- THE COMPLETE SUN SINGLES COLLECTION -
This six volume set chronicling the entire singles output of Sun Records, their subsidiaries Flip and Phillips International, run in strict chronological order. No alternate takes, no studio chitchat, no second-guessing decades after the fact, just the simple history of some of the greatest American music that ever came from one man's vision, label owner and production genius Sam Phillips.
Each box features four Compact Disc's both A- and B-sides
© Bear Family Records (BCD 15801) (1-6)
Producers: Sam C. Phillips, Jack Clement, Bill Justis, Scotty Moore,
Jimmie O. Rogers,
Billy Sherrill, Charles Underwood
Reissue Producers: Colin Escott, Jay Monroe, Dave
Sax, Richard Weize
Disc Transfer: Bob Jones and Mark Wilder
Tape Research: Dave Sax and Colin Escott
Tape Comparison: Dave Sax
Mastering by Duncan Cowell
Liner
notes by Colin Escott, Hank Davis, and Martin Hawkins
Photos & Illustrations: Bruce Bastin, Jim Cole, Cilla Huggins, Jim O'Neal, Brian Smith,
Hardrock Gunter, Billy Miller, Tom Sims, Billy Vera, R.A. Andreas, Bo Berglind, Jim Cole,
Hank Davis, Colin Escott, Martin
Hawkins, Will Gutt, Bettey Jeanne Hodges, Carl Mann,
Jay Monroe, Michael Ochs Archives, Rob Santos, The Showtime Music Archive, Danny Stewart,
Bradd Suggs, Dave Travis, Martin Willis, Winston Cogwell, Johnny Franklin, David Mayo,
Willie Pittman, Richard Weize, Toni Rossini, Grover Mitchell,
Steve Richards, Hans Peter Zdrenka,
Ira Jay Lichterman, Letha Philpott, Graham Harrison, Dick Penner
Box Design by Clive Blewchamp
Artwork by Sylke Holtrop, Gerd Weiler, Wolfgang Taubenauer
Thanks
to the following for providing discs of the missing masters: David McFeat,
Jay Monroe, Dave Sax, Don Warwick
For Biographies of Artists see: > The Sun Biographies <
For music (Sun, Flip, and Phillips International standard singles) can be heard on
the
playlists on YouTube - click on the available > buttons <
> It's The Philips 9001/9002 Series <
> (1952-1954) Sun Records 174-200 Series <
> (1954-1958) Sun Records 201-300 Series <
> (1958-1966) Sun Records 301-400 Series <
> (1966-1968) Sun Records 401-407 Series <
> (1955) Flip Records 501-504 Series <
> (1955) Flip Records 227-228-237 Series <
> (1957-1963) Phillips International 3516-3586 Series <
© - 706 UNION AVENUE SESSIONS - ©
- VOLUME 1 -
Even
in the 1950s Sun Records was applauded as something special, both by fans and – more surprisingly – by the music business. Sun was also recognised as one man's eccentric vision.
Even then, Sam Phillips's role as a man who had made a difference was acknowledged. At that time, the major labels employed grey interchangeable men; the independent labels were in the hands of more flamboyant individuals, but it was rare in record companies great or small to find someone of singular artistic
vision. The music business had always been, first and last, a business. The trend has been to follow trends.
Sun Records was Sam Phillips; Sam Phillips was Sun Records. Art and commerce came together. The earth moved a little bit. The story has often been told of Sam Phillips's background in radio, and his desire to open a recording studio that would bring his own talent
to fruition, as well as that of the men and women who entered his studio. It happened in Memphis, perhaps the only place in which Phillips could have realised his vision. It happened in the 1950s, perhaps the only decade in which it could have happened. The Sun Records story is the confluence of the right man, the right time,
and the right place.
''Sam knew something different'', was
how one-time Sun artist Ray Harris put it, and that – quite simply – is the best explanation of what happened. The Sun singles are the ultimate documentation of the ''something different'' that Sam Phillips knew. They tell the Sun Records story the way that it actually unfurled week-byweek release-by-release. The records that reshaped popular
music are here together with the blind alleys that Sam Phillips went down in his quest for that something different. The million-sellers are cheek-by-jowl with the records that only sold to family and friends. There are no alternate takes, no second-guessing Sam Phillips. This is the way that Sun Records was meant to be
experienced.
Talking to journalist David Halberstam, Sam
Phillips explained his thinking. ''I have my faults, a lot of faults, I guess'', he said, ''but I have one real gift and that gift is to look another person in the eye and be able to tell if he has anything to contribute, and if he does, I have the additional gift to free him from whatever is restraining him''. It's a self-description that would sound
pompous and self-aggrandising were it not demonstrably true. Sun 209 is evidence, of course, but so – in its way – Sun 175, the first record on the Sun single collection. On it, a teenage saxophonist with a raw, unmoulded style plays with the authority of a Charlie Parker or an Earl Bostic. He is showcased in a
dramatic way. You could probably find precedents for the sound that Sam Phillips coaxed from his equipment for that recording, but the fact is that Sam Phillips himself wasn't aware of them. He was making it up as he went along. The single boxed sets enable you to trace the way that Phillips's ideas on production, songs
and artists unfolded.
For the outset, Phillips was intent
that he and his artists were to go their own way. As the sixties wore on, Sun releases increasingly referenced what was happening around them, but at the beginning and for most of the fifteen or so years that Sun operated under Sam Phillips's direction, the criterion for releasing a record was whether it made Sam Phillips feel good. It was
tantamount to commercial autism. You need to spend a few years in the record business to recognise just how unusual it is for someone to deliberately strike their own course and succeed, and how doubly unusual for someone to juggle the creative and business ends. John Hammond, the legendary Columbia Records artist and repertoire
man who signed Billie Holiday and Bob Dylan and many others, wasn't running his own company with all the headaches that entails. Ahmet Ertegun at Atlantic Records had partners, and then Time-Warner's money behind him; Sam Phillips was to all intents and purpose a one man show, and no-one would lend him
any money until he didn't need it. The Chess brothers or King Records' Syd Nathan can't really be said to have had a commanding artistic vision in the way that Sam Phillips did. That Sun Records was both artistically and commercially successful was truly an extraordinary achievement.
Colin Escott, 1994
© 1994 Bear Family Records (CD) 500/200rpm BCD 15801 mono digital
THE COMPLETE SUN SINGLES - VOLUME 1
Sun 175-228 & Flip 501-504 / Flip 227-228
One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Yellow label, Have circle of musical notes and staff around the entire label,
with excepted of the bar wherein "Memphis, Tennessee" appear. The letters SUN with sun rays pressed in light brown at the top of the label. On the front cover of the boxed set showing a photo of the pressing SUN "push-marks". On the back cover of he box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued
between 1950 and 1968 on the Sun, Flip and Phillips International labels. Also included in the boxed sets, an 68-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by
Hank Davis, and incredibly rare photos and memorabilia, label shots of every record.
Bones
Blues In My Condition b/w
Sellin' My Whiskey < Sun 174-B <
Disc 1 Contains
(Johnny London) SUN 175 (April 1952)
Dreary Night b/w Nuthin' But The Blues
(Walter Bradford) SUN 176 (April 1952) Copy Never Found
> Sun 177-A > Got My Application, Baby b/w Trouble < Sun 177-B <
(Handy Jackson) SUN 177 (January 1953)
> Sun 178-A > We All Gotta Go Sometime b/w She May Be Yours < Sun 178-B <
(Joe Hill Louis) SUN 178 (1953)
(Willie Nix) SUN 179 (January 1953)
(Jimmy & Walter) SUN 180 (March 1953)
(Rufus Thomas Jr) SUN 181 (March 1953)
(Dusty Brooks & His Tones) SUN 182 (March 1953)
(D.A. Hunt) SUN 183 (June 1953)
> Sun184-A > Call Me Anything, But Call Me b/w Baby, No, No! < Sun 184-B <
(Big Memphis Marainey) SUN 184 (June 1953)
(Jimmy DeBerry) SUN 185 (June 1953)
> Sun 186-A > Baby Please b/w Just Walkin' In The Rain < Sun 186-B <
(The Prisonaires) SUN 186 (July 1953)
> Sun 187-A > Feelin' Good b/w Fussin' And Fightin' Blues < Sun 187-B <
(Little Junior's Blue Flames) SUN 187 (July 8, 1953)
> Sun 188-A > Tiger Man (The King of The Jungle) b/w Save That Money < Sun 188-B <
(Rufus Thomas Jr) SUN 188 (July 8, 1953)
