Various Sun Vinyl Reissues 1

The Blues Came Down From Memphis (HAS 8265) Various Artists (1966)
Let's Go Down South (Neshoba N-11) Various Artists (1966)
Dr. Ross His First Recordings (Arhoolie 1065) Doctor Ross (1972)
Blue In The Morning (Polydor 2383 214) Joe Hill Louis & Willie Nix (1973)
We Wanna Boogie (Bopcat B. LP 200) Various Artists (1974)
Lowdown Memphis Harmonica Jam 1950-1955 (Nighthawk 103) Various Artists (1976)
Don't Step On My Blue Suede Shoes (CR 30119) Various Artists (1977)
The Best Of Sun Rockabilly - Volume 1 (CR 30123) Various Artists (1977)
The Best Of Sun Rockabilly - Volume 2 (CR 30124) Various Artists (1977)
Rockabilly Rules OK (CR 30138) Various Artists (1978)
Tough Stuff - Sun's Instrumental Gold (CR 30186) Various Artists (1980)
Rebel Rockabilly (CR 2015) Various Artists (1981)
Red Hot Riley ( CDX 9) Billy Riley (1985)

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

March 1966 London Records (LP) 33rpm London HAS 8265 mono

A good selection of Sun's blues material, including representative cuts by Doctor Ross and James Cotton, Willie Nix, Jimmy DeBerry, Sammy Lewis, Little Milton as well as Rufus Thomas's ''Bear Cat'' and ''Tiger Man''.

On the back cover of the album liner notes and biography written by Michael Vernon. ''Through the efforts of one man, Sam C. Phillips, the Sun Record Company has been, and still is, one of the major ''small'' labels of America. His seemingly unerring eye for talent was responsively for the discovery of Elvis Presley, Carl Perkins, Johnny Cash, Roy Orbison and Jerry Lee Lewis. But this was only the second half of a success story which last nearly twenty years. Prior to his entry into the record business, Phillips had been a band promotor and disk jockey. In the late 1940s he set up his own studio, recording solely Negro artists. Most of this material was released on the Bihari brothers labels, Modern, RPM and Meteor. Some was leased to the Chess brothers in Chicago, involving records by Howlin' Wolf, Doctor Ross, Harmonica Frank, Rufus Thomas and Walter Horton.

His venture proved so successful that Phillips soon realized the possibilities for forming his own record company. Having already recorded just about blues singers in and around Memphis, it was not hard to found material. Most of the first thirty releases on Sun were by blues artists, most of whom have since achieved fame of one sort or another. Probably the two most well-known to the world of popular blues music are Rufus Thomas and Little Junior Parker, whose Sun records bear for more resemblance to the blues than do their current output. Another singer who has recently gained a measure of hit parade success is Little Milton Cambell, though once again his present efforts are in rather different context to those he recorded for Sun.

Other singers less well-known to the majority of the record-buying public, but of perhaps greater interest to blues collectors, also contributed to the early success of Sun Records: Joe Hill Louis, the legendary one-man-band, whom Phillips had previously recorded for Modern; Willie Nix, the singer/drummer who later recorded for Checker and Chance; Jimmy DeBerry, who had recorded for Vocalion in 1939; Doctor Ross, here featured as a singer/harmonicanist, later to become another one-man-band; James Cotton, now a mainstay of the Muddy Waters Blues Band; Harmonica Frank, whose records on Chess are among the finest example of Postwar blues.

Side 1 Contains
1.1 - The Boogie Disease (Sun 212) (Doctor Ross)
1.2 - Cotton Crop Blues (Sun 206) (James Cotton)
1.3 - Baker Shop Boogie (Sun 179) (Willie Nix)
1.4 - Bear Cat (Sun 181) (Rufus Thomas)
1.5 - Take A Little Chance (Sun 185) (Jimmy DeBerry)
1.6 - Juke Box Boogie (Sun 212) (Doctor Ross)
1.7 - I Feel So Worried (Sun 218) (Sammy Lewis & Willie Johnson Combo)
Original Sun Recordings

Side 2 Contains
2.1 - If You Love Me (Sun 200) (Little Milton)
2.2 - Time Has Made A Change (Sun 185) (Jimmy DeBerry)
2.3 - Come Back Baby (Sun 193) (Doctor Ross)
2.4 - So Long (Sun 218) (Sammy Lewis & Willie Johnson Combo)
2.5 - Tiger Man (Sun 188) (King Of The Jungle) (Rufus Thomas)
2.6 - Seems Like A Million Years (Sun 179) (Willie Nix)
2.7 - Chicago Breakdown (Sun 193) (Doctor Ross)
Original Sun Recordings


1966 Neshoba Records (LP) 33rpm NESHOBA N-11 mono

Post War blues as sung from Memphis down to Dallas. The sad factor is that for most of the artistes here, the few sides on this LP represent their total recorded output. A short session in a makeshift studio, ending in 3 or 4 sides, a few dollars paid, this was the beginning and end of their recording careers. Like their old 78's details and information about these artistes is extremely hard to come by: no one wants to remember the singer who 'never made it. What information there is available has been acquired by an extremely small number of blues researchers, one of whom writes notes by John G. Allinson and Mike Leadbitter. A Limited edition of 99 copies.

