baxter Printing
Matrix number: - S 240 - LP Master (2:23)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-A-2 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/19 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - James Parker
Publisher: - B.M.I. - Public Domain
Matrix number: - S 240 - LP Master (2:42)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-A-6 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/23 mono
EDDIE BOND - ROCKIN' DADDY
 
> PASS ME NOT, OH GENTLE SAVIOUR <
Composer: - Traditional-William Doane-Fanny W. Crosby
Publisher: - B.M.I. - Hal Leonard Music
Matrix number: - S 241 - LP Master (2:36)
Recorded: January 29, 1962
Release: - 1962
First appearance: - Phillips International (LP) 33rpm PILP 1980-B-2 stereo
EDDIE BOND - SINGS GREATEST COUNTRY GOSPEL HITS
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/25 mono
EDDIE BOND - ROCKIN' DADDY
 
Name (Or. No. Of Instruments)
Eddie Bond – Vocal & Rhythm Guitar
John Hughey – Steel Guitar
Tomstone Hawkins – Bass
Morris Tarrant – Drums
Gilbert Mickle – Fiddle
Jimmy Smith – Piano & Piano
Unknown Vocal Chorus
 
For Biography of Eddie Bond see: < The Sun Biographies <
Eddie Bond's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
 
© - 706 UNION AVENUE SESSIONS - ©
© - 706 UNION AVENUE SESSIONS - ©
 
 STUDIO SESSION FOR EDDIE BOND
FOR SUN RECORDS 1962
 
ECHO RECORDING STUDIO
14 NORTH MANASSAS AVENUE, MEMPHIS, TENNESSE
SUN SESSION: MONDAY JANUARY 29, & 
TUESDAY FEBRUARY 13, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – JACK CLEMENT/EDDIE BOND
 
The tapebox indicates that the session was held at Echo Studio, Memphis, Tennessee.
 
Composer: - V. Claude-Eddie Bond
Publisher: - B.M.I. - Copyright Control
Matrix number: - None – Not Originally Issued (1:39)
Recorded: January 29, & February 13, 1962
Release: - 1977
First appearance: - Charly Records (LP) 33rpm CR 30128-B-5 mono
SUN - THE ROOTS OF ROCK - VOLUME 13 - ROCKABILLY SUNDOWN
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/11 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Billy Wallace
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - None – Not Originally Issued (2:45)
Recorded: January 29, & February 13, 1962
Release: - 1974
First appearance: - Charly Records (LP) 33rpm 6641 180 mono
THE SUN STORY
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/8 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Sonny Fisher
Publisher: - B.M.I. - Starrite Music
Matrix number: - None – Not Originally Issued (1:59)
Recorded: January 29, & February 13, 1962
Release: - 1974
First appearance: - Charly Records (LP) 33rpm 6641 180 mono
THE SUN STORY
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/16 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Lee Emerson
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - None – Not Originally Issued (2:54)
Recorded: January 29, & February 13, 1962
Release: - 1993
First appearance: Bear Family Records (CD) 500/200rpm BCD 15708-2/14 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Unknown
Publisher: - B.M.I. - Copyright Control
Matrix number: - None – Not Originally Issued (1:59)
Recorded: January 29, & February 13, 1962
Release: - 1993
First appearance: Bear Family Records (CD) 500/200rpm BCD 15708-2/6 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - MacDonald-Habely
Publisher: - B.M.I. - Copyright Control
Matrix number: - None – Not Originally Issued (2:07)
Recorded: January 29, & February 13, 1962
Release: - 1993
First appearance: Bear Family Records (CD) 500/200rpm BCD 15708-2/4 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Duke Elington-Eddie DeLange-Irving Mills
Publisher: - B.M.I. - Alfred Music Publishing
Matrix number: - None – Not Originally Issued (1:48)
Recorded: January 29, & February 13, 1962
Release: - 1993
First appearance: Bear Family Records (CD) 500/200rpm BCD 15708-2/17 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Melvin Endsley
Publisher: - B.M.I. - Endsley ATV Music
Matrix number: - None – Not Originally Issued (2:18)
Recorded: January 29, & February 13, 1962
Release: - 1993
First appearance: Bear Family Records (CD) 500/200rpm BCD 15708-2/12 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Marty Robbins
Publisher: - B.M.I. - Robbins Music Incorporated
Matrix number: - None – Not Originally Issued (1:44)
Recorded: January 29, & February 13, 1962
Release: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109-7/5 mono
SUN RECORDS INTO THE 60S - ONE MORE MEMORY
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/2 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Clarence Williams
Publisher: - B.M.I. - Pickwick Music
Matrix number: - None – Not Originally Issued (1:47)
Recorded: January 29, & February 13, 1962
Release: - April 1989
First appearance: - Charly Records (LP) 33rpm Sun Box 109-7/9 mono
SUN RECORDS INTO THE 60S - ONE MORE MEMORY
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/3 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Leon Payne
Publisher: - B.M.I. - Acuff Rose Music Publishers
Matrix number: - None – Not Originally Issued (2:54)
Recorded: January 29, & February 13, 1962
Release: - April 1989
First appearance: - Charly Records (LP) 33rpm Sun Box 109-7/8 mono
SUN RECORDS INTO THE 60S - ONE MORE MEMORY
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/5 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - George-Stovall
Publisher: - B.M.I. - ATV Music Publishing
Matrix number: - None – Not Originally Issued (2:01)
Recorded: January 29, & February 13, 1962
Release: - April 1989
First appearance: - Charly Records (LP) 33rpm Sun Box 109-7/7 mono
SUN RECORDS INTO THE 1960S - ONE MORE MEMORY
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/1 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Unknown
Publisher: - B.M.I. - Copyright Control
Matrix number: - None – Not Originally Issued (1:56)
Recorded: January 29, & February 13, 1962
Release: - 1993
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15708-2/9 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Hoyt Johnson-Jim Atkins
Publisher: - B.M.I. - E&M Publishing
Matrix number: - None – Not Originally Issued (2:23)
Recorded: January 29, & February 13, 1962
Release: - 1993
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15708-2/7 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Ernest Tubb
Publisher: - B.M.I. - Acuff Rose Music Publishers
Matrix number: - None – Not Originally Issued (1:51)
Recorded: January 29, & February 13, 1962
Release: - April 1989
First appearance: - Charly Records (LP) 33rpm Sun Box 109-7/6 mono
SUN RECORDS INTO THE 60S - ONE MORE MEMORY
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15708-2/13 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Hews-Carver
Publisher: - B.M.I. - Acuff Rose Music Publishers
Matrix number: - None – Not Originally Issued (2:34)
Recorded: January 29, & February 13, 1962
Release: - 1993
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15708-2/10 mono
EDDIE BOND - ROCKIN' DADDY
 
Composer: - Al Smith-Luther Dixon
Publisher: - B.M.I. - ATV Music Publishers
Matrix number: - None – Not Originally Issued (2:13)
Recorded: January 29, & February 13, 1962
Release: - 1993
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15708-2/15 mono
EDDIE BOND - ROCKIN' DADDY
 
TRAVELING ON THE HIGHWAY
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None – Sun Unissued
Recorded: January 29, & February 13, 1962
 
RELIGIOUS NARRATION
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None – Sun Unissued
Recorded: January 29, & February 13, 1962
 
UNTITLED INSTRUMENTAL (1)
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None – Sun Unissued
Recorded: January 29, & February 13, 1962
 
UNTITLED INSTRUMENTAL (2)
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None – Sun Unissued
Recorded: January 29, & February 13, 1962
 
Name (Or. No. Of Instruments)
Eddie Bond – Vocal & Rhythm Guitar
John Hughey – Steel Guitar
Tomstone Hawkins – Bass
Morris Tarrant – Drums
Gilbert Mickle – Fiddle
Jimmy Smith – Piano & Organ
Unknown Vocal Chorus
 
After this session at Phillips International, Eddie Bond further stopping-off places on the label circuit including Memphis, Pen (leased on Decca), Diplomat (''Monkey And The Baboon''), Millionaire, Goldwax, Memphis, MCCR and Tab, which took Eddie to the end of the sixties during which time he had expanded his radio operations and achieved great success by increasing his listeners audience noticeably to the extent that a 64% share was achieved and a plaque presented to him by Billboard to honour the achievement.
 
The Tab recordings of 1969 inaugurated the Buford Pusser Years, when Eddie Bond was involved in writing and recording about the dubious character of Sheriff Pusser who became a southern hero when Hollywood portrayed him in the film ''Walkin' Tall''.
 
Bond later admitted to have mixed feelings on the subject but there was a certain fame that was achieved through the association.   Many country fans were first introduced to the exploits of Buford Pusser through the recordings of Eddie Bond. In the wake of his meetings and ventures with Pusser; the office of Chief of Police in Finger, Tennessee, was achieved by Eddie Bond. Coincidentally, Finger was the birthplace of Buford Pusser himself.
 
The following years saw more country sessions on Tab in the States and, following the first United Kingdom visit in 1982, rockabilly recordings were issued on Rockhouse Records in Holland produced by Dave Travis, whose band always supports Bond on tour, as was the case in 1982, 1985 and 1992.
 
For Biography of Eddie Bond see: < The Sun Biographies <
Eddie Bond's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
© - 706 UNION AVENUE SESSIONS - ©

JANUARY 30, 1962 TUESDAY

In Indianapolis all charges against Ray Charles are dropped. The judge ruled the search of Charles' hotel room violated his Constitutional rights. The action took five minutes.

JANUARY 31, 1962 WEDNESDAY

Jimmie Davis recorded ''Where The Old Red River Flows''.

LATE JANUARY 1962

Bobby Vee begins a two month European tour.