> Sun 189-A > My God Is Real b/w Softly And Tenderly < Sun 189-B <
(The Prisonaires) SUN 189 (July 8, 1953)
Original Sun Recordings
For music (Sun standard
singles) on YouTube click on the available > buttons <
Disc 2 Contains
(Ripley Cotton Choppers) SUN 190 (September 1953)
(The Prisonaires) SUN 191 (November 1, 1953)
> Sun 192-A > Mystery Train b/w Love My Baby < Sun 192-B <
(Little Junior's Blue Flames) SUN 192 (November 1, 1953)
> Sun 193-A > Come Back Baby b/w Chicago Breakdown < Sun 193-B <
(Doctor Ross) SUN 193 (December 24, 1953)
> Sun 194-A > Beggin' My Baby b/w Somebodsy Told Me < Sun 194-B <
(Little Milton) SUN 194 (December 24, 1953)
> Sun 195-A > No Teasing Around b/w If Lovin' Is Believing < Sun 195-B <
(Billy The Kid Emerson) SUN 195 (February 20, 1954)
(Hot Shot Love) SUN 196 (February 20, 1954)
(Earl Peterson) SUN 197 (February 20, 1954)
> Sun 198-A > Troublesome Waters b/w I Must Be Saved < Sun 198-B <
(Howard Seratt) SUN 198 (February 20, 1954)
> Sun 199-A > My Baby b/w Straighten Up Baby < Sun 199-B <
(James Cotton) SUN 199 (April 15, 1954)
> SUN 200-A > If You Love Me b/w Alone And Blue < SUN 200-B <
(Little Milton) SUN 200 (April 15, 1954)
> Sun 201-A > Gonna Dance All Night b/w Fallen Angel < Sun 201-B <
(Hardrock Gunter) SUN 201 (May 1, 1954)
> Sun 202-A > Now She Cares No More b/w My Kind Carrying On < Sun 202-B <
(Doug Poindexter) SUN 202 (May 1, 1954)
> Sun 203-A > I'm Not Going Home b/w The Woodchuck < Sun 203-B <
(Billy The Kid Emerson) SUN 203 (May 1, 1954)
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available > buttons <
Disc 3 Contains
> Sun 204-A > Bourbon Street Jump b/w The Suggle < Sun 204-B <
(Raymond Hill) SUN 204 (May 1, 1954)
> Sun 205-A > The Great Medical Menagerist b/w Rockin' Chair Daddy < Sun 205-B <
(Harmonica Frank) SUN 205 (July 1, 1954)
> Sun 206-A > Cotton Crop Blues b/w Hold Me In Your Arms < Sun 206-B <
(James Cotton) SUN 206 (July 1, 1954)
> Sun 207-A > There Is Love In You b/w What'll You Do Next < Sun 207-B <
(The Prisonaires) SUN 207 (July 1, 1954)
> Sun 208-A > Right Or Wrong b/w Why Do I Cry? < Sun 208-B <
(Buddy Cunningham) SUN 208 (July 15, 1954)
> Sun 209-A > That's All Right b/w Blue Moon Of Kentucky < Sun 209-B <
(Elvis Presley) SUN 209 (July 19, 1954)
(Elvis Presley) SUN 210 (September 1954)
> Sun 211-A > Drinkin' Wine Spodee-O-Dee b/w Just Rolling Along < Sun 211-B <
(Malcolm Yelvington) SUN 211 (November 1954)
> Sun 212-A > The Boogie Disease b/w Juke Box Boogie < Sun 212-B <
(Doctor Ross) SUN 212 (November 10, 1954)
(The Jones Brothers) SUN 213 (January 8, 1955)
> Sun 214-A > Move Baby Move b/w When It Rains It Pours < Sun 214-B <
(Billy The Kid Emerson) SUN 214 (January 8, 1955)
> Sun 215-A > Milkcow Blues Boogie b/w You're A Heartbreaker < Sun 215-B <
(Elvis Presley) SUN 215 (January 8, 1955)
> Sun 216-A > Don't Believe b/w Uncertain Love < Sun 216-B <
(Slim Rhodes) SUN 216 (April 1, 1955)
> Sun 217-A > I'm Left, You're Righgt, She's Gone b/w Baby Let's Play House < Sun 217-B <
(Elvis Presley) SUN 217 (April 25, 1955)
> Sun 218-A > I Feel So Worried b/w So Long Baby Goodbye < Sun 218-B <
(Sammy Lewis) SUN 218 (April 25, 1955
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available > buttons <
Disc 4 Contains
> Sun 219-A > Red Hot b/w No Greater Love < Sun 219-B <
(Billy The Kid Emerson) SUN 219 (June 21, 1955)
> Sun 220-A > Homesick For My Baby b/w Lookin' For My Baby < Sun 220-B <
(Little Milton) SUN 220 (June 21, 1955)
> Sun 221-A > Cry! Cry! Cry! b/w Hey, Porter < Sun 221-B <
(Johnny Cash) SUN 221 (June 21, 1955)
> Sun 222-A > Don't Do That b/w Sitting By My Window < Sun 222-B <
(The Five Tinos) SUN 222 (June 21, 1955)
> Sun 223-A > Mystery Train b/w I Forgot To Remember To Forget <Sun 223-B <
(Elvis Presley) SUN 223 (August 1, 1955)
> Sun 224-A > Let The Jukebox Keep On Playing b/w Gone, Gone, Gone < Sun 224-B <
(Carl Perkins) SUN 224 (August 1, 1955)
(Slim Rhodes) SUN 225 (August 1, 1955)
> Sun 226-A > Ain't That Right b/w Bring Your Love Back Home < Sun 226-B <
(Eddie Snow) SUN 226 (August 1, 1955)
(Rosco Gordon) SUN 227 (September 1955)
> Flip 228-A > > Sun 228-A > The Signifying Monkey b/w Listen To Me Baby < Sun 228-B < < Flip 228-B <
(Smokey Joe Baugh) SUN 228 (September 15, 1955)
> Flip 501-A > Movie Magg b/w Turn Around < Flip 501-B <
(Carl Perkins) Flip 501 (February 1955)
> Flip 502-A > Lonely Sweetheart b/w Split Personality < Flip
502-B <
(Bill Taylor & Smokey Joe) Flip 502 (February 1955)
> Sun 503-A < > Flip 503-A > I've
Been Deceived b/w Peepin' Eyes < Flip 503-B <> Sun 503-B <
(Charlie Feathers) Flip 503 (March 1955)
> Sun 504-A < > Flip 504-A > Someday You
Will Pay b/w You Didn't Think I Would < Flip 504-B < > Sun 504-B <
(Miller Sisters) Flip 504 (April 1955)
Original Sun Recordings
For music (Sun/Flip standard singles) on YouTube click on the available > buttons <
- VOLUME 2 -
As
1956 dawned, Sun Records was no longer a fledgling label with unproven regional talent. Sam Phillips' one man operation was beginning to experience unquestionable success. His critics might have
claimed he had simply been in the right place at the right time, but there was no denying the intensity of his vision and the persistence
of his efforts.
Phillips' idiosyncratic productions and
distinctive artists were beginning to attract national attention. To its credit, Sun Records did not follow musical trends; it set them. Phillips was achieving success on his own
terms. By any reckoning, the period covered by the second volume of the Sun Singles Collection chronicles the label's golden era. Elvis Presley's Sun records
were already history. In place of Presley, new artists like Johnny cash and Carl Perkins were starting to stretch their artistic wring; both were perched on the brink of
unexpected national success. Behind them, an entire generation of secondary stars like Roy Orbison, Warren Smith, Billy Riley and Sonny Burgess was about to be born.
The discovery of Jerry Lee Lewis, perhaps the consummate rock and roller, lay just around the corner.
In the clearest terms imaginable, Volume 2 chronicles the birth of rockabilly. Major labels and established artists would struggle to come to terms with its swagger, but one thing was for certain: rockabilly was born and nurtured at 706 Union Avenue in Memphis.
Perhaps the clearest difference between Volume 1 and 2 of the series is the role that black music played
in Sun's release schedule. What had once been the label's underpinning; indeed, what had paid the bills in the years before and after
Sun's birth in 1952, was rapidly being pushed out of sight. As Volume 2 begins, we hear the sound of Memphis hillbilly music, circa 1955. There is hardly a black voice to be heard. Within
months, even the pure hillbilly sound was an anachronism as the first wave of rockabilly blew across the scene like a tornado, laying waste to the
blues and country music from which it grew.
By late 1956,
Sam Phillips must have wondered if he or his now famous label could do any wrong. Records were selling in Unprecedented numbers. Even those that fell short of commercial success received critical
acclaim. The trade papers extended the most fundamental compliment: they coined the term ''the Sun sound''.
In the brief period covered by Volume 2 of the series, there is no suggestion that the musical and economic success enjoyed by Sun Records would ever end. Good songs and inventive artists seemed to exist in inexhaustible supply. Sun did what it did best and the public raced to embrace it. Only
a change in popular culture could spell the end to Sun's well being. That change would come all too soon, but as far as this collection
is concerned, Sun's fortunes were at an all time high.
Colin Escott, 1995
© 1995 Bear Family Records (CD) 500/200rpm BCD 15802 mono digital
THE COMPLETE SUN
SINGLES - VOLUME 2
(Sun 229-278 / Flip 237)
One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Yellow label, Have circle of musical notes and staff around the entire label, with excepted of the bar
wherein "Memphis, Tennessee" appear. The letters SUN with sun rays pressed in light brown at the top of the label. On the
front cover of the boxed set showing a photo of the pressing SUN "push-marks". On the back cover of the box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued between 1950 and 1968
on the Sun, Flip and Phillips International labels. Also included in the boxed sets, an 72-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by Hank Davis, and incredibly
rare photos and memorabilia, label shots of every record.