Side 1 Contains
1.1 - Blue Serenade (Baby Face Turner)
1.2 - Gonna Let You Go (Baby Face Turner)
1.3 - Rabbit Blues (Charley Booker)
1.4 - One Rainy Morning (Clarence London)
1.5 - Going Back To Mama (Clarence London)
1.6 - Cool Down Mama (Lost John Hunter)
1.7 - School Boy (Lost John Hunter)
1.8 - Goin' Down Slow (Joe Hill Louis)
3,6,7,8 Original Sun Recordings

Side 2 Contains
2.1 - Lonesome Ol' Jail (D.A. Hunt)
2.2 - Greyhound Blues (D.A. Hunt)
2.3 - Country Clown (Doctor Ross)
2.4 - Your Picture Done Fade (King 4517) (Country Paul)
2.5 - Ain't It Sad (King 4517) (Country Paul)
2.6 - Eyesight To The Blind (Joe Hill Louis)
2.7 - Dollar Diggin' Woman Big (Charley Bradix)
2.8 - Boogie Like You Wanna (Big Charley Bradix)
1,2,3,6 Original Sun Recordings


1972 Arhoolie Records (S) 33rpm Arhoolie 1065 mono

13-track vinyl LP, compiling a number of outstanding recordings by the Delta bluesman Doctor Ross, originally recorded for the Sun label and all featuring the Doc's unique guitar-and-harmonica style. Recorded 1951-1954 Memphis Recording Service and Sun Studio, 706 Union Avenue, Memphis, Tennessee.

The mention of the name ''Dr. Ross'' to the uninitiated may bring to mind a certain variety of dog food popular in the 1950s, but to the blues aficionado the name will certainly connote a legend also launched in the fifties, personified in one Isaiah Ross, famous for his raucous, infectious harmonica and guitar boogie and blues style.

These recordings, his first but largely unissued until now, did not of course make his reputation, but we are confident they will enhance it greatly.

Doctor Ross now (1972) resides in the industrial city of Flint, Michigan. But before he made the trek northward in the early 1950s, he was main somewhat of a living playing music in and around his hometown, the small town of Tunica, in Mississippi.

Ross was born October 21, 1925, into a large family of 11 children. His father, Jake Ross, played harmonica and it was from him Isaiah inherited his musical abilities. John Lee ''Sonny Boy'' Williamson, in turn, greatly influenced the plating style of the young harmonicist.

He strove to be a professional musician from the age of nine and by the late 1940s, after his release from the armed forces, he had accomplished his goal.

Many musicians worked under the aegis of Doctor Ross - Memphis Piano Red, Henry Hill, Barber Parker, Tom ''Slam Hammer'' Toy and Wiley Gatalin being among the most notable.

In the late 1940s and early 1950s, Doctor Ross was featured in a number of live radio shows for stations in the area, including KFFA in Helena, Arkansas, the station famous for its King Biscuit Time; WROX in Clarksdale, Mississippi; and WDIA in Memphis, Tennessee; were he was ''Medical Doctor'' of Dee Jay. A.C. ''Mr. Blues'' Williams, ''The Royal Amalgamated Association of Chittlin Eaters of America, Incorporated For The Preservation Of Good Country Blues'', the other officers of which included Joe Hill Louis, Lightnin' Hopkins and Muddy Waters.

It was in Memphis that he made these, his initial recordings. They are among his finest, and some predate his decision to become a one-man blues band.

At the time of his first session, Doctor Ross did not feel that he had then sufficiently mastered the guitar to articulately accompany his own singing and harmonica playing. Consequently he called on the abilities of the aforementioned Wiley Galatin, and Tom Toy, from time to time.

Eventually under the able tutelage of George ''G.P.'' Jackson, now popularly known as ''Kansas City Bo Diddley'', Ross was able to perfect a guitar style suitable to his needs.

Mention should be made at this point that Doctor Ross is lefthanded and naturally plays hold the guitar and the harmonica upside down and backwards; that is, the guitar is played with the treble strings at the top and the harmonica with the bass and at his right. This is a truly remarkable feat on either instrument, as anyone who has ever tried to play in this fashion can attest.

This LP drawn from (probably) five sessions give a sampling of Ross progression toward his unique one-man blues band conception, still in crystallization at that point.

With one notable exception, none of the tracks in this collection have ever been released before. They provide a clearer picture than any previously-issued material, of the early musical activities of a latter-day saint of the blues and boogie idioms, Dr. Isaiah Ross.