FEBRUARY 1962
 
PI 3575 ''Betcha Gonna Like It'' b/w ''Little Miss Love'' by Jeb Stuart issued.
 
On the heels of the enormously successful film and album ''The Young Ones'', Cliff Richard wins his second consecutive New Musical Express award for Top British Male Singer.
 
FEBRUARY 1, 1962 THURSDAY
 
Philips Records opens in the USA and begins discussions with Sam Phillips to buy Phillips International logo.
 
Cecil Scaife leaves Sun to launch a gospel label in Nashville, Songs Of Faith, in conjunction with Bill Beasley.
 
Don and Juan visit American Bandstand and sing "What's Your Name''.
 
The Bradley Film and Recording Studio, the cornerstone of Nashville's Music Row, becomes Columbia Recording Studios as Owen Bradley sells the facility for $300,000.
 
Jim Reeves recorded "That's When I See The Blues (In Your Pretty Eyes'' during the evening at RCA Studio B. His vocal is re-matched with new instrumental tracks six years later to build a posthumous hit.
 
FEBRUARY 2, 1962 FRIDAY
 
LaVern Baker begins a seventeen day tour of U.S. military bases in Europe.
 
FEBRUARY 4, 1962 SUNDAY
 
Gene Pitney appears on the British variety television program Thank Your Lucky Stars.   Afterwards Pitney begins his first tour of England.
 
Clint Black is born in Long Branch, New Jersey. Raised in Houston, he earns the Country Music Association's 1989 Horizon award at the outset of a career that includes ''A Better Man'', ''Something That We Do'' and ''Put Yourself In My Shoes''.
(Above) Copy of an original Sun Records invoice, dated February 5, 1962, which lists 3 copies of Sun 296 ''High School Confidential'' b/w ''Fools Like Me'', that were picket up on January 31, 1962, from Plastic Products Pressing Plant in Memphis, Tennessee, by Stan's Record Shop in Shreveport, Louisiana. The invoice, number 12555 with typed total cost of $1.38.
 
FEBRUARY 5, 1962 MONDAY
 
Loretta Lynn recorded ''Before I'm Over You'' at Nashville's Columbia Recording Studio.
 
Capitol released Faron Young's ''Three Days''.
 
FEBRUARY 6, 1962 TUESDAY
 
Richie McDonald is born in Lubbock, Texas. He becomes the lead singer of Lonestar, whose slick harmonies define a series of hits beginning in the mid-1990s, including ''No News'', ''I'm Already There'' and the pop crossover ballad ''Amazed''.
 
Guns N' Roses' lead singer Axl Rose is born in Lafayette, Indiana. He briefly marries the daughter of Everly Brother Don Everly.
 
Wynn Stewart recorded ''Another Day, Another Dollar''. The release is ranked among country's 500 greatest singles of all-time in the Country Music Foundation's 2003 book ''Heartaches By The Number''.
 
Marty Robbins recorded ''Love Can't Wait''.
 
FEBRUARY 7, 1962 WEDNESDAY
 
Garth Brooks is born in Tulsa, Oklahoma. Following his 1989 debut, he sells more than 100 million albums, winning multiple Entertainer of the Year awards from the CMA and ACM. He enters the Country Music Hall of Fame in 2012.
 
The movie ''The Outsider'' premieres in New York, with Tony Curtis in the role of World War II hero Ira Hayes. The Native American soldier also becomes the topic of a Johnny Cash hit, ''The Ballad Of Ira Hayes'', two years later.
 
Keyboard player David Bryan is born in Perth Amboy, New Jersey. He earns acclaim as a member of the rock band Bon Jovi, which scores a country hit in 2006 with ''Who Says You Can't Go Home'', featuring Sugarland's Jennifer Nettles.
 
A United States embargo ordered by President Kennedy goes into effect on all imports from Cuba including tobacco, seafood, fruits and vegetables.
 
EARLY FEBRUARY 1962
 
Lloyd Price opens a bowling alley in Inkster, Michigan.
 
FEBRUARY 8, 1962 THURSDAY
 
The Angels sing "Cry, Baby Cry" on American Bandstand.
 
FEBRUARY 9, 1962 FRIDAY
 
Sun 375 ''Candy Doll'' b/w ''Hey, Boss Man'' by Ray Smith issued
 
Don Gibson recorded ''I Can Mend Your Broken Heart'' at Nashville's RCA Studio B.
 
FEBRUARY 11, 1962 SUNDAY
 
June carter becomes a permanent member of Johnny Cash's road show, with a concert in Des Moines, Iowa. Also on the bill, Patsy Cline and 13-year-old steel guitarist Barbara Mandrell.
 
Pop and rock musician Sheryl Crow is born in Kennett, Missouri. She appears on country collaborations with Kid Rock and with Brooks and Dunn and Vince Gill. Crow also nabs a Top 5 country album in 2013 with ''Feels Like Home''.
 
FEBRUARY 12, 1962 MONDAY
 
Dick Clark dedicates the entire 90-minute broadcast of ''American Bandstand'' to Little Miss Dynamite, Brenda Lee.
 
Johnny Cash recorded the Jimmie Rodgers classic ''In The Jailhouse Now'' in Nashville at the Columbia Recording Studio.
 
Decca Records released Bill Anderson's ''Get A Little Dirt On Your Hands''.
 
Pianist and composer Billy Stritch is born in Houston, Texas. A boyfriend and musical partner for Liza Minnelli, he writes Reba McEntire's 1993 duet with Linda Davis, ''Does He Love You''.
 
FEBRUARY 12, 1962 MONDAY
 
Brenda Lee performs "Break It To Me Gently" on American Bandstand.
Aretha Franklin opens at the Showboat Bar in Philadelphia.
 
FEBRUARY 13, 1962 TUESDAY
 
Don Everly marries Venetia Stevenson in the Chapel at Camp Pendleton.
 
FEBRUARY 14, 1962 WEDNESDAY
 
Phil and Don Everly graduate from boot camp in the Marines, hours before Don marries former actress Venetia Stevenson in Sam Diego.
 
FEBRUARY 1962
 
As Sun and Phillips International scaled down their activities during the 1960s, few artists,   besides the old standbys, Charlie Rich, Carl Mann, Jerry Lee Lewis, and the long-departed   Johnny Cash, showed enough staying power to see more than one release. For the first time,   Sam Phillips signed artists who had already seen a hit elsewhere. A typical case was Luther   Perkins's brother, Tommy, who, as Thomas Wayne, had recorded his only hit, ''Tragedy'', for  Scotty Moore at Fernwood Records. After he failed to follow it up, he came to Sun for one   single, but failed to rekindle the magic.
 
With Fernwood Records in disarray, Scotty Moore brought Thomas Wayne over to Sam's studio, where he   produced another Nelson-Burch balled ''The Quiet Look'', for Sam's new Phillips International label. The  record didn't hit, but Scotty continued to work with Thomas Wayne.
© - 706 UNION AVENUE SESSIONS - ©
 
One of the lesser-charted routes taken by rock and roll artists during the calmer climate of the early sixties, was the sprucing up everyday pop songs with sub-gospel arrangements. In his search for an elusive second hit after the best-selling ''Tragedy'', Thomas Way adopted an very principle when he cut ''I've Got It Made''. However, a perfunctory female chorus didn't add any commercial edge and after one further single on Santo, the artist chose to pursue a career in studio engineering.
 
STUDIO SESSION FOR THOMAS WAYNE
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: THURSDAY FEBRUARY 15, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – SCOTTY MOORE
AND/OR BILLY SHERRILL
 
Scotty Moore recorded these sides with his former paperboy, Thomas Wayne Perkins, (brother of Luther). The object was to recapture the magic they'd found together when Wayne recorded the smash hit ''Tragedy'' for Scotty's Fernwood label back in 1959. Phillips also had good reason for wanting lightning to strike twice; he had foolishly passed on ''Tragedy''.
 
Composer: - Bill Rich
Publisher: - B.M.I. - Sandra Pure Gold - Knox Music Incorporated
Matrix number: - P 418 - Master (2:35)
Recorded: - February 15, 1962
Released: - April 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3577-A mono
I'VE GOT IT MADE / THE QUIET LOOK
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-4/7 mono
THE SUN SINGLES COLLECTION - VOLUME 6

''The Quiet Look'' was the obvious plug side here as all assembled did everything they could to remind listeners and buyers about Wayne's earlier hit. From the ''wo-wo's'' to the 4-minor chords and the major seventh, it's all here. All except to a good song. With not a trace of originality going for it, this record – about a girl who sends too many non-verbal messages – sank without a trace. The flipside, ''I've Got It Made'', is just plain silly.

 
About the only notable thing here is that Wayne, who wrote Elvis's ''The Girl Next Door'' (the one who went walking and came home late every night) seem obsessed with the folks next door.
 
On this tune, his opening line is ''The boy next door''. This guy isn't so lucky as the famous girl. He only owns a department store, which may be one of the most bizarre lines in the annals of pop music.
 
Scotty continued to help Wayne, hiring him at his Music City Recorders in Nashville, but Wayne was in a tailspin, finding it hard to come to terms with being famous not-so-long ago. In August 1971, he gunned his car across four lanes of traffic on 1-240 in Memphis and killed himself. ''Tragedy'' indeed, not least for the driver of the car he kit.
 