Disc 1 Contains
> Sun 229-A > Daydreams Come True b/w How Long < Sun 229-B <
(Maggie Sue Wimberly) SUN 229 (December 1955)
(Miller Sisters) SUN 230 (January 15, 1956)
> Sun 230-B > Defrost Your Heart b/w A Wedding Gown Of White < Sun 231-B <
(Charlie Feathers) SUN 231 (December 1955)
> Sun 232-A > So Doggone Lonesome b/w Folsom Prison Blues < Sun 232-B <
(Johnny Cash) SUN 232 (December 15, 1955)
(Billy The Kid Emerson) SUN 233 (January 15, 1956)
> Sun 234-A > Blue Suede Shoes b/w Honey Don't < Sun 234-B <
(Carl Perkins) SUN 234 (December 1955)
(Carl Perkins) SUN 235 (Unissued)
> Sun 236-A > No More, No More b/w They Call Our Love A Sin < Sun 236-B <
(Jimmy Haggett) SUN 236 (December 1955)
> Flip 237-A > > Sun 237-A > The Chicken (Dance With You) b/w Love For You Baby <
Sun 237-B < < Flip 237-B <
(Rosco Gordon) SUN 237 (December 1955)
> Sun 238-A > Gonna Rump And Stomp b/w Bad Girl < Sun 238-B <
(Slim Rhodes) SUN 238 (April 1956)
(Warren Smith) SUN 239 (April 1956)
> Sun 240-A > Slow Down b/w A Fool For Lovin' You < Sun 240-B <
(Jack Earls) SUN 240 (April 1956)
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available > buttons <
Disc 2 Contains
> Sun 241-A > Get Rhythm b/w I Walk The Line < Sun 241-B <
(Johnny Cash) SUN 241 (April 1956)
> Sun 241-B > Ooby Dooby b/w Go, Go, Go < Sun 242-B <
(Roy Orbison) SUN 242 (May 1956)
> Sun 243-A > Boppin' The Blues b/w ll Mama's Children < Sun 243-B
<
(Carl Perkins) SUN 243 (May 1956)
(Jean Chapel) SUN 244 (June 1956)
> Sun 245-A > Trouble Bound b/w Rock With Me Baby < Sun 245-B <
(Billy Riley) SUN 245 (May 1956)
> Sun 246-A > Rockin' With My Baby b/w It's Me Baby < Sun 246-B <
(Malcolm Yelvington) SUN 246 (August 3, 1956)
> Sun 247-A > Red Headed Woman b/w We Wanna Boogie < Sun 247-B <
(Sonny Burgess) SUN 247 (August 3, 1956)
> Sun 248-A > Fiddle Bop b/w Juke Box, Help Me Find My BabyJuke Box, Help Me Find My Baby
< Sun 248-B <
(Rhythm Rockers) SUN 248 (August 3, 1956)
> Sun 249-A > I'm Sorry, I'm Not Sorry b/w Dixie Fried <
Sun 249-B <
(Carl Perkins) SUN 249 (August 3, 1956)
> Sun 250-A > Black Jack David b/w Ubangi Stomp < Sun 250-B <
(Warren Smith) SUN 250 (September 24, 1956)
> Sun 251-A > You're My Baby b/w Rockhouse < Sun 251-B <
(Roy Orbison) SUN 251 (September 24, 1956)
(Kenny Parchman) SUN 252 (1956) (Unissued)
> Sun 253-A > I Need A Man b/w No Matter Who's To Blame < Sun 253-B <
(Barbara Pittman) SUN 253 (September 24, 1956)
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available >
buttons <
Disc 3 Contains
> Sun 254-B > Come On Little Mama b/w Where'd You Stay Last Nite < Sun 254-A <
(Ray Harris) SUN 254 (September 24, 1956)
> Sun 255-A > Ten
Cats Down b/w Finders Keepers <
Sun 255-B <
(Miller Sisters) SUN 255 (August 3, 1956)
> Sun 256-A > Take And Give b/w Do What I Do < Sun 256-B <
(Slim Rhodes & Sandy Brooks) SUN 256 (November 21, 1956)
> Sun 257-A > Cheese And Crackers b/w Shoobie
Oobie <
Sun 257-B <
(Rosco Gordon) SUN 257 (November 21, 1956)
> Sun 258-A > Train
Of Love b/w There You Go < Sun 258-B <
(Johnny Cash) SUN 258 (November 21, 1956)
> Sun 259-A > Crazy
Arms b/w End Of The Road < Sun 259-B <
(Jerry Lee Lewis) SUN 259 (December 1, 1956)
> Sun 260-A > Flyin' Saucers Rock And Roll b/w I Want You Baby < Sun 260-B <
(Billy Riley) SUN 260 (January 23, 1957)
> Sun 261-A > Matchbox b/wYour True Love < Sun 261-B <
(Carl Perkins) SUN 261 (January 23, 1957)
> Sun 262-A > Feelin' Low b/w Lonesome For My Baby < Sun 262-B <
(Ernie Chaffin) SUN 262 (January 23, 1957)
(Sonny Burgess) SUN 263 (January 24, 1957)
> Sun 264-A > I'll Be Around b/w I'll Wait Forever < Sun 264-B <
(Glenn Honeycutt) SUN 264 (January 24, 1957)
> Sun 265-A > Sweet And Easy b/w Devil Doll < Sun 265-B <
(Roy Orbison) SUN 265 (January 24, 1957)
Original Sun Recordings
For
music (Sun standard singles) on YouTube click on the available > buttons <
Disc 4 Contains
> Sun 266-A > Don't Make Me Go b/w Next In Line < Sun 266-B <
(Johnny Cash) SUN 266 (March 15, 1957)
(Jerry Lee Lewis) SUN 267 (March 15, 1957)
>
Sun 268-A > So Long I'm Gone b/w Miss Froggie < Sun 268-B <
(Warren Smith) SUN 268 (April 15, 1957)
> Sun 269-A > Bop Bop Baby b/w Don't
Need Your Lovin' Baby <
Sun 269-B <
(Wade & Dick) SUN 269 (April 15, 1957)
> Sun 270-A > Please Don't Cry Over Me b/w That Depends On You < Sun 270-B <
Jim Williams) SUN 270 (September 14, 1957)
> Sun 271-A > Fools Hall Of Fame b/w Why Should I Cry < Sun 271-B <
(Rudi Richardson) SUN 271 (April 15, 1957)
> Sun
272-A > Greenback Dollar, Watch And Chain b/w Foolish Heart <
Sun 272-B <
(Ray Harris) SUN 272 (June 1957)
> Sun 273-A > Every Day b/w Easy To Love < Sun 273-B <
(Mack Self) SUN 273 (June 1957)
> Sun 274-A > Forever Yours b/w That's Right < Sun 274-B <
(Carl Perkins) SUN 274 (August 15, 1957)
> Sun 275-A > I'm Lonesome b/w Laughin'
And Jokin' < Sun 275-B <
(Ernie Chaffin) SUN 275 (August 15, 1957)
Sun 276-A > Rock
Boppin' Baby b/w More Than Yesterday < Sun 276-B <
(Edwin Bruce) SUN 276 (August 15, 1957
> Sun 277-A > Red Hot b/w Pearly Lee < Sun 277-A <
(Billy Riley) SUN 277 (September 14, 1957)
> Sun 278-A > Flat Foot Sam b/w Lordy Hoody < Sun 278-B
<
(Tommy Blake) SUN 278 (September 14, 1957)
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available > buttons <
- VOLUME 3 -
The stylistic pendulum was beginning to swing back by the time the first singles in this collection were issued in the fall of 1957.
Bog changes in the face and sound of popular music were on the horizon. Ironically, many of these changes had been spawned almost directly by Sun itself. If it hadn't been for
Elvis and a whole generation of Presley wannabees, there might have been less hysteria over music-induced juvenile
delinquency; fewer fears of untamed southern rockers corrupting the girl next door with the swivel of a hip or a well-aimed sneer.
It was inevitable that the backlash against Sun records, indeed against
the raw music of America's regional labels, would begin to affect the music they made. Like it or not, Sun depended upon the marketplace to pay
its bills. Memories of looming economic failure were hardly distant to Sam Phillips in 1958. Although Sun's best music often seems
timeless, the record company did not exist in a time warp.
Sun's position in the marketplace was, by 1958, clearly established. Program directors listened to Sun Records without being asked (or paid), and competing
artists imitated what they heard. But Sun, too, was listening and, of necessity, watching the balance sheet.
What you will hear on Volume 3 is the gradual taming of the rockabilly, the sweetening of the
hillbilly, and the emergence of the pop artist. It isn't always an inspiring sight – or sound – but compared to many, Sun Records maintained its integrity well. True, choruses were brought in and the tenor sax was becoming a frequent visitor to 706 Union. But behind the
surface concessions to style, Sun's releases were, by and large, resolutely southern music.
There is a lot of good music on this third volume of the Sun singles series. By by the time this installment
ends in the summer of 1959, most Sun records sounded unlike their predecessors from barely three years ago.
Hank Davis, 1996
© 1996 Bear Family Records (CD) 500/200rpm BCD 15803 mono digital
THE COMPLETE SUN
SINGLES - VOLUME 3
Sun 279-328
One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Yellow label, Have circle of musical notes and staff around the entire label, with excepted of the bar wherein "Memphis,
Tennessee" appear. The letters SUN with sun rays pressed in light brown at the top of the label. On the front cover of the boxed
set showing a photo of the pressing SUN "push-marks". On the back cover of the box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued between 1950 and 1968 on the Sun, Flip and Phillips
International labels. Also included in the boxed sets, an 68-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by Hank Davis, and incredibly rare photos and memorabilia,
label shots of every record.