The Music

''Shake A My Hand'' is modeled after Sonny Boy Williamson's 1946 recording of ''Shake The Boogie'', although the lyrics have been somewhat altered and some of the harmonica phrases seem to be inspired bu Sonny Boy's earlier ''Sonny Boy Jump''.

''Little Soldier Boy'' relates to Ross' experiences in the Army, including references to Korea. The Korean was was still being fought at the time of the session. As Ross served overseas in the Philippines and Southwest Pacific from 1944, it is possible that this song is a reworking of the song he remembers playing early in his career, ''Philippine Jump''. However, Doctor Ross also served in the Army in 1950-1951, so that the song could have been inspired in that latter period. The guitar introduction is reminiscent of John Lee Hooker's work, and the song is in fact melodically similar to Hooker's ''Don't You Remember Me'', recorded shortly before, for King.

''Country Clown'' is the only track included here which has been issued before, and it included on its own merits. It is based on a record by Lil Son Johnson. Although his harmonica style is still in the vein of John Lee Williamson's playing, this song is uncommon in Ross' repertoire in that he has not established new lyrics of his own for the piece, in contrast to many other of the songs in this set.

A new arrangement and slightly different words to Booker (Bukka) White's immortal ''Shake 'Em On Down'' are the features of Ross' version of the number. This side gets site one stomping, and leads into possibly the finest tune Ross ever recorded ''Down South Blues''.

''Down South'' is not Sonny Boy's tune of similar name, but lyrically is an adaption of two of Williamson's other songs, with some alterations. The initial verse is based ob ''Lacey Belle'', while the remaining verses seem to have added 0n bloc from Ross' memory of an earlier piece. The harp sound on this tune is beyond description: Al Wilson would have fallen down.

''Going Back South'' features an unknown vocalist, who may be Wiley Galatin or Reubin Martin, both of whom Doctor Ross reports as playing on other tunes from the session.

These tunes allow us to hear Doctor Ross in the company of the fine barrelhouse pianist Henry Hill (the father old saxman Raymond Hill who was recently with Albert King), and a washboard player, possibly Reubin Martin. At any rate, the pool of musicians is a formidable one, and the result is a rocking sound unlikely to grace the sterile walls of a recording studio again.

''Mississippi Blues'' has been recorded several times since by Ross, as ''Cat Squirel'', and in was under this name that it became a hit for Eric Clapton and Creak in the 1960s. The guitar plays the familiar ''Catfish Blues;; riff, the washboard fills the role normally assumed by a drummer, and Doctor Ross plays some fine harp.

''Doctor Ross Breakdown'' is an alternate take to ''Chicago Breakdown'', which was released in the fifties. Its lyrics contain an interesting biographical mention of the life style of the working man in Tunica; together with the typical southern expression ''all (of) yáll''.

''Turkey Leg Woman'' is melodically similar to Sonny Boy's ''You're An Old Lady'', but the lyrics are original, with very funky references to a cookin' old lady.

''Memphis Boogie'' an alternate take of which was issued in the 1950s, is the only tune in this collection from the fourth early session. It is also the only one featuring a drummer, probably by Barber ''Bobby'' Parker, who was rated, with Joe Hill Louis, as one of the two most professional bluesmen A.C. Williams ever met. Parker still has a band in Tunica, the ''Swinging Silver Kings''.

''Going To The River'' and ''Good Thing Blues'' are from Ross' last session in Memphis. By the time he made them he was living in the north and had returned south on a visit.

''Going'', which has no harp, is a re-make of Blind Lemon Jefferson's ''Wartime Blues'' and ''Good Thing Blues'' is based on Sonny Boy's ''Cold Chils'' or on Hooker's version, but Ross has added new lyrics in part, including the unusual phrase ''god things come to my remind''.

It is easy to concentrate to on Doctor Ross influences. The fact that he is a musical personality in his own right should, however, be obvious to anyone who has read his auto-biography as told to Pete Wekling, in ''Nothing But The Blues''. Certainly the music here is a good representation of the best barrelhouse music of the fifties.