Composer: - Gerald Nelson-Fred Burch
Publisher: - B.M.I. - Champion Music
Matrix number: - P 419 - Master (2:11)
Recorded: - February 15, 1962
Released: - April 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3577-B mono
THE QUIET LOOK / I'VE GOT IT MADE
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-4/8 mono
THE SUN SINGLES COLLECTION - VOLUME 6
 
Composer: - Fred Nelson-Gerald Burch
Publisher: - B.M.I. - Bluff City Music - Burlington Music
Matrix number: - None - Not Originally Issued (2:08)
Recorded: - February 15, 1962
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sunbox 109-3-17 mono
SUN RECORDS INTO THE 60S - KEEPERS OF THE FLAME
Reissued: - 2002 Sanctuary Records (CD) 500/200rpm FBUBX002-2/24 mono
50 GOLDEN YEARS 1952 - 200
 
''Tragedy'' first came out in 1958 when Thomas Wayne recorded the song for the local Fernwood Records label alongside a close harmony trio (Nancy Reed, Carol Moss and Sandra Brown) known as the De-Lons. Some three years later, when a new version charted by the Fleetwoods, Wayne cut this facsimile at Sun in the exact same style and key.
 
One day Scotty Moore was walking along the street when he ran into Gerald Nelson, a disc jockey from  Kentucky. They had met some time back in concert. Gerald told Scotty that he and Fred Burch, a college  student, had written a song titled ''Tragedy''. Fred had snatched the title from a course he was taking on  Aristotelian tragedies. Gerald said he had played the song for Chet Atkins, who had told him it sounded like  a hit, but was not a song he could do anything with in Nashville because it wasn't country enough.  Encouraged by Atkin's assessment of the song's potential, they had driven to Memphis, to the very cradle of  rock and roll. ''We played it for Sam Phillips'', says Gerald, ''but he said he couldn't use it either''. As Scotty  stood on the sidewalk and listened, Gerald sang the song to him, playing the music on his ukulele. Scotty  loved it. He told Gerald he knew just the guy to sing it: Thomas Wayne Perkins. Fred and Gerald felt so  encouraged by Scotty's reaction, they moved to Memphis to begin new careers as songwriters.
 
Name (Or. No. Of Instruments)
Thomas Wayne – Vocal
Scotty Moore – Guitar
Brad Suggs – Guitar
Al Jackson – Drums
Robert McGhee – Bass
Larry Muhoberac – Piano
Probably De-Lons - Vocal Chorus
consisting of Sandra Brown, Nancy Reed, and Carol Moss
 
For Biography of Thomas Wayne see: < The Sun Biographies <
Thomas Wayne's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

THOMAS WAYNE – Born on July 22, 1940 in Batesville, Mississippi, was an American singer. He is best remembered as a one-hit wonder for "Tragedy". Wayne, who was born Thomas Wayne Perkins, was the brother of Johnny Cash's guitarist, Luther Perkins. He released several singles between 1958 and 1964, primarily on the labels Fernwood, Phillips International, and Mercury.

He scored a major U.S. hit with the song "Tragedy" (credited to Thomas Wayne with the DeLons), which peaked at number 20 on the Black Singles chart and number 5 on the Billboard Hot 100 in 1959. It sold over one million copies, earning gold disc status. The song proved to be his only hit, however. Later, Wayne worked as a sound engineer, before he died in a car accident in Memphis on August 15, 1971.

THE TRAGEDY - Speeding down the entrance ramp to Interstate 240 in Memphis, Thomas Wayne Perkins crossed four lanes of traffic, picked up speed, then shot across the median into incoming traffic, slamming into a car driven by Vance Simelton of Little Rock. Seven hours later, Thomas Wayne was dead.

Police determined his death to be an accident, although there were indications he had floored his accelerator as he came off the ramp. They couldn't prove what he was thinking when his car went our of control, only that it did go out of control, so they wrote it up as an accident. Vance Simelton was in the wrong place at the wrong time.

Thomas Wayne was buried on August 17, 1971, at Madison Heights Baptist Church in Hendersonville, Tennessee. Those who attended the funeral couldn't help but think how tragic it all was, and how ironic that his only success bore the name ''Tragedy'' (Fernwood 45-109).

For more than a decade, Thomas Wayne had struggled to re-create the success of that 1959 hit. Scotty Moore recorded countless sessions with him, released singles on his Belle Meade label, which he had begun shortly after moving to Nashville, and promoted him at every opportunity. Nothing worked. The public had decided Tomas Wayne's place in history was a one-hit wonder. In the end, the best Scotty could do for Thomas Wayne was to offer him work in Music City Recorders. Scotty understood what Wayne did not understand; hit records are a flirtation from the public, not a promise of a long-tern relationship.

Scotty wasn't surprised when he heard about Thomas Wayne's death. His behavior had grown more and more erratic over the years. ''Every once in a while he would tend to get high and flip out on me'', says Scotty, who attributed some of Wayne's problems to an ongoing and long-running dispute with his ex-wife, Charlene. In fact, he had gone to Memphis on the weekend of his death to resolve a conflict with Charlene over their daughter, Maria Elena.

Hugh Hickerson was also among those not surprised at Thomas Wayne's death. Hugh was an audio technician who often worked at Scotty's studio. After Thomas Wayne left Music City Recorders, he worked for Pro-Sound Productions, and then for a recording studio named NAR, where he was employed at the time of his death; Hugh continued to have contact with him on a professional level. They became friends, according to Hickerson, but were not what you would call ''drinking buddies''. Shortly before he died, Thomas Wayne made a startling confession to Hickerson. He confided that he had once parked his car across both lanes of the interstate one night, and turned off his lights. He did it at a blind curve that would have made it impossible for traffic coming at a high rate of speed to stop. Fortunately, the highway patrol arrived on the scene before an accident occurred. They found him sitting in the car, waiting for whatever was going to happen.

''He said he was arrested and they were going to send him for psychological evaluation, but he got an attorney who got him out of it'', he says. ''We talked about it. The impression I had was that he was doing it in order to achieve a violent end to his life''.

The last time Hickerson saw Thomas Wayne was at the NAR facility on Division Street. He went to the studio late one night to repair some equipment. He didn't see Thomas Wayne when he walked in, but since he knew his way around the studio, he went to the back room where the equipment was located. Later, when he finished working, he walked back out into the studio. Someone was at the piano, but he couldn't tell who it was. As he walked closer, he saw that it was Wayne. From the look on his face, and the weird sounds he was making, he thought he might be in trouble.

''Is anything wrong'', asked Hickerson. He walked around the piano, taken aback by what he saw. Thomas Wayne was having sex with a woman on the piano bench. Neither Wayne nor the woman was fully undressed, but they displayed no embarrassment at being interrupted.

''Excuse me'', Hickerson said, and left. He never saw Thomas Wayne alive again. ''I sensed that he was very distraught with his life'', says Hickerson. ''Thomas Wayne wanted to regain that part of his life that he had lost. He was a nice guy, but he was one of those guys that, if you were around him, you could sense that he was suffering. There was some pain he was feeling. If he had not avoided that psychological evaluation, that might have enabled him to see it through. His death was such a tragedy, not only for himself but for the other man involved in the accident''.

Two of the three people with whom Scotty Moore was most closely identified professionally, Bill Black and Thomas Wayne, were now gone, felled under tragic circumstances. At least Elvis was still going strong. Not going strong was Scotty's marriage. The harder he worked to provide for his wife Emily, the longer the hours he put in at the studio, the more they seemed to argue about him never being at home. The more neglected Emily felt, the harder Scotty worked to make her happy. The faster that circle spun, the more Scotty drank to dull the pain. Then the drinking itself became an issue.

MID FEBRUARY 1962
 
Chubby Checker leaves to England. Otis Redding joins Johnny Jenkins and the Pinetoppers.  Brenda Lee spends ten days in a Nashville hospital recuperating from a neck strain.
 
FEBRUARY 15, 1962 THURSDAY
 
Ray Charles recorded ''I Can't Stop Loving You'', ''Born To Lose'' and ''You Don't Know Me'' for his album ''Modern Sounds In Country And Western Music'' at United Studios in Los Angeles, California.
 
FEBRUARY 16, 1962 FRIDAY
 
Columbia released Ray Price's ''I've Just Destroyed The World (I'm Living In)''.
 
Paul Anka begins his first World Tour.
 
FEBRUARY 18, 1962 SUNDAY
 
Dressed in Marine Uniforms, the Everly Brothers use a leave to appear on The Ed Sullivan  Show and sing "Crying In the Rain''.
 
With a weekend pass from the Marines, The Everly Brothers perform ''Crying In The Rain'' on ''The Ed Sullivan Show'' in their full military uniforms.
 
FEBRUARY 19, 1962 MONDAY
 
Chuck Berry begins a three year sentence for violation of the Mann Act. For the first two  months he is kept at the Federal Penal Institution near Terre Haute, Indiana.
 
FEBRUARY 20, 1962 TUESDAY
 
Joey Dee and the Starliters guest on American Bandstand and sing "Peppermint Twist" and  "Hey, Let's Twist''.
 
FEBRUARY 22, 1962 THURSDAY
 
Patsy Cline lip-syncs ''She's Got You'' in her ''American Bandstand'' debut.
 
FEBRUARY 23, 1962 FRIDAY
 
Brenda Lee is a subject of a one hour show on the Canadian Broadcasting System.
 
FEBRUARY 26, 1962 MONDAY
 
Joey Dee and the Starliters are at Sciolla's Supper Club in Philadelphia. Chubby Checker is at  the Twin River Inn near Syracuse, New York.
 
Carl and Pearl Butler recorded ''Don't Le Me Cross Over''.
 
Trumpeter Al Hirt recorded his instrumental pop hit ''Java'' at RCA Studio B in Nashville, with Chet Atkins and Steve Sholes producing.
 
Decca released The Wilburn Brothers' ''Trouble's Back In Town''.
 
FEBRUARY 27, 1962 TUESDAY
 
Mel Tillis and Danny Dill help Carl Perkins finish writing ''So Wrong'' in Nashville. Patsy Cline recorded the song the next day.
 