Disc
1 Contains
> Sun 279-A > Home Of The Blues b/w Give My Love To Rose < Sun 279-B <
(Johnny Cash) SUN 279 (September 14, 1957)
> Sun 280-A > Memories Never Grown Old b/w Good Lovin' < Sun 280-B <
(Dickey Lee)
SUN 280 (October 12, 1957)
> Sun 281-A > Great Balls Of Fire b/w You Win Again <
Sun 281-B <
(Jerry Lee Lewis) SUN 281 (November 3, 1957)
> Sun 282-A > Your
Honey Love b/w Cindy Lou < Sun 282-B <
(Dick Penner) SUN 282 (November 3, 1957)
> Sun 283-A > Ballad Of A Teenage Queen b/w Big River < Sun 283-B <
(Johnny Cash) SUN 283 (December 1957)
> Sun 283-A > Chicken Hearted b/w I Like Love <
Sun 284-B <
(Roy Orbison) SUN 284 (December 1957)
> Sun 285-A > My Bucket's Got A Hole In It b/w Sweet Misery < Sun 285-B <
(Sonny Burgess) SUN 285 (December 1957)
> Sun 286-A > I've Got Love If You Want It b/w I Fell In Love < Sun 286-B <
(Warren Smith)
SUN 286 (December 1957)
(Carl Perkins) SUN 287 (December 1957)
(Jerry Lee Lewis) SUN 288 (February
1958)
> Sun 289-A > Baby Please Don't Go b/w Wouldn't You Know <
Sun 289-B <
(Billy Riley) SUN 289 (February 1958)
> Sun 290-A > Judy b/w I Think Of You < Sun 290-B <
(Rudy Grayzell SUN 290 (April 9, 1958)
Original Sun Recording
For music (Sun standard singles) on YouTube click on the available > buttons <
Disc 2 Contains
> Sun 291-A > Ten Years b/w Your
Lover Boy < Sun 291-B <
(Jack Clement) SUN 291 (April 9, 1958)
> Sun 292-A > Sweet Woman b/w Part Of My Life < Sun 292-B <
(Edwin Bruce) SUN 292 (April 9, 1958)
> Sun 293-A > Love Is A Stranger b/w The Lonely Hours < Sun 293-B <
(The Sunrays) SUN 293 (April 9, 1958)
> Sun294-A > I Feel So Blue b/w Memories Of You < Sun 294-B <
(Magel Priesman) SUN 294
(April 9, 1958)
> Sun 295-A > Guess Things Happen That Way b/w Come In Stranger < Sun 295-B <
(Johnny Cash) SUN 295 (April 1958)
> Sun 296-A > High School Confidential b/w Fools Like Me < Sun 296-B <
(Jerry Lee Lewis) SUN 296 (April 9, 1958)
> Sun 297-A > Fool,
Fool, Fool b/w Dreamy Nights < Sun 297-B <
(Dickey Lee) SUN 297 (April 9, 1958)
> Sun 298-A > So
Young b/w Right Behind You Baby < Sun 298-B <
(Ray Smith) SUN 298 (April 9, 1958)
> Sun 299-A > Drinkin' Wine b/w I Done Told You < Sun 299-B <
(Gene Simmons) SUN 299 (April 9, 1958)
> Sun 300-A > I Dig You Baby b/w Sweetie Pie < Sun 300-B <
(Tommy Blake) SUN 300 (June 1958)
> Sun 301 > The Return Of Jerry Lee b/w Lewis Boogie < Sun 301-B <
(George & Lewis)(Jerry Lee Lewis) SUN 301 (June 1958)
(Johnny Cash) SUN 302 (May 1958)
> Sun 303-A > Break-Up b/w I'll Make It All Up To You < Sun 303-B <
(Jerry Lee Lewis) SUN 303 (August 10, 1958)
Jerry Lee Lewis Talks About High School Confidential (1996) < Dialogue <
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available >
buttons <
Disc 3 Contains
> Sun 304-A > Itchy b/w Thunderbird < Sun 304-B <
(Sonny Burgess) SUN 304 (August 10, 1958)
(Rosco
Gordon) SUN 305 (September 20, 1958)
> Sun 306-A > I've Been Waiting b/w Diamond Ring < Sun 306-B <
(Jimmy Isle) SUN 306 (October 25, 1958)
> Sun 307-A > My Love For You b/w Born To Lose < Sun 307-B <
(Ernie Chaffin) SUN 307 (October 15, 1958)
(Ray Smith) SUN 308 (October 25, 1958)
(Johnny Cash) SUN 309 (November 12, 1958)
> Sun 310-A > Breeze b/w Today Is A Blue Day < Sun 310-B <
(Vernon Taylor) SUN 310 (November 12, 1958)
> Sun 311-A > The Black Haired Man b/w Wrong < Sun 311-B <
(Jack Clement) SUN 311 (November 20, 1958)
(Jerry Lee Lewis) SUN 312 (November 20, 1958)
> Sun 313-A > No Name Girl b/w Down By The Riverside < Sun 313-B <
(Billy Riley) SUN 313 (February 1, 1959)
> Sun 314-A > Goodbye Mr.Love b/w Sweet, Sweet Girl < Sun 314-B <
(Warren Smith) SUN 314 (February 15, 1958)
> Sun 315-A > Jump Right Out Of This Juke Box b/w Tell 'Em Off < Sun 315-B <
(Onie Wheeler) SUN 315 (February 15, 1958)
(Johnny Cash) SUN 316 (February 15, 1959)
Original Sun Recordings
For
music (Sun standard singles) on YouTube click on the available > buttons <
Disc 4 Contains
> Sun 317-A > Lovin' Up A Storm b/w Big Blon' Baby < Sun 317-B <
(Jerry Lee Lewis) SUN 317 (February 15, 1959)
> Sun 318-A > Time Will Tell b/w Witout A Love < Sun 318-B <
(Jimmy Isle) SUN 318 (March 23, 1959)
> Sun 319-A > Sail Away b/w Rockin' Bandit < Sun 319-B <
(Ray Smith) SUN 319 (March 23, 1959)
> Sun 320-A > Don't Ever Leave Me b/w Miracle Of You < Sun 320-B <
(Ernie Chaffin) SUN 320 (April 27, 1959)
> Sun 321-A > Katy Too b/w I Forgot To Remember To Forget < Sun 321-B <
(Johnny Cash) SUN 321 (June 2, 1959)
> Sun 322-A > One More Time b/w Got The Water Boiling < Sun 322-B <
(Billy Riley) SUN 322 (June 2, 1959)
> Sun 323-A > Have Faith In My Love b/w No More Crying The Blues < Sun 323-B <
(Alton & Jimmy) SUN 323 (June 2, 1959)
> Sun 324-A > Let's Talk About Us b/w The Ballad Of Billy < Sun 324-B <
Joe (Jerry Lee Lewis) SUN 324 (June 15, 1959)
> Sun
325-A > Sweet And Easy To Love b/w Mystery Train <
Sun 325-B <
(Vernon Taylor) SUN 325 (July 16, 1959)
> Sun 326-A < I Wanna Make Sweet Love b/w Lovestruck < Sun 326-B <
(Jerry McGill) SUN 326 (August 11, 1959)
> Sun 327-A > With Your Love, With Your Kiss b/w Be Mine, All Mine < Sun 327-B <
(Johnny Powers) SUN 327 (September 15, 1959)
> Sun 328-A > Willie Willie b/w Winnie The Parakeet < Sun 328-B <
(Sherry Crane) SUN 328 (August 11, 1958)
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available > buttons <
- VOLUME 4 -
Between September, 1959 and July, 1962, the period covered by Volume 4 of this series, there were many fundamental changes in the style of popular music.
Like most independent record companies, the Sun label struggled to keep up with shifting musical trends.
One thing was clear; the marketplace would no longer tolerate the wildman rockabilly antics of Sun's Golden Era. In
truth, given its enormous impact on the careers and lives of many artists and fans alike, the commercial heyday of rockabilly lasted a very short time. Even further relegated to the past were the raw
blues of the label's earliest days. It seems hard to imagine that the primitive energy of Sun 193 and the swirling strings and teen angst of Sun 351 were recorded in the same millennium,
much less on the same planet.
Perhaps the saddest change was the unmistakable fact that Sun was no longer an innovator or leader in the music business. Rather, there were signs that the label was scrambling, often awkwardly,
to follow popular trends. Only the the case Johnny cash, whose recordings continued to appear on Sun despite his departure from the label, could one hear a regular
glimmer of originality. Sun's other artist capable of true innovation, Jerry Lee Lewis, was adrift during this period, in search of something to regain the public favor he had so abruptly lost. In retrospect, his work was driven by two forces: the idiosyncratic country style that would eventually resurrect his career in the mid-1960s, and the rhythm and blues sound of Ray Charles,
whose churchy stylings cast an enormous shadow, not just over Lewis, but over pop. Rhythm and blues and even country music.
Although the handwriting had been on the wall for several years, Sun's move out of 706 Union became a
reality during this period. There is much truth to the romantic vision of Phillips' tiny studio on Union Avenue, but it was also true that its cramped conditions and primitive
technology were ill suited to the evolution of contemporary multy-track music. By the summer of 1960, the changeover to the new studio at 639 Madison
was complete.. The old studio floor at 706 Union, rich with the ghosts of Presley, the Miller Sisters, and Howlin' Wolf, was now cluttered with boxed returns of unsold 45s. A year after the move, the
office chalk board still bore the latest sales figures from Sun 319.
By the time the doors to 639 Madison were officially opened, the demons had already arrived. Despite its space age décor, the building itself seemed to conspire
against Sam Phillips. The atmosphere was sterile and inhospitable. The roof leaked. Worst yet, the studio had impossibly bad acoustic. It was, initially at least, everything
that 706 Union was not. Gone was the tight, intimate sound that permeated even the worst recordings from 706 Union Avenue. In its place was an unfocussed, cavernous echo that jumbled vocals, guitars and percussion together into a meaningless haze of confusion.
For a while, Sam Phillips tried to bluff his way through. ''Woodshed recordings have had it'', he told the Memphis Press Scimitar. ''You've got to have... all the electronic devices...
on everything today''. But eventually the architects and engineers had to be called in to perform radical surgery. The operation was a success and the studio was
saved, but not quickly enough. None of the most successful recordings subsequently cut at 639 Madison, including some by Sam The Sam and soul legend James Carr, appeared on the Sun label.
By the early 1960s, the focus of the music
business in Tennessee had clearly shifted away from Memphis. Sam Phillips attempted to keep pace and bought a studio in Nashville on 7th Avenue North. It had been Billy Sherrill's studio, and Phillips hired Sherrill as resident producer. Phillips almost certainly had his sights on the custom recording business in Nashville, then almost the sole preserve of Owen Bradley
and RCA, but he also brought in his own artists. In February, 1961, Charlie Rich and Jerry Lee Lewis were motoring three hours east to record in the new Phillips
studio. Another body blow to the image of Sun as a hole-in-the-wall Memphis label had been struck.
It is in this climate that Volume 4 of the Complete Sun Singles takes place. Fortunately, despite changing times and considerable
challenges, Sun continued to issue some credible and highly enjoyable music.