Liner notes by Steve LaVere and Bob Eagle, 1972
Cover Photo by Jim Marsh, taken at the 1970 Ann Abor Festival

Side 1: Contains
1.1 - Shake 'Em On Down
1.2 - Down South Blues
1.3 - Shake A My Hand
1.4 - Little Soldier Boy
1.5 - Mississippi Blues
1.6 - Going Back South
1.7 - Dr. Ross Breakdown
Original Sun Recordings

Side 2: Contains
2.1 - Going To The River
2.2 - Good Thing Blues
2.3 - Turkey Leg Woman
2.4 - Country Clown
2.5 - My BeBop Gal
2.6 - Memphis Boogie
Original Sun Recordings


1973 Polydor Records (LP) 33rpm Polydor 2383 214 mono

To all intents and purposes, this is a Joe Hill Louis album, with a couple of bonus tracks by Willie Nix appended. Maybe his very basic, one-man-band sound was considered a bit of a hard sell, even by downhome blues standards, but this tracks on this LP quite rightly glory in it. It’s an excellent cross section of his rough, tough music: slow blues, boogies and even an instrumental – not that common in Louis’s discography. Two of the four released on Meteor under the pseudonym of Chicago Sunny Boy, are among those included. The Kent anthology had included one side of Willie Nix’s only RPM release, but here it was accompanied by its original flipside – both classic post-war Memphis blues, much enhanced by Willie Johnson’s storming guitar.

Side 1 Contains
1.1 - Nappy Head Woman (Joe Hill Louis)
1.2 - Cold Chills (Joe Hill Louis)
1.3 - Mistreat Me Woman (Joe Hill Louis)
1.4 - Key To The Highway (Joe Hill Louis)
1.5 - Blue In The Morning (Joe Hill Louis)
1.6 - Highway (Joe Hill Louis)
1.7 - Big Legged Woman (Joe Hill Louis)
1.8 - Gotta Go Baby (Joe Hill Louis)
Original Sun Recordings

Side 2 Contains
2.1 - Eyesight To The Blind (Joe Hill Louis)
2.2 - The Way You Treat Me (Joe Hill Louis)
2.3 - Peace Of Mind (Joe Hill Louis)
2.4 - At The Woodchopper's Ball (Joe Hill Louis)
2.5 - I Love My Baby (Joe Hill Louis)
2.6 - Western Union Man (Joe Hill Louis)
2.7 - Lonesome Bedroom Blues (RPM 327) (Willie Nix)
2.8 - Try Me One More Time (RPM 327) (Willie Nix)
Original Sun Recordings


1974 Bopcat Records (LP) 33rpm B. LP 200 mono

With the release of ''We Gonna Boogie'', Bopcat Records once again brings you the finest in issued an unissued rockabilly sounds. You will all be familiar with the Albert ''Sonny'' Burgess titles (who start his career as butcher in Memphis) and the music lives up to Sonny's deserved great reputation. ''Truckin' Down The Avenue'' will be an unfamiliar title, however, and is a classic rockabilly cut that has last unheard for far too long.

Dean Beard, of course became famous as piano player for The Champs but listen as he tears into ''Rock Around The Town'' and the old rocking blues ''Don't Lie To Me''. These recordings, made for distribution on the Sun label, were refused for some obscure reasons are great samples old authentic rock and roll.

Charlie Rich begin his musical education during his childhood. His parents from Arkansas were eager for him to develop his natural talent he begin taking piano lessons at the age of seven. At age 14 he began playing piano and sax for a local dance band. He continued his music lessons playing mostly jazz influenced material when he entered the Air Force in a group. When discharged he returned to Arkansas and pick up some farming work. Sometimes he got some bookings in Memphis on the weekends and finally moved uptown enough to be heard by a talent scout for Phillips International Records named Jack Clement. He suggested to try to sing rock and roll and he cut some demos. He now found success in another style of music but in the years 1957-1958, Charlie was trying to be a rockabilly singer, scatting his way wildly trough Carl Perkins' ''Blue Suede Shoes'', and hitting his peak on the bluessy ''Juchehead Blues''.

We are also pleasant to include two other undiscovered classics. A previously unissued version of ''The Crawdad Hole'' by Jack Earls which features Luther Perkins on guitar and Bill Black on bass, and some rockabilly from Junior Thompson on the original version of ''How Come You To Me''.

We hear a lot about what constitutes rock and roll. Well, this album answer most of the questions. This is wild raunchy music from Memphis which will grab you from your seat.

Side 1 Contains
1.1 - We Wanna Boogie (Sonny Burgess)
1.2 - Truckin' Down The Avenue (Sonny Burgess)
1.3 - Restless (Sonny Burgess)
1.4 - Sweet Misery (Sonny Burgess)
1.5 - Crawded Hole (Jack Earls)
1.6 - Greenback Dollar, Watch And Chain (Ray Harris)
1.7 - Bop Bop Baby (Wade & Dick)
Original Sun Recordings

Side 2 Contains
2.1 - Rock Around The Town (Dean Beard)
2.2 - I Need Your Love (Dean Beard)
2.3 - Don't Lie To Me (Dean Beard)
2.4 - Rockin' With My Baby (Malcolm Yelvington)
2.5 - Juicehead Blues (Charlie Rich)
2.6 - Blue Suede Shoes (Charlie Rich)
2.7 - How Come You To Me (Junior Thompson
Original Sun Recordings


1976 Nighthawk Records (LP) 33rpm Nighthawk 103 mono

This collection features nothing but "holy grail" status blues. All of these tracks were recorded by Sam Phillips at the Memphis Recording Service in the early 1950's and represent some of the rawest, most dynamic and primitive blues ever recorded.