RCA Victor released Elvis Presley's ''Good Luck Charm'' backed with ''Anything That's Part Of You'' (RCA Victor 47-7992). "Good Luck Charm" is published by Gladys Music, Elvis Presley's publishing company, that reached number 1 on the Billboard Hot 100 list in the week ending April 21, 1962. It remained at the top of the list for two weeks. It reached number one in the UK Singles Chart in the week ending 24 May 1962 and stayed there for five weeks. The song was written by Aaron Schroeder and Wally Gold and recorded by Presley in 1961. It completed his second hat-trick of chart topping singles in the UK.["Good Luck Charm" was covered by Travis and Shook on Cape Cod Covers, Vol. 1 "The King". Alvin and The Chipmunks covered the song for "Luck O' The Chipmunks", a 1988 episode of ''Alvin and The Chipmunks''. An answer song, entitled "Don't Want to Be Another Good Luck Charm", was recorded by Jo (of the duo Judy & Jo). It was released by Capitol Records as catalog number CP-1468 (single).
 
FEBRUARY 28, 1962 WEDNESDAY
 
Patsy Cline recorded ''When I Get Thru With You (You'll Love Me Too)'' and ''So Wrong'' at the Columbia Recording Studios in Nashville, Tennessee.
 
Emmett Miller, a minstrel performer who influenced Jimmie Rodgers, enters Georgia's Macon Hospital. He never leaves, dying one month later.
 
FEBRUARY/MARCH 1962
 
Jerry Lee Lewis tours in Canada and California with Bobby Vee, Fabian and Faron Young.
 
MARCH 1962
 
PLP 1980 ''Sings Greatest Country Gospel Hits'' by Eddie Bond issued.
 
MARCH 1, 1962 THURSDAY
 
Donnie Brooks opens at the Mapes Hotel and Casino in Reno, Nevada.
 
Johnny Bond recorded ''10 Little Bottles'' at the Starday Studios in Nashville, Tennessee. Witnessing the session are Harlan Howard, Jan Howard, Grandpa Jones, Archie Campbell and Justin Tubb.
 
Porter Wagoner recorded ''Cold Dark Waters'' during a morning session at Nashville's RCA Studio B. 
 
Webb Pierce recorded ''Crazy Wild Desire'', co-written by Mel Tillis.
 
MARCH 2, 1962 FRIDAY
 
Jackie Wilson starts a week at Chicago's Tivoli Theater.
 
Jon Bon Jovi is born in Perth Amboy, New Jersey. He sings lead for the rock band Bon Jovi, which finds its way into the country charts in 2006 by working with Jennifer Nettles on ''Who Says You Can't Go Home''.
 
MARCH 3, 1962 SATURDAY
 
Vernon Oxford marries Loretta Robertson.
 
MARCH 4, 1962 SUNDAY
 
Fats Domino and Tommy Sands are on The Ed Sullivan Show.
 
MARCH 5, 1962 MONDAY
 
The Marvelettes sing "Twistin' Mr. Postman" on The Ed Sullivan Show.
 
Former Sons Of The Pioneers guitarist Doye O'Dell appears on the ABC-TV western drama ''Bronco''.
 
Songwriter and producer John Shanks is born in New York. He produces The Wreckers, Bon Jovi and Sara Evans and writes several Keith Urban hits, including ''You're My Better Half'' and ''Somebody Like You''.
 
MARCH 6, 1962 TUESDAY
 
Eddy Arnold recorded ''Santa Claus Is Comin' To Town'' during a session at Nashville's RCA Studio B. More than 40 years later, the song appears on the soundtrack to the Will Ferrell movie ''Elf''.
 
MARCH 7, 1962 WEDNESDAY
 
Clyde McPhatter sings "Lover Please" on American Bandstand.
 
The Beatles make their radio debut performing three songs, including Roy Orbison's ''Dream Baby (How Long Must I Dream)'', on the BBC.
 
Lawrence of Arabia, directed by David Lean and starring Peter O'Toole and Omar Sharif, is released.
 
Brenda Lee recorded the pop hit ''Everybody Love Me But You'' and ''Heart In Hand'' at the Columbia Recording Studio in Nashville, Tennessee.
 
Mitch Miller picks up the seventh and eighth gold albums of his career for, ''Sentimental Sing Along With Mitch'' and ''Memories Sing Along With Mitch''. Miller produced several of Marty Robbins' country hits.
 
Former Sun recording artist Dickey Lee recorded the pop hit ''Patches'' for Smash Records at the Columbia Recording Studio in Nashville, Tennessee.
 
EARLY MARCH 1962
 
Johnny Tillotson joins the Air Force. Sam Cooke and Aretha Franklin are touring the South.
 
MARCH 8, 1962 THURSDAY
 
Rick Nelson sings "Young World" on The Adventures of Ozzie and Harriet.
 
''Saturday Night Sing Along With Mitch'' goes gold for pop record producer Mitch Miller, also known for his work with Marty Robbins.
 
MARCH 9, 1962 FRIDAY
 
Gary U.S. Bonds and the Chantels are featured at the Regal theater in Chicago. Lloyd Price is  headling at the Apollo in New York.
 
Columbia Records released Claude King's ''Wolverton Mountain''.
 
MARCH 10, 1962 SATURDAY
 
Country Music Hall of Famer Porter Wagoner earns his first number 1 single with ''Misery Loves Company'', written by Jerry Reed.
 
MARCH 12, 1962 MONDAY
 
Bobby Rydelll ends his three month tour of Australia. Jimmy Soul performs "Twistin' Matilda"  on American Bandstand.
 
Tennessee Ernie Ford earns a gold album for the Christmas release ''The Star Carol''.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR HAROLD DORMAN
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: MARCH 12, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR UNKNOWN
 
Composer: - Carroll
Publisher: - B.M.I. - Sandra Pure Gold Music – Knox Music Incorporated
Matrix number: - U 473 - Master (2:05)
Recorded: - March 12, 1962
Released: - April 4, 1962
First appearance: - Sun Records (S) 45rpm standard single Sun 377-A mono
IN THE BEGINNING / WAIT TIL' SATURDAY NIGHT
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-4/21 mono
THE SUN SINGLES COLLECTION - VOLUME 4
 
For just about a year, ending with this release in April 1962, Harold Dorman was one of Sun's main stable of artists. Three releases in 11 months suggests that the powers that be saw potential in Dorman's work. They were right. Dorman was a major artist waiting to happen. He deserved far more than his moment of stardom from ''Mountain Of Love''. Every one of his Sun releases, and this is no exception, reveal an inventive spirit, a fine voice, and a real flair for bringing southern feeling to his music, while acknowledging contemporary trends. The playing in ''In The Beginning'' is hot. It's clear that these guys are fired up. The bass work is adventurous; it's all over those changes. And Stax/Hi stalwart Al Jackson's crisply recorded drumming is truly inspired. The guy just can't sit still. Complete with riffing horns by Martin Willis and Vincent Trauth, this is a tight little combo and Dorman responds with a fine vocal. There is enough groaning in his delivery to keep even Conway Twitty happy.
 
The theme of this quasi-Biblical epic is a little unusual and rather negative; ''Love hasn't been as good as it used to be ever since the devil got into the act. Stuff used to be simple. You find a woman, she loves you, done! Now, there's deception, sin, heartache, all that misery. Let me give you an example from my own life''. And he does. There is a moment early on, when Dorman starts talking about the ocean end true devotion. Can Human Emotion be far behind? Thankfully, he leaves that territory to Bobby Wood, who, incidentally, was playing the piano on this session.

If ''In The Beginning'' has a dark, brooding side, there is no such feeling on the flip-side. The contrast is striking. ''Wait 'Til Saturday Night'' is strictly teen-oriented fare, although Dorman manages to give his vocal chops a workout, displaying some admirable range. The spirit of ''Hallelujah! I Love Her So'' hangs over the proceedings as the chord changes again show the strong influence gospel music had acquired over the pop marketplace in 1962. 

Publisher: - Gando Music – B.M.I. - Hi-Lo Music Incorporated
Matrix number: - U 474 - Master (2:14)
Recorded: - March 12, 1962
Released: - April 4, 1962
First appearance: - Sun Records (S) 45rpm standard single Sun 377-B mono
WAIT TIL' SATURDAY NIGHT / IN THE BEGINNING
Reissued: - 1997 Bear Family Records (CD) 500/200rpm BCD 15804-4/22 mono
THE SUN SINGLES COLLECTION - VOLUME 4
 
YOU'RE GONNA SEE
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - March 12, 1962
 
Name (Or. No. Of Instruments)
Harold Kenneth Dorman – Vocal
Roland Janes – Guitar
O.T. Shaw – Bass
Al Jackson – Drums
Bobby Wood – Piano
Martin Willis - Tenor Saxophone
Vinnie Trauth - Horn
 
For Biography of Harold Dorman see: < The Sun Biographies <
Harold Dorman's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube < 
 
© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR DAVID WILKINS
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: MARCH 12, 1962 MONDAY
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR SCOTTY MOORE
 
Composer: - Charlie Rich
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - P 479 - Master (2:46)
Recorded: - March 12, 1962
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3581-A mono
THANKS A LOT / THERE'S SOMETHING ABOUT YOU
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-4/15 mono
THE SUN SINGLES COLLECTION - VOLUME 6
 
It's odd that two of the last six Phillips International singles feature ''Thanks A Lot'', a tune written by Charlie Rich for Johnny Cash in 1958. This version features a very subdued performance by Little David Wilkins on his first record. The plug side of the record, ''There's Something About You'', featured David's double-tracked harmony. Davis Wilkins, like Carl Perkins, Carl Mann, Rayburn Anthony, and Tony Austin was yet Sun artist from Jackson, Tennessee area. Born in the small town of Parsons, some 40 miles from Jackson, in 1941, David hung out with Perkins, and played around town with Carl Mann and Tony Austin. Carl's ex-drummer W.S. Holland brought him to Sun. Sam Phillips presented David with the songs he was to learn and David returned home to learn them, then came back to Memphis to record them. As best he can remember, the session musicians included his own guitarist, Tuck Shutt, Stax drummer Al Jackson, Scotty Moore playing tic-tac bass, possibly Roland Janes on bass, and possibly Martin Willis on tenor saxophone.
 