Hank Davis, 1997
© 1997 Bear Family Records (CD) 500/200rpm BCD 15804 mono digital
THE COMPLETE SUN
SINGLES - VOLUME 4
Sun 329-379
One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Yellow label, Have circle of musical notes and staff around the entire label, with
excepted of the bar wherein "Memphis, Tennessee" appear. The letters SUN with sun rays pressed in light brown at the top of the label. On the
front cover of the boxed set showing a photo of the pressing SUN "push-marks". On the back cover of the box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued between 1950 and 1968
on the Sun, Flip and Phillips International labels. Also included in the boxed sets, an 68-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by Hank Davis, and incredibly
rare photos and memorabilia, label shots of every record.
Disc 1 Contains
> Sun 329-A > You're Just
My Mind b/w Ballad Of St. Marks < Sun 329-B <
(Will Mercer) SUN 329 (September 15, 1959)
(Jerry Lee Lewis) SUN 330 (September 15, 1959)
> Sun 331-A > You Tell Me b/w Goodbye Little Darlin' < Sun 331-B <
(Johnny Cash) SUN 331 (September 15, 1959)
> Sun 332-A > What A Life b/w Together < Sun 332-B <
(Jimmy Isle) SUN 332 (September 15, 1959)
> Sun 333-A > Alice Blue Gown b/w St. Louis Blues < Sun 333-B <
(Rayburn Anthony) SUN 333 (October 25, 1959)
>
Sun 334-A > Straight As In Love b/w I Love You Because < SUN 334-B <
(Johnny Cash) SUN 334 (December 31, 1959)
> Sun 335-A > A Thousand Guitars b/w Is It Too Late < Sun 335-B <
(Tracy Pendarvis) SUN 335 (January 1960)
> Sun 335-B > Walkin' And Talkin' b/w Somebody Just Like You < Sun 335-B <
(Mack Owen) SUN 336 (January 1960)
> Sun 337-A > Old Black Joe b/w Baby Baby Bye Bye < Sun 337-B <
(Jerry Lee Lewis) SUN 337 (March 1960)
(Paul Richey) SUN 338 (March 8, 1960)
(Rayburn Anthony) SUN 339 (March 30, 1960)
> Sun 340-A > Bobaloo b/w Bad
Times Ahead < Sun 340-B <
(Bill
Johnson) SUN 340 (March 30, 1960)
> Sun 341-A > The Great Pretender b/w I'm Gonna Take A Walk < Sun 341-B <
(Sonny Wilson) SUN 341 (August 1, 1960)
Original Sun Recordings
For music (Sun
standard singles) on YouTube click on the available > buttons <
Disc 2 Contains
> Sun 342-A > Cheaters Never Win b/w You Burned The Bridges < Sun 342-B <
(Bobbie Jean) SUN 342 (July 7, 1960)
>
Sun 343-A > The Story Of A Broken Heart b/w Down The Street To 301 < Sun 343-B <
(Johnny Cash) SUN 343 (July 14, 1960)
> Sun 344-A > John Henry b/w Hang Up My Rock And Roll Shoes <
Sun 344-B <
(Jerry Lee Lewis) SUN 344 (August 1, 1960)
> Sun 345-A > South Bound Line b/w Is It Me < Sun 345-B <
(Tracy Pendarvis) SUN 345 (August 15, 1960)
>
Sun 346-A > Senorita b/w Guess I'd Better Go < Sun 346-B <
(Bill Strenght) SUN 346 (September 12, 1960)
> Sun 347-A > Port Of Lonely Hearts b/w Mean Eyed Cat < Sun 347-B <
(Johnny Cash) SUN 347 (October 1960)
> Sun 348-A > The Good Guy Always Win b/w The Time Is Right < Sun 348-B <
(Lance Roberts) SUN 348 (October 1960)
> Sun 349-A > I Gotta Know b/w Is It Too Late < Sun 349-B <
(Tony Rossini) SUN 349 (November 14, 1960)
> Sun 350-A > Yulevilly U.S.A. b/w Rockin' Lang Syne < Sun 350-B <
(The Rockin' Stockin') SUN 350 (November 14, 1960)
> Sun 351-A > You Don't Love Me Anymore b/w More That Anything < Sun 351-B <
(Ira Jay II) SUN 351 (November 14, 1960)
> Sun 352-A > When I Get Paid b/w Love Made A Fool Of Me < Sun 352-B <
(Jerry Lee Lewis) SUN 352 (November 14, 1960)
(Roy Orbison) SUN 353 (November 25, 1960)
Reissue of SUN 265
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available > buttons <
Disc 3 Contains
> Sun 354-A > Sad News b/w Red Man < Sun 354-B <
(Bobby Sheridan) SUN 354 (December 10, 1960)
> Sun 355-A > Oh Lonesome Me b/w Life Goes On < Sun 355-B <
(Johnny Cash) SUN 355 (December 10, 1960)
> Sun 356-A > What'd I Say b/w Livin' Lovin' Wreck < Sun 356-B <
(Jerry Lee Lewis) SUN 356 (February 27, 1961)
SUN 357 Unissued
>
Sun 356-B > U.T. Party Part 1 b/w U.T. Party Part 2 < Sun 358-B <
(George Klein) SUN 358 (March 10, 1961)
> Sun 359-A > Belle Of The Suwannee b/w Eternally < Sun 359-B <
(Tracy Pendarvis) SUN 359 (April 25, 1961)
> Sun 360-A > Groovy Train b/w Highland Rock < Sun 360-B <
(Wade Cagle) SUN 360 (April 25, 1961)
> Sun 361-A > I'll Wait Forever b/w I Can't Show How I Feel < Sun 361-B <
(Anita Wood) SUN 361 (June 25, 1961)
> Sun 362-A > I'll Stick By You b/w There They Go < Sun 362-B <
(Harold Dorman) SUN 362 (May 21, 1961)
> SUN 363-A > Sugartime b/w My Treasure < Sun 363-B <
(Johnny Cash) SUN 363 (May 21, 1961)
> Sun 364-A > Cold Cold Heart b/w It Won't Happen With Me < Sun 364-B <
(Jerry Lee Lewis) SUN 364 (May 26, 1961)
> Sun 365-A > I Forgot To Remember To Forget b/w Other Side < Sun 365-B <
(Shirley Sisk) SUN 365 (August 1961)
> Sun 366-A > Well I Ask Ya b/w Darlena < Sun 366-B <
(Tony Rossini) SUN 366 (August 1961)
Original Sun Recordings
For
music (Sun standard singles) on YouTube click on the available > buttons <
Disc 4 Contains
(Jerry Lee Lewis) SUN 367 (September 1, 1961)
> Sun 368-A > Since I Met You b/w Uh Huh Huh < Sun 368-B <
(Don Hosea) SUN 368 (October 9, 1961)
> Sun 369-A > Human Emotions b/w Everybody's Searching < Sun 369-B <
(Bobby Wood) SUN 369 (October 9, 1961) Probably
Unissued
> Sun 370-A > Uncle Jonah's Place b/w Just One Step < Sun 370-B <
(Harold Dorman) SUN 370 (November 7, 1961)
>
Sun 371-A > Bonnie B b/w Money < Sun 371-B <
(Jerry Lee Lewis) SUN 371 (November 21, 1961)
> Sun 372-A > Travlin' Salesman b/w I Won't Miss You (Till You Go) < Sun 372-B <
(Ray Smith) SUN 372 (November 21, 1961)
> Sun 373-A > How Well I Know b/w Big Dream < Sun 373-A <
(Rayburn Anthony) SUN 373 (January 19, 1962)
> Sun 374-A < I've Been Twistin' b/w Ramblin' Rose > Sun 374-B <
(Jerry Lee Lewis) SUN 374 (January 19, 1962)
> Sun 375-A > Candy Doll b/w Hey, Boss Man < Sun 375-B <
(Ray Smith) SUN 375 (February 9, 1962)
> Sun 376-A > Blue Train b/w Born To Lose < SUN 376-B <
(Johnny Cash) SUN 376 (April 27, 1962)
> Sun 377-A > In The Beginning b/w Wait 'Til Saturday Night < Sun 377-B <
(Harold Dorman) SUN 377 (Aptil 4, 1962)
> Sun 378-A > (Meet Me) After School b/w Just Around The Corner < Sun 378-B <
(Tony Rossini) SUN 378 (April 4, 1962)
> Sun 379-A > Sweet Little Sixteen b/w How's My Ex Treating You < SUN 379-B <
(Jerry Lee Lewis) SUN 379 (July 7, 1962)
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available > buttons <
- VOLUME 5 -
The
fifth volume of the Complete Sun Singles chronicles two landmarks: the birth of the Phillips International label and the death of Sun Records. Approximately ten years separated these two events.
By the time the original Sun label was shuttered in January 1968, it had ceased to be a national label in any meaningful sense, and
had lost its status as an important or trend-setting force in the industry. In essence, it departed as it had entered”a regional label sporadically releasing music that interested its owner.
The final 27 Sun releases in this volume represent an inconsistent
musical vision and a surprising array of styles. The origin of the Sun label lay in the black music that surrounded its storefront Memphis location. Notably, some of Sun's final releases reflect a return to those roots by Sam Phillips, as well as his sons Knox and Jerry.
In Sun's earlier days, bot with and black musicians were recorded, but rarely if ever at the same time. Ten
years later, integration had come to Memphis: at least on the studio floor. Taking their lead from Hi and Stax, Sun became another Memphis label
to run integrated sessions. Interestingly, there was as much rhythm and blues being played and recorded in Memphis by white artists as by blacks, but again, compared to ten years
earlier, the difference was striking. White musicians in Memphis during the mid 1960s were no longer imitating (i.e. covering) black music for the pop marketplace.
Gone were the sanitized versions of black music for lillywhite sensibilities. By the time of the later Sun releases, white artists like Billy Adams, Bill Yates and the Jesters were performing rhythm and blues with no attempt whatsoever to soften its rougher edges.