Considering the wide diversity of approach and instrumentation associated with prewar Memphis Blues, the harmonica dominated fifties recording scene is somewhat puzzling. Most blues historians have seen the shift as a natural extension of the city's influential prewar jug band tradition, and cited one man bands, Joe Hill Louis and Doctor Ross, as obvious postwar equivalents, but while the theory may be useful in considering some artists, it ingores the continued presence of a wealth of other styles were virtually unrepresented on record during the early fifties reflects more accurately the bias of local music mogul, Sam Phillips, who recorded the bulk of the city's releases either for him own Sun label or for lease to others such as Modern and Chess..

Among the most recorded of the Memphis singers was one man band, Joe Hill Louis, who appeared on several labels under a variety of pseudonyms usually with only his harmonica, guitar and traps in support, but sometimes with a full band accompaniment. Of the six titles reissued here, only the Sam Phillips productions, ''Walkin' Talkin' Blues'' and ''Street Walkin' Woman'' are included in the standard discography. Absent are the extremely rare The Phillips 9001/9002 issue, ''Gotta Let You Go'' backed with ''Boogie In The Park'', and the even rarer Chicago Sonny Boy coupling on Meteor 5008, ''Love My Baby'' backed with ''On The Floor''. Cut as a sample for the Modern company, the 1950 Phillips pressing was Sam's first production and present Joe Hill Louis in two very jive uptempo numbers. ''Gotta Let You Go'' is built around a repetitive guitar phrase that serves primarily as framework for Joe's hysterical verbal assault on his unfaithful lover who spends her time in beer gardens picking up strangers while Joe sweats out a construction job cutting up concrete. Sam Phillips also engineered the 1951 session which produced the tense brooding ''Wakin' Talkin' Blues and it's platter mate ''Street Walkin' Woman'', both medium paced blues demonstrating the incredible ensemble fullness of sound that Joe was able to achieve as a soloist. The Chicago Sunny Boy tracks were originally recorded as one man band efforts, but then dubbed with drums, conceivably Joe's own. ''Love My Baby'' is one of Joe's most inspired performances, memorable for the fine piercing harp work and impassioned vocal while ''On The Floor'' is a rough stomping instrumental with harp in the lead. Though there is little musical similarity, the title, ''On The Floor'' may have been inspired by Little Walter's instrumental success earlier that year with his ''Off The Wall'', an uptown and sophisticated effort by Memphis standards.

Chicago's well known harmonica ace, Walter Horton, began his recording career in Memphis with two sessions done under the pseudonym, Mumbles. The slow menacing ''Now Tell Me Baby'' from the first session, finds Horton in company with his old friends Jimmy DeBerry and Willie Nix on guitar and drums respectively. ''Jumping Blues'' from the second session is a hard rocking masterpiece with Willie Johnson on guitar, Nix on drums and an unknown, but superb, pianist in support of Horton's hoarse shouted vocal and full vibrant harp work. The super rarity of ''Jumpin' Blues'' on the original label has determined it's lack of notereity in contrast to the available ''Easy'', but it ranks favorably with Horton's best work.

Coy ''Hot Shot'' Loce's ''Harmonica Jam'' and ''Wolf call Boogie, unfortunately his only vintage recordings, had a quality of unrehearsed spontaneity and rate with the most exciting harp work of the postwar era. The whoops and hollers punctuating the harmonica parts are unusual for the area in a postwar context and represent the older tradition of such harp standards as ''Fox Chase'' and ''The Escaped Convict'', pieces normally associated with East Coast artists but popularized across the South by their inclusion in Minstrel and Medicine shows.

Sensitive vocalist and drummer, Willie Nix, was a regular Memphis session man and waxed six vocal titles locally including ''Seems Like A Million Years'' and ''Bakershop Boogie'' with the young James Cotton on harp, Joe Jill Louis on guitar and Billy Red Love on piano. In 1953, shortly after recording the included titles, Nix went to Chicago where he served as substitute band leader for the traveling Muddy Waters and recorded for Chance and Sabre labels. Perhaps on the recomendation of Nix, Cotton followed in the mid-fifties and became a regular with the Waters band well into the early sixties.

Woodrow Adams' primitive ''Wine Head Woman'' and Baby, You Just Don't Know'' reflect his Mississippi background and his association with such well known artists as Howlin' Wolf, Son House and Willie Brown. The backup group includes Hoe Hill Louis on guitar, an unknown pianist, and on drums, ''Fiddlin''' Joe Martin, who first recorded in 1941 for the Library of Congress with Son House, Willie Brown and Leroy Williams. Adams' harp work on these tracks is imitative of Howlin' Wolf's during the same period and the ''rollin' and tumblin''' theme of ''Wine Head Woman'' was in the House/Brown repertoire for a decade before Adams met them in the early forties.