Soon after the session, David moved to Nashville and began writing songs. His first cut was ''Give It Back To The Indians'', which appeared on Stonewall Jackson's ''Trouble And Me'' album. It was followed by Brenda Lee's ''Coming On Strong'', and then ''Put A Little Lovin' On Me'', recorded by Percy Sledge for his 5-million selling ''When A Man Loves A Woman'' album. All told, 93 artists have recorded David's songs, including Conway Twitty who scored a number 3 country hit with David's ''Georgia Keeps Pulling On My Ring''. David himself went on to record prolifically for MCA, ''Plantation, Playboy'', Epic, and other labels, notching up 18 hits.
Composer: - Husky
Publisher: - B.M.I. - Katrina Music
Matrix number: - P 480 - Master (2:09)
Recorded: - March 12, 1962
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3581-B mono
THERE'S SOMETHING ABOUT YOU / THANKS A LOT
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-4/16 mono
THE SUN SINGLES COLLECTION - VOLUME 6
 
BROKEN HEARTS
Composer: - David Wilkins
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - March 12, 1962
 
CRYING IS MY MIDDLE NAME
Composer: - David Wilkins
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - March 12, 1962
 
I COULD WRITE A BOOK
Composer: - David Wilkins
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - March 12, 1962
 
I FOUND OUT
Composer: - David Wilkins
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - March 12, 1962
 
IT WAS GOOD WHILE IT LASTED
Composer: - David Wilkins
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - March 12, 1962
 
I'VE GOT A NEW HEARTACHE
Composer: - David Wilkins
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - March 12, 1962
 
TEN LITTLE HEARTBEATS
Composer: - David Wilkins
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - March 12, 1962
 
Name (Or. No. Of Instruments)
David Wilkins – Vocal & Piano
Ruck Shutt – Lead Guitar
Roland Janes – Electric Bass
Scotty Moore - Tick Tack Bass
Al Jackson - Drums
Bobby Wood - Piano
Martin Willis – Tenor Saxophone
 
For Biography of David Wilkins see: < The Sun Biographies <
David Wilkins' Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
 © - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR DAVID WILKINS
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE(S) PROBABLY MARCH 12, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR SCOTTY MOORE
 
HAPPINESS WE KNEW
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
I MISS YOU
Composer: - David Wilkins
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
HOME OF THE BLUES
Composer: - Johnny Cash
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
LOVE ME DARLING
Composer: - David Wilkins
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
TRAIN OF LOVE
Composer: - Johnny Cash
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s)
 
David Wilkins recorded 15 tracks for Sun in 1962, about half of which qualify as incomplete demos. One single was issued (PI 3581) in June 1962 and if the demo recording of ''You Win Again'' is any indication, Sam Phillips took a particular interest in Wilkins.
 
It's rare to hear Phillips as actively engaged in ''producing'' a session as he is here with Wilkins. Sam isn't simply offering general advice like ''Put more feeling into it''; he's actually instructing Wilkins on how to sing the song. The only other example that remains of such intrusive producing by Phillips occurred on a Charlie Rich session (also dating from 1962) that yielded ''Goodbye Maryanne''.
 
Suffice it to say that Rich did not take kindly to his boss's meddling with his vocal style. Sam was asked to back off in no uncertain terms if he wanted the session to proceed. Here, Wilkins seems more than willing to suffer his boss's suggestions, even though no one ever accused Sam Phillips of being a singer, much less a musician.
 
''Little'' David Wilkins went on to success as both a singer/piano player and a songwriter following this early dalliance with Sam and Sun. During his sessions for Sun, Wilkins turned his idiosyncratic style to four different Johnny Cash songs, all of which Sam Phillips published. Add that to the fact that Wilkins was surely ''different'' and it's not hard to see his appeal to Sam Phillips.
 
Composer: - Hank Williams
Publisher: - B.M.I. -  Chappell Music Incorporated
Matrix number: - None - Chatter Sam Phillips - Unknown Take - Chatter (2:28)
Recorded: - Unknown Date 1962
Released: 2019
First appearance: Bear Family Records (CD) 500/200rpm BCD 17504-15 mono
SUN SHINES ON HANK WILLIAMS
 
Name (Or. No. Of Instruments)
David Wilkins – Vocal & Piano off mic
Tuck Shutt – Guitar
Probably Al Jackson - Drums
 
According to Little David Wilkins the unissued Sun demos and songs probably seem to be lost.
 
For Biography of David Wilkins see: < The Sun Biographies <
David Wilkins' Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
 © - 706 UNION AVENUE SESSIONS - ©

MARCH 15, 1962 THURSDAY

Dee Dee Sharp sings "Mashed Potato Time" on American Bandstand.

MID MARCH 1962

Frankie Ford is at the La Concha in San Juan, Puerto Rico. Joey Dee tapes a public service message for the United Community Fund drive. Brenda Lee is the opening act for Jack Carter in the Cassandra Room at the Deauville Hotel in Miami.

MARCH 16, 1962 FRIDAY

Bobby bare recorded his first charted single, ''Shame On Me'', during an afternoon session at Nashville's RCA Studio B.

Columbia released Marty Robbins' ''Love Can't Wait'', and released Jimmy Dean's ''P.T. 109'', honoring president John F. Kennedy.

Patti Page appears on an episode of NBC-TV's ''The Bell Telephone Hour'' celebrating the ''Music Of Love''.

A jury acquits silver-screen cowboy Gene Autry of a drunken-driving charge in Van Nuys Municipal Court in California.

MARCH 18, 1962 SUNDAY

Gary U.S. Bonds is a guest on The Ed Sullivan Show.

© - 706 UNION AVENUE SESSIONS - ©

This band was well-known in the Jackson, Tennessee area and adapted equally well to blues or soul. These 1962 recordings reveal the legacy of rock and roll and piano boogie styles.
 
Here is a combination of 12 tunes selected to provide great listening and dancing pleasure ... and to give an idea of the flexibility of the Phillip Reynolds Band. In fact, the name Phillip Reynolds Band with Frank Ballard the featured vocalist, in music, is known in the schools, colleges and universities throughout the south.
 
The group has appeared on both radio and television. They grew up together in the same community, that's just how close and tight the 'cats' are. The aggregation has been called the 'Band of Teachers' as each musician is a public school music teacher.
 
STUDIO SESSION FOR FRANK BALLARD WITH PHILLIP REYNOLDS BAND
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: SUNDAY MARCH 18, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR UNKNOWN
 
Singing has always been a part of Frank Ballard! He started singing along the sidewalks in his home town, Jackson, Tennessee. While growing up, he would spend many hours singing for people along the streets for pennies. Later he started singing in elementary school on almost every program. It was at North Jackson Elementary School that Frank first got the name of the 'Golden Voice'. In an elementary school play, he had the role of Roland Hayes, a famous tenor, and gained much fame from that.

Frank was always a little bashful when it came to singing on a stage, but it all left after he started singing at St. Paul C.M.B. Church, Jackson, of which he's a member.
 
High school found him singing at every opportunity and Merry High School was perhaps the greatest help of his singing career. His music teacher, Mrs. Meachem, gave lots of her time and knowledge, which gave him the confidence that was so needed. Frank organized a quartet while in high school that caught on fire with fame all over West Tennessee.
 
With his mother's help also, he gained great voice control and when he reached college, was ready to sing his heart. Lane College was a wonderful place for Frank to learn the important phases of music, and through the assistance of wonderful instructors, found himself greatly improved.
 
Time moved and the chance came to star as a vocalist with Curtis Amy and his big band. Since that time he has sung in fifteen states and many fine night clubs. Since Phillip Reynolds organized his famous orchestra, Frank has had the vocal spot-light. Naturally his aim is to turn over hit after hit as a recording artist. Here is recorded music with brilliance, dynamic range, clarity, breadth, and direction.
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Knox Music Incorporated
Matrix number: - S-232 - LP Master (2:02)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-A-1 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1981 Charly Records (LP) 33rpm Charly CRM 2014 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
 
Composer: - Greenwich-Barry
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - S-232 - LP Master (2:17)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-A-2 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1981 Charly Records (LP) 33rpm Charly CRM 2014 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - S-232 - LP Master (1:53)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-A-3 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1981 Charly Records (LP) 33rpm Charly CRM 2014 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - S-232 - LP Master (1:54)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-A-4 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1981 Charly Records (LP) 33rpm Charly CRM 2014 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
 
Composer: - Henry Clover
Publisher: - B.M.I. - Jay Music
Matrix number: - S-232 - LP Master (2:39)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-A-5 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1981 Charly Records (LP) 33rpm Charly CRM 2014 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Knox Music Incorporated
Matrix number: - S-232 - LP Master (2:39)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-A-6 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1981 Charly Records (LP) 33rpm Charly CRM 2014 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Knox Music Incorporated
Matrix number: - S-233 - LP Master (2:04)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-B-1 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1981 Charly Records (LP) 33rpm Charly CRM 2014 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
 