Nevertheless, it is surprising that Sun Records, whose roots extend so deeply into black music, recorded so little of it during the 1960s. This is doubly curious given that Memphis played a central role in the emergence of soul music. It literally surrounded the Sun studios. It
blared from juke boxes and car radios outside the studio walls. Yet, with the exception of one single by the Climates, none of it was issued on Sun.
There were only 13 records released during the final three years of Sun's existence. Even these few records
reflect a scattershot approach: country, white rhythm and blues, rock and roll, black gospel. Promotion man Cecil Scaife reflected, ''It was demoralizing
to work there toward the end. It was an uphill battle. I had no budget to promote. Sam's attitude was, 'If they happen, fine. If they don't, fine''. If that kind of fatalistic
approach to marketing had ever been successful in the record business, it certainly wasn't in the early 1960s.
Knox Phillips agrees with Scaife's assessment of Sun's demise. ''The basic reason was that Sam wasn't going to
gamble his money promoting records any more. He had seen some of his friends go broke, such as the people who ran Vee-Jay, and he became just a little too conservative just as the industry really
took off in the midsixties. That's a pity''. Knox believed that Sun could have competed successfully as a national label. Perhaps it
could, but history seems to bear out Sam Phillips' jaded attitude. Two of his most successful local competitors, Stax and Goldwax, went bankrupt, and Hi Records was ultimately sold for a fraction
of its worth.
Arguably, the beginning of the Sun end was written even earlier when Sam Phillips began to turn over the daily running of the label to other people like Jack Clement and Bill Justis. A
successful of employees and surrogates – many of them highly talented people – took over most of the operations, from recording sessions
to managing the studio. Even legendary guitarist Scotty Moore sat behind the glass at 639 Madison Avenue and at Phillips' Nashville studio, engineering sessions for artists who were barely aware
of his classic work with Elvis. Perhaps of all these replacements, the greatest enthusiasm and consistency came from Sam's son Knox.
But even Knox recognized the lack of what he called a ''commitment of spirit'' from his father. Had things evolved differently, Knox might well have tried to emulate in the 1960s what his father
had done a decade earlier. Ultimately, though, even Knox saw the handwriting on the wall and encouraged the sale of Sun Records to outside interests.
Knox Phillips recalls, ''There wasn't a moment when we said, 'Okay,
that's the last record we put out on Sun''. Yet, when a deal came along to produce records for the fledgling Holiday Inn label, both Knox and Sam welcomed the infusion of the outside money and seized the opportunity to produce music for someone else's venture. In Knox's view, the start of the short-lived Holiday Inn label was the
''tacit end of Sun''. How ironic that Sam Phillips' involvement in the record business ended exactly as it began: by producing music, and black
music at that, for somebody else's label.
When the first
Phillips International record appeared in the Fall of 1957, Sun fans faced a dilemma. Were these in fact to be treated as Sun records? Should they be approached with the same passionate interest
and obsessive enthusiasm as their counterparts bearing the famous yellow label? To some extent, that dilemma for collector remains today.
Certainly, Phillips International releases were being recorded
in the same tiny magic studio at 706 Union Avenue. And even if some of the artist names were initially unfamiliar, weren't those the same backing musicians playing on Phillips International as on Sun? But what about the label itself? Gone were the bright yellow sunrays, not to mention the rooster of 78rpm days. In their place was
a subdued blue map of the world (with most of Europe and all of Asia conspicuously missing). Even with these geographic distortions, there
were plainly bigger aspirations here. This was an international corporation, or so the label suggested. Actually, the fine print on the bottom of the label restricted its reach to New York, Memphis
and Hollywood. Hardly international, but still bigger than just Memphis.
That was the problem. Who needed another record company from New York or California? There were plenty of those large characterless
corporations. We wanted a small, regional label that exuded irreverent energy and marched to its own drummer (preferably J.M. Van Eaton). In essence, we wanted Sun Records! If
Phillips International was willing to provide more of those, then fine. We'd make allowances for the tepid looking label. But if this was going to be a way
of selling out using a Memphis address, then we wanted no part of Phillips International. And so Sun fans took a wait-and-see attitude in the Fall of 1957.
In truth, if there was a corporate philosophy or musical direction in that first batch of five Phillips
International releases, it was hard to detect. They were, to put it bluntly, all over the map. Two of them might have fit in with what Sun was leasing
in 1957. Two of them were plainly mellow poppish affairs that any true Sun fan would disdain, and one, an instrumental, was hard to figure. Was it big band rockabilly? Needless to
say, we now that the unclassifiable instrumental by Bill Justis was the one to take the nation by storm and provide Phillips International with a massive hit
almost as soon as it came into being.
As for whether a
particular corporate philosophy ever guided the Phillips International label, it's really anybody's guess. One more than one occasion Sam Phillips expressed a concern that disc jockeys and
distributors would only give a certain amount of attention to each label. If a package of six Sun 45s came into a radio station, maybe only three
or four of them would get a serious listen before the dee-jay or program-director moved on to be packages from Atlantic, Chess, Liberty and RCA. If two or three of those
singles happened to be by Johnny Cash or Jerry Lee Lewis, that made it even harder for a new or second tier Sun artist to get a break or some airplay. By splitting
releases between Sun and Phillips International, Phillips believed he was giving his artist (not to mention, his copyrights) a better shot at fame and fortune. Whether
or not Phillips International was to represent a ''softer'', more commercial sound (as opposed to the backporch rockabilly increasingly associated with Sun) is –
with 40 years hindsight – still unclear. Certainly, there was more pop music issued on Phillips International than Sun. But, then, just as you were ready to write off the
Phillips International label as an uptown sellout, they would issue something to turn head around and drag you back into the fold.
Hank Davis, 1997
© 1997 Bear Family Records (CD) 500/200rpm BCD 15805 mono digital
THE COMPLETE SUN
SINGLE - VOLUME 5
Sun 380-407 & Phillips International 3516-3538
One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Disc 1 and 2. Yellow label. Have circle of musical
notes and staff around the entire label, with excepted of the bar wherein "Memphis, Tennessee" appear. The letters SUN with sun rays pressed in light brown at the top of the label.
Disc 3 and 4. Blue label with geographic distortions, a subdued blue map of the world (with most of Europe and all of Asia conspicuously missing). Phillips International logo on top of the label that reads:
Sam C. Phillips International Corp. and is printed between the red-white-blue pennant. The fine print on the bottom of the label restricted its reach to New York, Memphis and Hollywood. On the front cover of the boxed set showing a photo of
the pressing SUN "push-marks". On the back cover of the box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of the 78s or 45s issued between 1950 and 1968 on the Sun, Flip and Phillips International labels.
Also included in the boxed sets, an 68-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes on every record all by Hank Davis, and incredibly rare photos and memorabilia, label shots of every
record.
Disc 1 Contains
(Tony Rossini & The Chippers) SUN 380 (July 10, 1962)
> Sun 381-A > Midnight Soiree b/w Crazy Arms < Sun 381-B <
(The Four Upsetters) SUN 381 (November 5, 1962)
(Jerry Lee Lewis) SUN 382 (November 5, 1962)
SUN 383 Assigned to Johnny Cash but Unissued
> Sun 384-A > Teenage Letter b/w Seasons Of My Heart < Sun 384-B <
(Jerry Lee Lewis & Linda Gail Lewis) SUN 384 (April 1963)
> Sun 385-A > Nothin' Shakin' (But The Leaves) b/w Sittin' And Thinkin' < Sun 385-B <
(Linda Gail Lewis) SUN 385 (Unissued)
> Sun 386-A > Surfin' Calliope b/w Wabash Cannon Ball < Sun 386-B <
(The Four Upsetters) SUN 386 (July 15, 1963)
> Sun 387-A > Nobody b/w Moved To Kansas < Sun 387-B <
(Tony Rossini) SUN 387 (July 15, 1963)
(The Teenangels) SUN 388 (Only Issued as Promo)
> Sun 389-A > Betty And Dupree b/w Got My Mojo Workin' < Sun 389-B <
(Billy Adams) SUN 389 (January 1, 1964)
> Sun 390-A > Don't Step On My Dog b/w Stop, Wait And Listen < Sun 390-B <
(Bill Yates & His T-Birds) SUN 390 (May 1, 1964)
> Sun 391-A > Trouble In Mind b/w Lookin' For Mary Ann < Sun 391-B <
(Billy Adams & Jesse Carter) SUN 391 (May 1, 1964)
> Sun 392-A
> Wide Open Road b/w Belshazah < Sun 392-B <
(Johnny Cash & The Tennessee Two) SUN 392 (May 1, 1964)
> Sun 393-A > Signifying
Monkey b/w Listen To Me Baby < Sun 393-B <
(Smokey Joe) SUN 393 (May 1, 1964)
> Sun 394-A > Reconsider Baby b/w Ruby Jane < Sun 394-B <
(Billy Adams) SUN 394 (September 1964)
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available > buttons <
Disc 2 Contains
> Sun 395-A > Mountain High b/w Peek-A-Boo < Sun 395-A <
(Randy & The Radiants) SUN 395 (January 1965)
> Sun 396-A > Carry Me Back To Old Virginia b/w I Know What It Means < Sun 396-B <
(Jerry Lee Lewis) SUN 396 (March 15, 1965)
> Sun 397-A > Carleen
b/w Too Late To Right My Wrong< Sun 397-B <
(Gorgeous Bill) SUN 397 (March 15, 1965)