J.D. Horton's only record was a product of the Nashville based Buller label and may indicate his residence in that city, although this vocal/harmonica performance contains much in common with Memphis blues in the period. ''Cadillac Blues'' reveals a talented lyricist, but Horton's harmonica work with this unknown band is only adequate.

Discography and biography with liner notes by Leroy Pierson.

Side 1 Contains
1.1 - Harmonica Jam (Hot Shot Love)
1.2 - Wolf Call Boogie (Hot Shot Love)
1.3 - Street Walkin' Woman (Joe Hill Louis)
1.4 - Walkin' Talkin' Blues (Joe Hill Louis)
1.5 - Cadillac Blues (J. D. Horton)
1.6 - Why Don't You Let Me Be (J. D. Horton)
1.7 - Now Tell Me Baby (Mumbles)
1.8 - Jumpin' Blues (Mumbles)
Original Sun Recordings

Side 2 Contains
2.1 - Gotta Let You Got )Joe Hill Louis)
2.2 - Boogie In The Park (Joe Hill Louis)
2.3 - Seems Like A Million Years (Willie Nix)
2.4 - Bakershop Boogie (Willie Nix)
2.5 - Wine Head Woman (Woodrow Adams)
2.6 - Baby, You Just Don't Know (Woodrow Adams)
2.7 - Love My Baby (Chicago Sunny Boy)
2.8 - On The Floor (Chicago Sunny Boy)
Original Sun Recordings


1977 Charly Records (LP) 33rpm CR 30119 mono

This record is a tribute to the lasting influence and continuing of popularity of the Rock And Roll sounds created by the artists who recorded at Sam Phillips Sun record label in the late fifties and has become known as the Sun Sound. On this album will found many of the Sun's greatest hits and others, which were not so successful at the time of their release. All are included due to their popularity today and we believe tomorrow.

This 16-tracks first issued in France in 1974, Charly Records was relocated to Britain a year later. They specialized in reissuing old material from Sun, Vee-Jay and other lesser United States labels. ''Don't You Step On My Blue Suede Shoes'' (CR 30119) is a 1977 various artists LP that contains 16 classic Sun Records sides. Includes release dates, plus peak Billboard Country and Western, Hit Top 100 and Rhythm and Blues charts positions (where applicable).

Side 1: Contains
1.1 - Whole Lotta Shakin' Goin' On (Jerry Lee Lewis)
1.2 - Matchbox (Carl Perkins)
1.3 - I Walk The Line (Johnny Cash)
1.4 - Whirlwind (Charlie Rich)
1.5 - Go! Go! Go! (Roy Orbison)
1.6 - We Wanna Boogie (Sonny Burgess)
1.7 - Honey Don't (Carl Perkins)
1.8 - Great Balls Of Fire (Jerry Lee Lewis)
Original Sun Recordings

Side 2: Contains
2.1 - Red Hot (Billy Riley)
2.2 - Folsom Prison Blues (Johnny Cash)
2.3 - Mona Lisa (Carl Mann)
2.4 - Blue Suede Shoes (Carl Perkins)
2.5 - After The Hop (Bill Pinkney)
2.6 - Rebound (1) (Charlie Rich)
2.7 - Miss Froggie (Warren Smith)
2.8 - High School Confidential (Jerry Lee Lewis)
Original Sun Recordings


1977 Charly Records (LP) 33rpm CR 30123 mono

16-track compilation vinyl LP featuring tracks recorded at Sun Studios in Memphis, includes Jerry Lee Lewis, Carl Perkins and Roy Orbison, picture sleeve.

Side 1: Contains
1.1 - Put Your Cat Clothes On (Carl Perkins)
1.2 - Rockin' Chair Daddy (Harmonica Frank)
1.3 - Slow Down (Jack Earls)
1.4 - Domino (Roy Orbison)
1.5 - Come One Little Mama (Ray Harris)
1.6 - Ten Cats Down (The Miller Sisters)
1.7 - Ubangi Stomp (Warren Smith)
1.8 - We Wanna Boogie (Sonny Burgess)
Original Sun Recordings

Side 2: Contains
2.1 - Rock With Me Baby (Billy Riley)
2.2 - Milkshake Mademoiselle (Jerry Lee Lewis)
2.3 - Romp And Stomp (Slim Rhodes)
2.4 - Drinking Wine (Gene Simmons)
Rockin' With My Baby (Malcolm Yelvington)
2.5 - Love My Baby (Hayden Thompson)
2.6 - Red Cadillac And A Black Mustache (Warren Smith)
2.7 - Uranium Rock (Warren Smith)
Original Sun Recordings


1977 Charly Records (LP) 33rpm CR 30124 mono

16-track compilation vinyl LP featuring tracks recorded at Sun Studios in Memphis, includes Sonny Burgess, Ray Harris, Carl Perkins, picture sleeve.