Publisher: - B.M.I. - Knox Music Incorporated
Matrix number: - S-233 - LP Master (2:19)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-B-2 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1981 Charly Records (LP) 33rpm Charly CRM 2014 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Knox Music Incorporated
Matrix number: - S-233 - LP Master (2:52)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-B-3 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1981 Charly Records (LP) 33rpm Charly CRM 2014 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Knox Music Incorporated
Matrix number: - S-233 - LP Master (2:15)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-B-4 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1981 Charly Records (LP) 33rpm Charly CRM 2014 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
 
Composer: - Frank Ballard
Publisher: - B.M.I. - Knox Music Incorporated
Matrix number: - S-233 - LP Master (2:41)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-B-5 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1976 Charly Records (LP) 33rpm CR 30106-B-1 mono
SUN - THE ROOTS OF ROCK - VOLUME 6 - SUNSET SOUL
 
Composer: - Frank Ballard
Publisher: - B.M.I. - Knox Music Incorporated 
Matrix number: - S-233 - LP Master (2:12)
Recorded: - March 18, 1962
Released: 1962
First appearance: - Phillips International (LP) 33rpm PILP 1985-B-6 mono
FRANK BALLARD WITH PHILLIP REYNOLDS BAND - RHYTHM BLUES PARTY
Reissued: - 1976 Charly Records (LP) 33rpm CR 30106-B-2 mono
SUN - THE ROOTS OF ROCK - VOLUME 6 - SUNSET SOUL
 
Name (Or. No. Of Instruments)
Frank Ballard - Vocal
 
Phillip Reynolds Band consisting of
Phillip Reynolds - Tenor Saxophone
Frank Reed - Trombone
Clarence Render - Trumpet
James E. Matthews - Guitar
Chester N. Maxwell - Drums
Kurl McKinney - Piano
Ike Price - Bass
 
For Biographies of Frank Ballard and Phillip Reynolds Band see: < The Sun Biographies <
Fran Ballard's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR FRANK BALLARD WITH PHILLIP REYNOLDS BAND
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE(S) PROBABLY MARCH 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR UNKNOWN
 
IF YOU WANT MY LOVE
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s) Probably March 1962
 
NOTHING I WOULDN'T, WOULDN'T DO FOR YOU
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s) Probably March 1962
 
OUR LOVE GROWS STRONGER
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s) Probably March 1962
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:56)
Recorded: - Unknown Date(s) Probably March 1962
Released: - May 29, 2012
First appearance: - Sun Records X5 Music Group Internet Sample-19 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:56)
Recorded: - Unknown Date(s) Probably March 1962
Released: - May 29, 2012
First appearance: - Sun Records X5 Music Group Internet Sample-12 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:51)
Recorded: - Unknown Date(s) Probably March 1962
Released: - May 29, 2012
First appearance: - Sun Records X5 Music Group Internet Sample-23 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:45)
Recorded: - Unknown Date(s) Probably March 1962
Released: - May 29, 2012
First appearance: - Sun Records X5 Music Group Internet Sample-4 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:59)
Recorded: - Unknown Date(s) Probably March 1962
Released: - May 29, 2012
First appearance: - Sun Records X5 Music Group Internet Sample-14 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: - Clarence L. Lewis-Lee Dorsey- Morris Levey
Publisher: - B.M.I. - Sony ATV Music Publishing
Matrix number: - None - Not Originally Issued (2:31)
Recorded: - Unknown Date(s) Probably March 1962
Released: - May 29, 2012
First appearance: - Sun Records X5 Music Group Internet Sample-17 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: - Jerry Leiber-Mike Stoller
Publisher: - B.M.I. - Jerry Leiber Music - Mike Stoller Music
Matrix number: - None - Not Originally Issued (3:07)
Recorded: - Unknown Date(s) Probably March 1962
Released: - May 29, 2012
First appearance: - Sun Records X5 Music Group Internet Sample-20 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: - Alan Lomax-John A. Lomax-Georgia Turner
Publisher: - B.M.I. - Ludlow Music Incorporated
Matrix number: - None - Not Originally Issued (3:17)
Recorded: - Unknown Date(s) Probably March 1962
Released: - May 29, 2012
First appearance: - Sun Records X5 Music Group Internet Sample-21 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: -  Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:19) 
Recorded: - Unknown Date(s) Probably March 1962
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sun Box 109-9/3 mono
SUN RECORDS INTO THE 60S - BETCHA GONNA LIKE IT
Reissued: May 29, 2012 Sun Records X5 Music Group Internet Sample-5 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: -  Frank Ballard-Phillip Reynolds
Publisher: - B.M.i. - Copyright Control
Matrix number: - None - Not Originally Issued (3:19)
Recorded: - Unknown Date(s) Probably March 1962
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sun Box 109-9/4 mono
SUN RECORDS INTO THE 60S - BETCHA GONNA LIKE IT
Reissued: - May 29, 2012 Sun Records X5 Music Group Internet Sample-25 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
I'LL MAKE IT UP TO YOU
Composer: -  Frank Ballard-Phillip Reynolds
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s) Probably March 1962
 
Composer: -  Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:26)
Recorded: - Unknown Date(s) Probably March 1962
Released: - May 29, 2012
First appearance: - Sun Records X5 Music Group Internet Sample-13 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: - Larry Williams
Publisher: - B.M.I. - Concord Music Group
Matrix number: - None - Not Originally Issued (2:35)
Recorded: - Unknown Date(s) Probably March 1962
Released: - May 29, 2012
First appearance: - Sun Records X5 Music Group Internet Sample-22 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
Composer: - Frank Ballard
Publisher: - B.M.I. - Copyright Control
Matrix number: - None -  Not Originally Issued (2:34)
Recorded: - Unknown Date(s) Probably March 1962
Released: - April 1989
First appearance: - Charly Records (LP) 33rpm Sun Box 109-9/5 mono
SUN RECORDS INTO THE 60S - BETCHA GONNA LIKE IT
Reissued: -  May 29, 2012  Sun Records X5 Music Group Internet Sample-24 mono
FRANK BALLARD - RHYTHM AND BLUES KING
 
PRETTY BABY
Composer: -  Frank Ballard-Phillip Reynolds
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s) Probably March 1962
 
GOOD LOVIN'
Composer: -  Frank Ballard-Phillip Reynolds
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s) Probably March 1962
 
IF WE PRAY''
Composer: -  Frank Ballard-Phillip Reynolds
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s) Probably March 1962
 
I BELIEVE MY BABY'S GONE
Composer: -  Frank Ballard-Phillip Reynolds
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s) Probably March 1962
 
YOUNG AND EAGER HEART
Composer: -  Frank Ballard-Phillip Reynolds
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - Unknown Date(s) Probably March 1962
 
> YOU'VE GOTTA LEARN THE TWISTING GROOVE <
Composer: - Frank Ballard-Phillip Reynolds
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Previously Unissued (1:52)
Recorded: - Unknown Date(s) Probably March 1962
Released: - 2021
First appearance: - Sun Entertainment Internet Spotify 5 stereo digital
THE SUN RECORDS DANCE PARTY
 
Composer: -  Frank Ballard-Phillip Reynolds
Publisher: - B.M.i. - Copyright Control
Matrix number: - None - Not Originally Issued (2:20)
Recorded: - Unknown Date(s) Probably March 1962
Released: - June 26, 2012
First appearance: - Sun Records X5 Music Group (MP3) Internet Sample-14 mono
VARIOUS ARTISTS - SUN RECORDS INSTRUMENTALS
 
Name (Or. No. Of Instruments)
Frank Ballard - Vocal
 
Phillip Reynolds Band consisting of
Phillip Reynolds - Tenor Saxophone
Frank Reed - Trombone
Clarence Render - Trumpet
James E. Matthews - Guitar
Chester N. Maxwell - Drums
Kurl McKinney - Piano
Ike Price - Bass
 
For Biographies of Frank Ballard and Phillip Reynolds Band see: < The Sun Biographies <
Fran Ballard's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
© - 706 UNION AVENUE SESSIONS - ©

MARCH 18, 1962 SUNDAY

Singer and songwriter James McMurtry is born in Fort Worth, Texas. Noted for his highly literary songs, he gathers critical acclaim, picking up three awards nomination in 2006 from the American Music Association.

MARCH 19, 1962 MONDAY

Elvis Presley recorded ''She's Not You'' in Nashville's RCA Studio B. The song is published by Gladys Music, Elvis Presley's publishing company. "She's Not You" reached number 5 on the Billboard Hot 100 and number 13 on the Rhythm and Blues. In the UK, the single reached number 1 where it stayed for three weeks. It was written by Doc Pomus in collaboration with Jerry Leiber and Mike Stoller. Episode 1 of the 2004 BBC miniseries Blackpool featured the Presley recording, accompanied on screen by the singing and dancing of the characters, as part of the story. Chris Isaak covered this song for his 2011 album, ''Beyond The Sun''.

Rose Maddox begins two days of recording in Nashville with Bill Monroe and Reno and Smiley. The resulting ''Rose Maddox Sings Bluegrass'' is the first bluegrass album recorded by a woman.

Decca Records released Jimmie Davis' ''Where The Old Red River Flows''.

Barbara George sings "I Know" on American Bandstand.

MARCH 1962

Indeed, Charlie Rich was the consummate white blues artist, because he made so few conscious attempts at black vocal mannerism. He sang the blues his way, and when he coarsened his voice for effect, it had a heightened emotional impact. That was demonstrated vividly on a demo of ''Don't Put No Headstone On My Grave'', a song that moved Sam Phillips to say, ''Hell, even I could sing that song and make it a hit''. Rich shrieked the first word of the title on his publishing demo; at other moments during the song he was moody, almost inaudible. The blues brought out Rich's mastery of vocal dynamics and tightrope tension.