> Sun 398-A > My Way Of Thinking b/w Truth From My Eyes < Sun 398-B <
(Randy & The Radiants) SUN 398 (November 25, 1965)
(Bill Yates) SUN 399 (February 1, 1966)
> Sun 400-A > Cadillac Man b/w My Baby < Sun 400-B <
(The Jesters) SUN 400 (February 1, 1966)
> Sun 401-A > Open The Door Richard b/w Rock Me Baby < Sun 401-B <
(Billy Adams) SUN 401 (February 1, 1965)
> Sun 402-A > Don't Knock What You Don't Understand b/w Always On The Go < Sun 402-B <
(Dane Stinit) SUN 402 (May 1966)
> Sun 403-A > Sherry's Lips b/w Miss Brown < Sun 403-B <
(David Houston) SUN 403 (October 10, 1966) Reissue of PI 3583
> Sun 404-A > No You For Me b/w Breaking Up Again < Sun 404-B
<
(The Climates) SUN 404 (February 1967)
> Sun 405-A > The Muddy Ole River (Near Memphis, Tennessee) b/w Sweet Country Girl < Sun 405-B <
(Dane Stinit) SUN 405 (February 1967)
(Brother James Anderson) SUN 406 (February 1967)
Issued
as Gospel Series
> Sun 407-A > Back In My Arms Again b/w I'm A Lover < Sun 407-B <
(Load Of Mischief) SUN 407 (January 1968)
Original Sun Recordings
For music (Sun standard singles) on YouTube click on the available > buttons <
Disc 3 Contains
> PI-3516-A > You Pass By b/w Please Convince Me <
PI 3516-B <
(Buddy Blake) PI 3516 (September 1957)
>
PI 3517-A > Love My Baby b/w One Broken Heart < PI 3517-B <
(Hayden Thompson) PI 3517 (September 1957)
> PI 3518-A > Two Young Fools In Love b/w I'm Getting Better All The Time < PI 3518-B <
(Barbara Pittman) PI 3518 (September 1957)
> PI 3519-A > Raunchy b/w The Midnite Man < PI 3519-B <
(Bill Justis & His Orchestra) PI 3519 (September 1957)
> PI 3520-A > That's The Way I Love b/w I'll Wait < PI 3520-B <
(Johnny Carroll) PI 3520 (September
1957)
> PI 3521-A > Treat Me Right b/w I'm On My Way Home <
PI 3521-B <
(Cliff Thomas, Ed & Barbara) PI 3521 (January 1958)
> PI 3522-A > College Man b/w The Stranger < PI 3522-B <
(Bill Justis & His Orchestra) PI 3522 (February 1958)
> PI 3523-A
> My Love Song b/w Point Of View < PI 3523-B
<
(Wayne Powers) PI 3523 (March 1958)
> PI 3524-A > After The Hop b/w Sally's Got A Sister < PI 3524-B <
(Bill Pinky & The Turks) PI 3524 (March 1958)
> PI 3525-A > Wild Rice b/w Scroungie < PI 3525-B <
(Bill Justis & His Orchestra) PI 3525 (March 1958)
> PI 3526-A > You
Are My Sunshine b/w Tootsie < PI 3526-B <
(Carl McVoy) PI 3526 (June 1958)
Original Sun Recordings
For music (PI standard singles) on YouTube click on the available > buttons <
Disc 4 Contains
> PI 3527-A > Everlasting
Love b/w Cold Cold Heart < PI 3527-B <
(Barbara Pittman) PI 3527 (June 1958)
> PI 3528-A > Stairway To Nowhere b/w Raining The Blues < PI 3528-B
<
(Ernie Barton) PI 3528 (June 1958)
> PI 3529-A
> Cattywampus b/w Summer Holiday < PI 3529-B <
(Bill Justis & His Orchestra) PI 3529 (June 1958)
< PI 3530-A > The Frog b/w A Little Blue Bird Told Me < PI 3530-B <
(Lee Mitchell & The Curley Money Combo) PI 3530 (June 1958)
> PI 3531-A > Sorry I Lied b/w Leave It To Me < PI 3531-B <
(Cliff Thomas, Ed & Barbara) PI 3531 (September 1958)
> PI 3532-A > Whirlwind b/w Philadelphia Baby < PI 3532-B <
(Charlie Rich) PI 3532 (October 1958)
> PI 3533-A > Somehow Without You b/w The Picture < PI 3533-B <
(Mickey Milan & The Montclairs) PI 3533 (September 1958)
> PI 3534-A > Crazy Baby b/w I Was A Fool < PI 3534-B <
(Ken Cook) PI 3534 (October 1958)
(Bill Justis & His Orchestra: String Of Pearls) PI 3535 (October 1958)
> PI 3536-A > The Minstrel Show b/w Three Little Guitars < PI 3536-B <
(The Clement Travelers) PI 3536 (February 1959)
> PI 3537-A > Hopeless Love b/w If I Had My Way < 3537-B <
(Jimmy Demopoulos) PI 3537 (February 1959)
> PI 3538-A > I'm The Only One b/w Tidewind < PI 3538-B <
(Cliff Thomas, Ed & Barbara) PI 3538 (March 1959)
Original Sun Recordings
For music (PI standard singles) on YouTube click on the available > buttons <
- VOLUME 6 -
This sixth and final boxed set in the Complete Sun Singles series documents a period of approximately four years beginning
in March 1959, during which the final 48 singles were issued on the Phillips International label.
Unlike Sun Records, Phillips International did not simply run out of steam and cease to exist. Rather, Sam Phillips closed the label
that bore his name as part of a legal arrangement with Philips Electric of the Netherlands, which had recently bought Mercury Records and wished to establish a presence in the North American market. The similarity between ''Philips'' and ''Sam C. Phillips International'' was simply too close for comfort. The last Phillips International single was issued at some point in 1963; thereafter
all remaining releases appeared on the Sun label until its demise in 1966.
From the first, the Phillips International label had a slightly different mandate than Sun. The music occasionally veered more closely to pop than releases
on Sun and, in truth, while occasional records stood out in quality, the label never established a clear identity in any musical genre. Moreover, Sam Phillips used his
namesake label to take some reluctant steps in the direction of long playing records. Never comfortable with LPs, Phillips ultimately issued a dozen of them on Sun, ten by Cash, Perkins and Lewis (only the
unexpected popularity of Roy Orbison's releases on Monument inspired Phillips to cobble together a crudely overdubbed series of Sun performances for LP release in 1960). Phillips
International was another matter.
There were eight LPs released
– a small number by industry standards, but a large commitment in Phillips' eyes. More tellingly, half of them featured artists who had never seen their names on a Phillips International
single. Graham Forbes and Chuck Foster played the kind of jazz that appeared in local hotels; Frank Ballard offered a version of uptown rhythm and blues, and Eddie Bond (who had
auditioned in vain for Sun years earlier) appeared with an album of country gospel. There is much variability in the music on this boxed set. Part of that stems from
changes in the marketplace between 1959 and 1963, but there is another reason that has more to do with internal factors than outside trends. These singles were recorded
in very different places. The earliest are from 706 Union Avenue, the original location of Phillips' studio. These are arguably the best recordings, or at least the most familiar to Sun fans. The next batch come from 639 Madison Avenue, and they are arguably the worst, especially the initial ones made when the new studio was, by any reckoning, acoustically out of control. Some of
the last singles were recorded in Phillips' newest acquisition: a studio on Seventh Avenue North in Nashville. By and large, these are good, clean recordings, untroubled
by the problems plaguing Madison Avenue, but lacking the distinctive qualities found at 706 Union. But there is a fourth source, or source, for Phillips International releases.
As Phillips made increasing contact with Nashville, the town also reached out to him. The latter day Phillips International release schedule includes a sizable amount of leased product – masters made
independently which were brought to Phillips as finished product, available for release on his label. Technically speaking, this was nothing new. Even in its heyday, Sun had occasionally
bought outside masters for release, but never before had so many sides been imported as during the last three years of the Phillips International label. Of the final
22 releases, approximately a third were leased.
To be sure, there
are musical highlights on this series. Charlie Rich's record maintained an impressively high standard. Carl Mann, along with his superb guitarist Eddie Bush, had their moments of transcendence when
they weren't being sabotaged by gratuitous overdubs. Frank Frost came from out of nowhere to offer one of the finest blues recordings ever to appear on a Sam Phillips label, and
occasional surprises by old Sun veterans like Mack Self and Sonny Burgess brought a smile to collectors. But there are other surprises here, too. Some of these lesser
known singles, while not the fare that drew collectors to Sun, were nonetheless well crafted and enjoyable records that stood some chance in the marketplace. Nearly 50 years later, these records
can be appreciated on their own terms. Most of them suffered from Sam Phillips' increasingly apathetic approach to promotion. Just mail them out. If they turn into hits, great.
If they don't that's fine too.
In the main, 1959-1963 was not a
peak period in the evolution of popular music. Putting it simply, rock and roll was no longer inventing itself – a process to which Sun had contributed mighty. In the time period covered by this series, rock music had already begun to feed on itself. Cliches had been born and riffs were frequently borrowed and reworked. When it came time for Martin Willis to take
a sax break, he might just likely honk out four bars of the Del Vikins' ''Whispering Bells'' as invent a new melody. It wasn't necessarily conscious plagiarism; rock
had simply established its own culture and it was becoming harder and harder to be original.
This was also an era when rock needed to be sanitized to be played on the radio. An era in which Bobby's (Vinton, Vee, Rydell) have
hits is an era that demands sweetening with strings and voices. Perhaps Sun (and Phillips International) could have kept blazing new trails, but in all likelihood they would have sold even fewer records than they did. Mind you, Phillips International did have hits during the period covered here, and several of the songs are as well known as any from the era.
We have thus gathered together the final 48 singles issued on the Phillips International
label – the wonderful, along with the good, the bad, and the ugly. This music, along with the previous series, offers the fullest documentation of the
history of Sam Phillips' record labels. We have done everything possible to document the music in its original form, and fill in as many blanks as possible about the artists who recorded it. Undoubtedly, more information will come to light over the years, and, hopefully, future collectors will find we have committed more sins of omission than commission.