Side 1: Contains
1.1 - Going Home (Sonny Burgess)
1.2 - Fannie Brown (Sonny Burgess)
1.3 - Were'd You Stay Last Night' (Ray Harris)
1.4 - Sign On The Dotted Line (Jack Earls)
1.5 - Let's Bop (Jack Earls)
1.6 - Mad At You ((Mack Self)
1.7 - It's Me Baby (Malcolm Yelvington)
1.8 - Yakety Yak (Malcolm Yelvington)
Original Sun Recordings

Side 2: Contains
2.1 - Pink Pedal Pushers (Carl Perkins)
2.2 - You Can Do No Wrong (Carl Perkins)
2.3 - Sweet Woman (Edwin Bruce)
2.4 - Right Behind You Baby (Ray Smith)
2.5 - That's The Way I Love (Johnny Caroll)
2.6 - Tootsie (Carl McVoy)
2.7 - Rockin Daddy'(Eddie Bond)
2.8 - Cadillac Man (The Jesters)
Original Sun Recordings


1978 Charly Records (LP) 33rpm CR 30138 mono

16-track compilation of previously released recordings mainly from 1956 - 1959, by Ray Harris, Carl Perkins, Mack Self, Billy Lee Riley, Jerry Lee Lewis, Warren Smith, Sonny Burgess, Charlie Feathers, and Hank Mizell, plus two 1977 tracks by Crazy Cavan & The Rhythm Rockers.

Yes, You're right... Things are changing on the rock and roll scene. Whether the media realise it or not, rockabilly has started to happen in a really big way, and this is one reason why I am not at all surprised to observe the growing popularity of short, Mac Curtis hair styles, single crucifix earrings, tightly knotted cowboy scarves, building site donkey jackets with leather elbow pads, straight leg jeans with the bottoms rolled up, and heavy black boots, the regulation dress of the new '78 rockabilly fans. their idols are the swivel-hipped, rubber-legged American rockabilly singers of the mid-fifties, names like Billy Lee Riley, Carl Perkins, and Sonny Burgess, not to mention our own Crazy Cavan and the Rhythm Rockers who, over the last three months or so, have pulled more teenage fans to their gigs than many New Wave bands. But what is rockabilly music. I'm afraid that all of you who thought that rockabilly was country music played at 80 miles an hour are wrong. Let me tell you what rockabilly really is. Rockabilly is basically the fusion of rock and roll with hillbilly, a blending of country blues with blues and gospel music.

Don't squirm: I'm not going to clobber you with a load of ancient history about when the term was first used; this backcover witch is about the bazubey bombload now clutched tightly in that bony while taken you call a hand, the bulk of it recorded at Sam Phillips' Sun Recording Studio in Memphis, Tennessee. Billy Riley and Sonny Burgess, for example, are names that send the new rockabilly fans into raptures; and Carl Perkins can still pack any concert hall in the country.... not only The Rockin' Guitar Man! I'm betting you'll be hollering and stomping from the minute the needle slips into the first groove... all the way through eight fast and furious rockabilly bootshakers that explode like ignited gunpowder!

There isn't a dufi track on either side; just sixteen roof-raising rockabilly boss shots to evoke plenty of full-throated rebel yells (Thatta buy, Sonny! Go Man! Go! Work on it! Give it bleedin' hell... ''Man! That's solid rockabilly, ain't it''?.... The South shall rise again!....)'' and give you the urge to get up and 'shake that thing'', well, you know what I mean.

Compilation and notes by Waxie Maxie

Side 1 Contains
1.1 - Come On Little Mama (Ray Harris)
1.2 - Put Your Cat Clothes On (Version 1) (Carl Perkins)
1.3 - Vibrate (Version 1) (Mack Self)
1.4 - Flying Saucers Rock And Roll (Billy Riley)
1.5 - Lovin' Up A Storm (Jerry Lee Lewis)
1.6 - Ubangi Stomp (Warren Smith)
1.7 - Teddy Jive (Crazy Cavan)
1.8 - Red Headed Woman (Sonny Burgess)
1-6, 8 Original Sun Recordings

Side 2 Contains
2.1 - Caldonia (Carl Perkins)
2.2 - Country Music Is Here To Stay (Jerry Lee Lewis)
2.3 - Tongue-Tied Jill (Charlie Feathers)
2.4 - Red Hot (Billy Riley)
2.5 - Lonely Wolf (Ray Harris)
2.6 - Jungle Rock (Hank Mizell)
2.7 - Sadie's Back In Town (Sonny Burgess)
2.8 - Saturday Nite (Crazy Cavan)
1-5, 7 Original Sun Recordings