The song became an underground classic, although never a hit, despite Phillips' obvious faith in it. The first commercial version was by Little Esther Phillips. Rich himself recorded an overblown version for Epic, but it was Jerry Lee Lewis who came closest to making a hit out of the song, cutting it at his London sessions in 1973. Jerry missed the point by a mile, singing ''I want the world to know / Here lies the fool who loved you so'', instead of ''I don't want the world to know...''. But it was all in keeping with his braggadocio style, as was his closing pronouncement: ''I don't want a headstone on my grave... I want a monument...''.

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STUDIO SESSION FOR CHARLIE RICH
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
 
''Don't Put No Headstone On My Grave'', this is the underground classic most often associated with Rich. Yet, ironically, there has never been a satisfactory version released by him. Perhaps the legend started when Sam Phillips revealed in several interviews that this song was the best thing by Charlie he had ever recorded. Roland Janes confirmed to, that he recalled recording several versions – perhaps as many as three or four – with Charlie. Yet none, except for this demo originally issued on a ZuZazz LP, has ever surfaced. It would to be passable even memorable side by anybody else. But for Charlie – especially in light of all the hoopla surrounding the song – it should be a damn sight better. The biggest problem here is plainly the clunky instrumental work. These guys, whoever they were, just don't get it. They sound like the house band at some $350 a night club in Mississippi during Charlie's lean years. But until the real thing comes along, this is the only Sun version we have of the title which, hype or not, is an undeniable gem.
 
Composer: - Charlie Rich
Publisher: - B.M.I. - Copyright Control
Matrix number: - None – Not Originally Issued (4:17)
Recorded: - Unknown Date 1962
Released: - 1994
First appearance: - Rhino Records (CD) 500/200rpm Rhino DRC3-1211 mono
THE SUN RECORDS COLLECTION
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 16152-3/15 mono
LONELY WEEKEND - THE SUN YEARS 1958 - 1962
 
GOODBYE MARY ANN (2)
Composer: - Charlie Rich
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Date 1962
Released: - 1986
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2002 A-5 mono
CHARLIE RICH - DON'T PUT NO HEADSTONE ON MY GRAVE
 
LONG WAY FROM TENNESSEE
Composer: - Charlie Rich
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Date 1962
Released: - 1986
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2002 A-3 mono
CHARLIE RICH - DON'T PUT NO HEADSTONE ON MY GRAVE
 
STOP MAKING YOUR LOVE
Composer: - Charlie Rich
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Date 1962
Released: - 1986
First appearance: - Zu-Zazz Records (LP) 33rpm Z 2002 A-4 mono
CHARLIE RICH - DON'T PUT NO HEADSTONE ON MY GRAVE
 
Name (Or. No. Of Instruments)
Charlie Rich - Vocal & Piano
Unknown Musicians
 
 For Biography of Charlie Rich see: < The Sun Biographies <
Charlie Rich's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
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STUDIO SESSION FOR CHARLIE RICH
FOR SUN RECORDS 1962

SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: TUESDAY MARCH 20, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS

''Easy Money'' features a surprisingly hoarse sounding vocal which, if anything, takes Rich further into the realm of black music. The chord changes here are hardly newsworthy – Ray Charles and others were busy taking them to the bank during this period. Unfortunately, the lyric describes the fickleness of financial gain – a sentiment that must have seemed autobiographical to Rich, as he watched his booking fees slip lower as each release following ''Lonely Weekend'' took him further from the top of the charts.

Composer: - Charlie Rich
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - P 416 - Master (2:34)
Recorded: - March 20, 1962
Released: - April 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3576-A mono
EASY MONEY / MIDNITE BLUES
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-4-6 mono
THE SUN SINGLES COLLECTION - VOLUME 6
 
Name (Or. No. Of Instruments)
Charlie Rich - Vocal & Piano
Eddie Bush - Guitar
R.W. ''T-Willie'' Stevenson - Bass
Al Jackson - Drums
Martin Willis - Tenor Saxophone
 
 For Biography of Charlie Rich see: < The Sun Biographies <
Charlie Rich's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
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© - 706 UNION AVENUE SESSIONS - ©

There would be another long break before Carl's next Phillips session, which would turn out to be his last. He remembers driving to Memphis and finding sales manager Bill Fitzgerald in the unenviable position of having nothing to sell. Sam had lost interest, and the company was slowly riding into the sunset. 

In their way, Carl Mann's last recordings for Phillips were among his best. The sound was tight, due in no small measure to presence of ace session drummer Al Jackson, Jr, later the staff drummer at Stax and Hi Records during the golden era of Memphis soul.
 
There was the obligatory quota of oldies, starting with ''When I Grow Too Old To Dream'', a tune that American operetta composer Sigmund Romberg had written for a 1935 movie ''The Night Is Young''. In Carl's hands it becomes an appealing bluesy track that features a noticeably more mature, slightly smokey sounding vocal from Carl.
 
Next up was ''Mountain Dew'', a Bascar Lunsford song that was popularized by Lulu Belle and Scotty back before World War II. It was a song about illicit liquor, a subject beginning to have quite a lot of personal significance for Carl himself. It features some fine work by Al Jackson, especially on the fade, and a strikingly different vocal style from Carl. Was this the same man who had recorded ''Mona Lisa'' just three years earlier? Unfortunately, hardly anyone get to answer that question: only 580 copies of the single were sold according to Sun's accounting. The 1956 Andy Williams smash ''Canadian Sunset'' was cut at the same session.
 
STUDIO SESSION FOR CARL MANN
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: TUESDAY MARCH 20, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR SCOTTY MOORE
 
Composer: - Oscar Hammerstein II-Sigmund Romberg
Publisher: - A.S.C.A.P. - Robbins Music
Matrix number: - P 424 - Master (2:21)
Recorded: - March 20, 1962
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3579-A mono
WHEN I GROW TOO OLD DREAM / MOUNTAIN DEW
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-4/12 mono
THE SUN SINGLES COLLECTION - VOLUME 6
 
''When I Grow Too Old To Dream'' has a loses feel. Technically speaking, this too is another old song that Mann is rocking up, but the approach is much different here from ''Mona Lisa''. In fact, the kindest thing one can say about Mann's last Phillips International single is that it is every bit as spare and underproduced as his first. He managed to exit without string and vocal excesses trailing behind him.
Composer: - Bascar L. Lunsford-Scott Weisman-Grand Pa Jones
Publisher: - B.M.I. - Tanner Music
Matrix number: - P 426 - Master (2:29)
Recorded: - March 20, 1962
Released: - June 1962
First appearance: - Phillips International (S) 45rpm standard single PI 3579-B mono
MOUNTAIN DEW / WHEN I GROW TOO OLD DREAM
Reissued: - 1998 Bear Family Records (CD) 500/200rpm BCD 15806-4/11 mono
THE SUN SINGLES COLLECTION - VOLUME 6
 
A milestone of sorts – Carl Mann's last record for Phillips International. The release sold worse than any of his preceding records and sealed Mann's fate with the label. There is a very loose, almost spontaneous feel to the both sides of this record. ''Mountain Dew'' was all autobiographical by this point in Mann's young life  and it sounds as if a bit of the title substance was flowing during the session. Mann takes considerable liberties with the lyrics, stumbling over the mug/jug lines and altogether messing up one of the song's clever rhymes.
 
The birds in the sky get so high they can't fly. That way you get a three word rhyme out of it. In Car's version, the birds are sick – a possible case of art imitating life. Interestingly, there is a much hotter version of this track available as an alternate take. Why it was passed over in favor of this more subdued reading is anyone's guess.
 
Composer: - Norman Gimbel-Eddie Heywood
Publisher: - B.M.I. - Songs Of Polygram International
Matrix number: - None - Not Originally Issued (2:22)
Recorded: - March 20, 1962
Released: - 1985
First appearance: - Star Club (LP) 33rpm Jan 33-8022-9 mono
CARL MANN - 14 UNISSUED SIDES
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15713-2-22 mono
CARL MANN - MONA LISA
 
Name (Or. No. Of Instruments)
Carl Mann - Vocal, Piano
Eddie Bush - Guitar
R.W. ''T-Willie'' Stevenson - Bass
Al Jackson - Drums
 
For Biography of Carl Mann see: < The Sun Biographies <
Carl Mann's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
© - 706 UNION AVENUE SESSIONS - ©

MARCH 21, 1962 WEDNESDAY

Kitty Wells recorded ''Will Your Lawyer Talk To God'' and ''We Missed You''.

MARCH 22, 1962 THURSDAY

Tennessee Ernie Ford earns o gold album for the gospel project ''Nearer The Cross''.

Drummer Perry Baggs is born in Nashville. He joins Jason and The Scorchers, an energetic country-rock band whose ''Absolutely Sweet Marie'' ranks among country's 500 greatest singles in the Country Music Foundation;s ''Heartaches By The Number''.

MARCH 23, 1962 FRIDAY

Back from Australia, Joey Dee and the Starliters open at the Rainbow Room in Asbury Park, New Jersey.

Jerry Butler headlines the Apollo Theater.

Sam Cooke is featured at the Howard Theater in Washington, DC.

Aretha Franklin headlines at Chicago's Regal theater.

Bill Haley and His Comets are at the Lemon Twist Club in Hallendale, Florida for three weeks.

Brian Jones sits in on guitar at a London blues club. In the crowd are Mick Jagger and Keith Richards, who will form The Rolling Stones with him. Their ''Honky Tonk Women'' is hailed by the Country Music Foundation among country's greatest singles.

MARCH 25, 1962 SUNDAY

Bobby Rydell does a one nighter at the Steel Pier in Atlantic City, New Jersey.