Perhaps the biggest legacy of this series will lie beyond entertaining the present
generation of collectors. We hope that in making this music available in such systematic fashion, we will succeed in reaching a new audience: listeners who
will intuitively turn away from whatever brand of musical pabulum their generation is being force-fed and discover that same electricity and emotional honestly that led each of us to the corner
of Union and Marshall Avenues, and those little yellow labels that contained more musical excitement than we had ever known before.
Hank Davis, 1998
© 1998 Bear Family Records (CD) 500/200rpm BCD 15806 mono digital
THE COMPLETE SUN
SINGLES - VOLUME 6
Phillips International 3539-3586
One of the 6 lavishly-presented 4 compact disc boxed set (LP-size). An Bear Family Special Products. Blue label with geographic distortions, a subdued blue map of the world (with most of Europe and all
of Asia conspicuously missing). Phillips International logo on top of the label that reads: Sam C. Phillips International Corp. and is printed between the red-white-blue pennant. The fine print on the bottom of the label restricted its reach
to New York, Memphis and Hollywood. On the front cover of the boxed set showing a photo of the pressing SUN "push-marks". On the back cover of the box set, Bear Family logo lower left. The discs in this unique collection each contain both sides of
the 78s or 45s issued between 1950 and 1968 on the Sun, Flip and Phillips International labels. Also included in the boxed sets, an 68-page booklet with foreword and introduction notes by Colin Escott. In the booklet there are song-by-song notes
on every record all by Hank Davis, and incredibly rare photos and memorabilia, label shots of every record.
Disc 1 Contains
>
PI 3539-A > Mona Lisa b/w Foolish One >< PI 3539-B <
(Carl Mann) PI 3539 (March 1959)
> PI 3540-A > Forty Leven Times b/w More Pretty Girls Than One < PI 3540-B <
(Edwin Howard) PI 3540 (April 1959)
> PI 3541-A > Open The Door Richard b/w Shut Your Mouth < PI 3541-B <
(Ernie Barton) PI 3541 (1998)
An Ernie Barton release was scheduled for this number, but nobody has seen it.
>
PI 3542-A > Rebound b/w Big Man < PI 3542-B <
(Charlie Rich) PI 3542 (June 1959)
> PI 3543-A > These Silly Blues b/w To Tell The Truth < PI 3543-B <
(Bobbie And The Boys) PI 3543 (June 1959)
> PI 3544-A > Flea Circus b/w Cloud Nine < PI 3544-B <
(Bill Justis & His Orchestra) PI 3544 (July 1959)
> PI 3545-A > 706 Union b/w Low Outside >< PI 3545-B <
(Brad Suggs) PI 3545 (September 1959)
> PI 3546-A > Rockin' Love b/w Pretend < PI 3546-B <
(Carl Mann) PI 3546 (September 1959)
(The Memphis Bells) PI 3547 (October 1959)
> PI 3548-A > Willie Brown b/w Mad At You < PI 3548-B <
(Mack Self) PI 3548 (October 1959)
> PI 3549-A > I
Walk The Line b/w Ohh Wee < PI 3549-B <
(Brad Suggs) PI 3549 (October 1959)
Original
Sun Recordings
For music (PI standard singles) on YouTube click on the available > buttons <
Disc 2 Contains
> PI 3550-A > Some Enchanted Evening b/w I Can't Forget < PI 3550-B <
(Carl Mann) PI 3550 (January
1960)
> PI 3551-A > A
Kiss Goddnite b/w Sadie's Back In Town <
PI 3551-B <
(Sonny Burgess) PI 3551 (January 1960)
> PI 3552-A > Lonely Weekends b/w Everything I Do Is Wrong < PI 3552-B <
(Charlie Rich & The Gene Lowery Singers) PI 3552 (January 1960)
> PI 3553-A > The
Eleventh Commandment b/w Handsome Man < PI 3553-B <
(Barbara Pittman & The Gene Lowery Singers) PI 3553 (April 1960)
> PI 3554-A > Cloudy b/w Partly
Cloudy < PI 3554-B <
(Brad
Suggs & The Gene Lowery Singers) PI 3554 (April 1960)
> PI 3555-A > South Of The Border b/w I'm Comin' Home < PI 3555-B <
(Carl Mann &
The Gene Lowery Singers) PI 3555 (May 1960)
> PI 3556-A > Jo Ann b/w Honey Bee < PI 3556-B <
(Don Hinton & The Gene Lowery Singers) PI 3556 (May 1960)
> PI 3557-A
> Sunny Side Of The Street b/w Take A Chance < PI 3557-B <
(Jeb Stuart & The Gene Lowery Singers) PI 3557 (June 1960)
> PI 3558-A > Baby
I Don't Care b/w Vanished < PI 3558-B <
(Eddie Bush & The Gene Lowery Singers) PI 3558 (June 1960)
> PI 3559-A > I Get The Blues When It Rains b/w In The Mood < PI 3559-B <
(The Hawk) PI 3559
(August 1960)
> PI 3560-A > Gonna Be Waitin' b/w School Days <
PI 3560-B <
(Charlie Rich & The Gene Lowery Singers) PI 3560 (May 1960)
> PI 3561-A > Somewhere Along The Line b/w I'll Change My Ways < PI 3561-B <
(Danny Stewart) PI 3561 (August 1960)
Original Sun Recordings
For music (PI standard
singles) on YouTube click on the available > buttons <
Disc 3 Contains
> PI 3562-A > On My Knees b/w Stay < PI 3562-B <
(Charlie Rich) PI 3562 (September 1960)
> PI 3563-A > Sam's Tune b/w
My Gypsy < PI 3563-B <
(Brad
Suggs) PI 3563 (October 13, 1960)
> PI 3564-A > Wayward Wind b/w Born To Be Bad < PI 3564-B <
(Carl Mann) PI 3564 (March 11, 1960)
>
PI 3565-A > Gone And Left The Blues b/w Your Fool < PI 3565-B <
(Jimmy Louis) PI3565 (November 11, 1960)
> PI 3566-A > Who Will The Next Fool Be b/w Caught In The Middle < PI 3566-B <
(Charlie Rich) PI 3566 (February 24, 1961)
> PI 3567-A > Dream b/w Coming Down With The Blues < PI 3567-B <
(Jeb Stuart) PI 3567 (April 28, 1961)
>
PI 3568-A > You're Everything b/w You've Come Home > PI 3568-B <
(Nelson Ray) PI 3568 (April 28, 1961)
> PI 3569-A > If I Could Change You b/w I Ain't Got No Home < PI 3569-B <
(Carl Mann) PI 3569 (July 1961)
> PI 3570-A > My Greatest Hurt b/w Nothing Down (99 Years To Pay) < PI 3570-B <
(Jean Dee) PI 3570 (July 1961)
(Brad Suggs) PI 3571 (November 1961)
> PI 3572-A > Just A Little Bit Sweet b/w It's Too Late < PI
3572-B <
(Charlie Rich) PI 3572 (September 1961)
> PI 3573-A
> I Know What It Means b/w Willing And Waiting < PI 3573-B <
(Mikki Wilcox) PI 3573 (September 1961)
Original Sun Recordings
For music (PI standard singles) on YouTube click on the available > buttons <
Disc 4 Contains
> PI 3574-A > Don't Make Me Cry b/w Someday She'll Cone Along < PI 3574-B <
(Freddie North) PI 3574 (October 1961)
> PI 3575-A > I Betcha Gonna Like It b/w
Little Miss Love < PI 3574-B <
(Jeb Stuart) PI 3575 (February 1962)
> PI 3576-A > Easy
Money b/w Midnite Blues < PI 3576-B <
(Charlie Rich) PI 3576 (April 1962)
> PI 3577-A > I've Got It Made b/w The Quiet Look < PI 3577-B <
(Thomas Wayne) PI 3577 (April 1962)
> PI 3578-A
> Crawlback b/W Jelly Roll King < PI 3578-B
<
(Frank Frost) PI 3578 (June 1962)
> PI 3579-A > When I Grow Too Old To Dream b/w Mountain Dew < PI 3579-B <
(Carl Mann) PI 3579 (June 1962)
> PI 3580-A > I Ain't Never b/w In Love Again < PI 3580-B <
(Jeb Stuart & The Chippers) PI 3580 (June 1962)
> PI 3581-A > Thanks A Lot b/w There's Something About You < PI 3581-B <
(Davis Wilkins) PI 3581 (June 1962)
> PI 3582-A > Sittin' And Thinkin' b/w Finally Found Out < PI 3582-B <
(Charlie Rich) PI 3582 (October 1962)
> PI 3583-A > Sherry's Lips' b/w Miss Brown < PI 3583-B <
(Davis Houston) PI 3583
(1963)
> PI 3584-A > There's Another Place I Can't Go b\w I Need You Love < PI 3584-B <
(Charlie Rich) PI 3584 (1963)
> PI 3584-B >Thanks
A Lot b/w The Boy I Met Today <
PI 3585-B <
(Jeannie Newman) PI 3585 (1963)
>
PI 3586-A > Times Sho' Getting' Ruff b/w Softie < PI 3586-A <
(The Quintones) PI 3586 (1963)
Original Sun Recordings
For music (PI standard singles) on YouTube click on the available > buttons <
© Original Sun Recordings, licensed from Sun Entertainment, Inc.
For Biographies of Artists see: > The Sun Biographies <
For music (Sun, Flip, and Phillips International
standard singles) can be heard on
the playlists on YouTube - click on the available > buttons <
> It's The Philips 9001/9002 Series <
> (1952-1954) Sun Records 174-200 Series <
> (1954-1958) Sun Records 201-300 Series <
> (1958-1966) Sun Records 301-400 Series <
> (1966-1968) Sun Records 401-407 Series <
> (1955) Flip Records 501-504 Series <
> (1957-1963) Phillips International 3516-3586 Series <
© - 706 UNION AVENUE SESSIONS - ©