May 1980 Charly Records (LP) 33rpm CR 30186 mono

These recordings on this LP were made by the Sun Record Company for his Sun and Phillips International labels between 1957 and 1962. Sun was the company that recorded all the blues talent of Memphis and Mississippi and that had gone on to-discovered Elvis Presley, Jerry Lee Lewis and the rockabilly music. By 1957, Sun had begun to branch out into other forms of rock and roll, and in particular they issued a string of touch, rocking instrumentals. One instrumental ''Raunchy'' was a pop hit for Bill Justis who went on to produce several other bands playing in his own style, but the Sun instrumentals were more than just one man. They are a contribute to the versatility of the excellent clique of session musicians who had earlier played on the rockabilly titles. On this 2 sides, which features often the same musicians gives out the small combo sound. The rockabillies in a bluesy mood. Album compiled an annotated by Martin Hawkins. Tracks 1, 5, 6 on side two were previously unissued.

Side 1 Contains
1.1 - Raunchy (Bill Justis)
1.2 - College Man (Bill Justis)
1.3 - Flip Flop And Bop (Bill Justis)
1.4 - The Snuggle (Bill Justis)
1.5 - Bop Train (Bill Justis)
1.6 - 706 Union (Brad Suggs)
1.7 - Cloudy (Brad Suggs)
1.8 - Groovy Train (Wade Cagle)
Original Sun Recordings

Side 2 Contains
2.1 - Bo Diddley (Jimmy Van Eaton)
2.2 - Thunderbird (Sonny Burgess)
2.3 - Itchy (Sonny Burgess)
2.4 - In The Mood (Jerry Lee Lewis)
2.5 - Lewis Workout (Jerry Lee Lewis)
2.6 - Eddie's Blues (Eddie Bush)
2.7 - Jacks Jump (Frank Frost)
2.8 - Crawlback (Frank Frost)
Original Sun Recordings


1981 Charly Records (LP) 33rpm CRM 2015 mono

Side 1: Contains
1.1 - Everybody's Tryin' To Be My Baby (Carl Perkins)
1.2 - Lone Wolf (Ray Harris)
1.3 - Crazy Woman (Gene Simmons)
1.4 - My Babe (Narvel Felts)
1.5 - I Wanna Rock (Patsy Holcomb)
1.6 - Dear John (Warren Smith)
1.7 - Rakin' And Scrapin' (Dean Beard)
1.8 - Flatfoot Sam (Tommy Blake)
Original Sun Recordings

Side 2: Contains
2.1 - Hillbilly Music (Jerry Lee Lewis)
2.2 - Pearly Lee (Billy Riley)
2.3 - Love Is My Business (Cliff Gleaves)
2.4 - I Fell In Love (Ken Cook)
2.5 - Rock It (Johnny Carroll)
2.6 - Betty Abd Dupree (Billy Riley)
2.7 - Ubangi Stomp (Carl Mann)
2.8 - Sadie's Back In Town (Sonny Burgess)
Original Sun Recordings


1985 Charly Records (LP) 33rpm 2 LP Set CDX 9 mono

34 song double album collects together for the first time all of the classics rock and roll recordings Billy Riley made for the legendary Sun Records of Memphis during 1956-1959. All the original singles, all the titles later issued on albums, five alternate takes, and seven previously unissued titles.

Side 1 Contains
1.1 - Rock With Me Baby
1.2 - Trouble Bound
1.3 - Flying Saucers Rock And Roll
1.4 - I Want You Baby
1.5 - Red Hot
1.6 - Pearly Lee
1.7 - Wouldn't You Know
Original Sun Recordings

Side 2 Contains
2.1 - Baby Please Don't Go
2.2 - Itchy
2.3 - Thunderbird
2.4 - Down By The Riverside
2.5 - No Name Girl
2.6 - One More Time (Come Back Baby)
2.7 - Got The Water Boiling
Original Sun Recordings

Side 3 Contains
3.1 - Red Hot (Version 2)
3.2 - She's My Baby
3.3 - Flying Saucers Rock And Roll (Version 2)
3.4 - Rock With Me Baby (Version 2)
3.5 - Wouldn't You Know (Version 2)
3.6 - Open The Door Richard
3.7 - That's Right
3.8 - Searchin'
3.9 - College Man
3.10 - Your Cash Ain't Nothin' But Trash
Original Sun Recordings

Side 4 Contains
4.1 - Sweet William
4.2 - Folsom Prison Blues
4.3 - The Was Rockin'
4.4 - Dark Muddy Bottom
4.5 - Billy's Blues
4.6 - Swannee River Rock
4.7 - When A Man Gets The Blues
4.8 - Come Back Baby (One More Time)
4.9 - Betty And Dupree
4.10 - Let's Talk About Us
4.11 - Red Hot (Version 3)
Original Sun Recordings


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

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