MARCH 26, 1962 MONDAY

Ronnie and the Hi-Lites perform "I Wish I Was Married" on American Bandstand.

Elvis Presley begins three days of recording for the soundtrack to ''Girls, Girls, Girls'' at Radio Recorders, 7000 Santa Monica Boulevard, Los Angeles, California. Among the 15 songs is ''Return To Sender''.

MARCH 27, 1962 TUESDAY

Pop singer and songwriter Jann Arden is born in Calgary, Alberta. Best known for her 1996 hit ''Insensitive'', she writes and produces SheDaisy's 2005 contribution to the ''Desperate Housewives'' soundtrack ''God Bless The American Housewife''.

MARCH 28, 1962 WEDNESDAY

Johnny and Jack hold what proves to be their final recording session.

MARCH 29, 1962 THURSDAY

Emmeth Miller dies of cancer in Georgia's Macon Hospital. The former Vaudevillian, who influenced the vocal style of Jimmie Rodgers, did the original version of ''Lovesick Blues''. He also influenced Merle Haggard and Bob Wills.

MARCH 30, 1962 FRIDAY

Sam Cooke is at Baltimore's Royal Theater.

Elvis Presley earns a gold single for ''Can't Help Falling In Love''. It topped the British charts in 1962, has appeared in numerous other films, including the 2000 film ''Coyote Ugly'' and the 2002 Disney film ''Lilo and Stitch''. The single is certified by the RIAA as a Platinum record, for US sales in excess of one million copies. In the United States, the Elvis Presley version of the song peaked at number two on the pop chart and went to number one on the Easy Listening chart for six weeks.

During Presley's late 1960s and 1970s live performances, the song was performed as the show's finale. Most notably, it was also sung in the live segment of his 1968 NBC television special, and as the closer for his 1973 Global telecast, ''Aloha From Hawaii''. A version with a faster arrangement was used as the closing for Presley's final TV special, ''Elvis In Concert''.

MARCH 31, 1962 SATURDAY

Patsy Cline claims a number 1 country single in Billboard with ''She's Got You''.

© - 706 UNION AVENUE SESSIONS - ©
 
It is also likely that an undated tape that contains ''Chinatown My Chinatown'', ''Even Tho'' and Because Of You'' dates from around 1962. If it was Carl Mann's last tape, then he went out as he came in – goosing up oldies. He was a much improved singer, but no-one seemed to care.
 
STUDIO SESSION FOR CARL MANN
FOR SUN RECORDS 1962
 
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: FRIDAY MARCH 30, 1962
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM PHILLIPS
AND/OR SCOTTY MOORE
 
''Even Tho'', was a Webb Pierce hit from 1954 that Carl had played since his earliest days on radio around Huntingdon. His version is clean, perhaps even a little slick. Much of the youthful enthusiasm on the earlier cuts seems to have evaporated – from Eddie Bush as much as Carl. In fact, the most enthusiastic man that day was Al Jackson.
 
Composer: - Willie Jones-Curl Peebles-Webb Pierce
Publisher: - B.M.I. - Cedarwood Music Publishing
Matrix number: - None - Not Originally Issued (2:27)
Recorded: - March 30, 1962
Released: - 1985
First appearance: -  First appearance: - Star Club (LP) 33rpm Jan 33-8022-10 mono
CARL MANN - 14 UNISSUED SIDES
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15713-2/23 mono
CARL MANN - MONA LISA
 
Composer: - William Jerome-Jean Schwartz
Publisher: - B.M.I. - Alfred Music Publishing
Matrix number: - None – Not Originally Issued (2:02)
Recorded: - March 30, 1962
Released: - 1985
First appearance:  - Star Club (LP) 33rpm Jan 33-8022-11 mono
CARL MANN - 14 UNISSUED SIDES
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15713-2/24 mono
CARL MANN - MONA LISA
 
''Chinatown, My Chinatown'' was written by Tin Pan Alley vet Jean Schwartz for a 1910 revue called ''Up And Down Broadway'', and it sounded unexpectedly good in Carl's hand. He reverts to form, playing the piano and using his old vocal mannerisms. Eddie Bush hits his share of hot licks and the resulting cut is better than it deserved to be. Still, it never saw light-of-day on Sun.
 
Composer: - Arthur Hammerstein-Dudley Wilkinson
Publisher: - B.M.I. - Hammerstein Wilkinson Music
Matrix number: - None - Not Originally Issued (2:11)
Recorded: - March 30, 1962
Released: - 1985
First appearance:  - Star Club (LP) 33rpm Jan 33-8022-2 mono
CARL MANN - 14 UNISSUED SIDES
Reissued: - 1993 Bear Family Records (CD) 500/200rpm BCD 15713-2/25 mono
CARL MANN - MONA LISA
 
''Because Of You'' was a pop song dating back to 1940 that became Tony Bennett's first hit in 1951. Carl's version falls short of the mark because the song's structure doesn't adapt easily to the easy rolling Carl Mann formula.
 
Composer: - Carl Mann-Eddie Bush
Publisher: - B.M.I. - Copyright Control
Matrix number: - None - Not Originally Issued (2:38)
Recorded: - March 30, 1962
Released: - 1993
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15713-2/26 mono
CARL MANN - MONA LISA
 
Composer: - Helen Stone-Jack B. Tenney
Publisher: - N.M.I. - Hal Leonard Music Publishers
Matrix number: - None - Not Originally Issued (2:37)
Recorded: - March 30, 1962
Released: - 1993
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15713-2/27 mono
CARL MANN - MONA LISA
 
Name (Or. No. Of Instruments)
Carl Mann - Vocal, Piano
Eddie Bush - Guitar
R.W. ''T-Willie'' Stevenson - Bass
Al Jackson - Drums
Charlie Rich - Piano
Martin Willis - Tenor Saxophone
 
Carl Mann's Sun sessions have been rounded out with three undated cuts. The first, ''Mexicali Rose'' was a song that Jerry Lee Lewis had already unsuccessfully tried to get Sam Phillips to release. Carl had no more luck than Jerry in getting Sam to bend.
 
For Biography of Carl Mann see: < The Sun Biographies <
Carl Mann's Sun/PI recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
 
© - 706 UNION AVENUE SESSIONS - ©
 
CARL MANN SPEAKS
 
With the Sun era ending on such a disappointing note (in terms of sales  at least), Carl understandably went elsewhere when he emerged from the Army In March  1966, looking to get back into the business.
 
''Eddie Bush and I got together when I came out of the service and use started trying to get  the old sound back'', remembers Carl. ''A couple of guys I knew were responsible for my  signing with Monument.
 
One was Bill Denny, Jim Denny's son. Bill worked at Cedarwood  Publishing in Nashville. There was also a guy named Lucky Moeller who had been booking me  through Cedarwood. He had been doing that for a while, even before I was in the service  when I was still with Sun''.
 
''I asked their advice on who to go to and they recommended Fred Foster at Monument, so I  went and talked to him, told him I was interested in getting started again. Fred Foster signed  me to a two-year contract around the latter part of 1966''.
 
''I just did one session with Monument, and one single came out. Eddie Bush had a lot to do  with that record. He played on the record and wrote one side of it, a great tune called  ''Down To My Last I Forgive You''. The other side, ''Serenade Of The Bells'' was a song Eddie  had been after me to record even when I was back at Sun. Ray Stevens produced me for  Monument. He was doing some work for Fred Foster around that time and he wanted to  produce my session. He knew who I was and wanted to see if he could get something going  for me. It didn't turn out as good as I had hoped, but I did enjoy working with Ray. Fred  Foster and I talked about the possibility of a second session, but nothing came of it. We got  some good write-ups and ratings on that one single, but the record really didn't sell very  much''.
 
''After that one session for Monument, I kinda got heavy into the booze and-lust lost interest.  I didn't do anything has far as recording goes for quite a while. I got married in 1968 and I  started recording again around 1970. I had a friend named Larry Kee and he and I wrote  quite a few songs together the early 1970s''.
 
''I signed with ABC in 1974, I got together with a friend of mine named Bob Robison. He was  sort-of managing me at the time and he and I went up to Nashville. I took about twenty or  thirty songs that Larry Kee and I had written together. Some of them had been placed with  Little David Music, run by David Wilkins. I made a couple of tapes and Bob and I shopped  them around. The guy who signed me to ABC was Don Gant. I signed a two-year contract with  them. Mostly we recorded stuff Larry Kee and I had written, but there were a couple of  exceptions, like ''Twilight Time'' and ''Eighteen Yellow Roses''. There were also some demos  we did that were pretty fair cuts, like ''Somebody Has To Booze'', ''No Easy Way To Say  Goodbye'' and ''Is There No End To Loving You''. We were making publishing demos for ABC  because Larry and I had signed exclusive songwriter contracts with them also. Some titles,  like ''Neon Lights'' and ''Back Loving'' were cuts as demos and masters and eventually got  released. On tracks like those, the arrangements were often quite different between the  demo and the master.
 
''Most of the stuff we did for ABC was cut in Nashville using the usual session musicians. I just  sang on the sessions, didn't play anything. Eddie Bush wasn't playing on those session either.  All of those dates were head arrangements, everything done right in the studio. I recall that  a couple of my records on ABC charted for a while, although nothing was a big seller. Of all  of them, the cut I liked the best was ''Just About It''.
 
Currently, Carl Mann still lives in Huntingdon, Tennessee and is without a recording contract.  He recorded a couple of sessions for Rockhouse Records in Holland in 1978 and 1980, and  toured Europa in 1984 and 2007 without recording. Periodically, Carl gives thought to reentering  the business, but it now seems to be a remote prospect. Unaccountably, his early  music has not enjoyed the same measure of exhaustive reissuing that has come to many of  his confreres at Sun.

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