ARNOLD, JERRY - was born in 1940, is an American rockabilly musician of the younger generation. In 1956
his parents got him a record deal on Burton Harris' label Security Records. Harris recalled this as follows, "In 1956 the parents of Jerry Arnold came to me wanting to put out a record of their son (and like all parents they felt that he had outstanding talent
and possibilities). But, he had no songs". With no material left, Harris picked out two tracks from country musician and songwriter Riley Crabtree, with whom Harris worked at the time. ''Don't I Have To Be There'' and ''(Don't Want No) Blondes, Brunettes Or
Redheads'' (Security 105) were recorded with local musicians and were two traditional country songs.
A year later, when Arnold was 17 years old, he teamed up with Bob Millsap, also 17 years, who wrote Arnold's next song. Together with the Rhythm
Captains, they recorded the single ''Race For Time'' backed with ''Let's Take A Ride'' (Cameo 45-120) at Paul Jameson's studio in Tyler, Texas. Burton Harris released the record in the fall of 1957 on the Security label. Copies of this record were sent to
Billboard and Cashbox for review and as a result of the high ratings given, Cameo Records made a deal to lease the master and distribute the record nationwide.
Around 1958, Arnold also made recordings for Sun Records in Memphis, Tennessee, including ''High Classed Baby'', ''Can't Do Without You'', Little Boy Blue'', and ''Slewfoot Sue''. However, owner Sam Phillips did not release any of the recorded songs. Instead, a new version of ''High Classed Baby'' b/w ''Girl In The Mist, recorded in the studio of the radio station KTBB, and appeared at Security. This time, the label Challenge Records became aware of Arnold and producer Burton Harris decided to sell Arnold's contract to Challenge as Arnold had a better chance of success. But a charter success did not come even with Challenge. In 1965 a final record of Arnold ''Honey baby'' backed with ''General Washington, Sir'' (MOC 45-659V) appeared on MOC Records. In 1993 Eagle Records released ''Pleasant Jamboree with Jerry Arnold'' (Eagle 90111) a compact disc in Germany with Jerry Arnold's collected works.
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AUSTIN, TONY - Tony Austin has been a fixture on the Jackson music scene for over more than twenty-five years although he remains little known outside the city limits.
With a drinking problem that has come and gone for most of those twenty five years and now partially blind. Tony is now virtually confined to his home town although road work with some of the biggest names in the country and rock music took him further afield during the 1960s.
Tony Edwin Austin was born on October 29, 1938 in Bemis, Tennessee and raised in Jackson, Tennessee, and was the son of Elmer Austin and Ruby Gunter Austin. He was the cousin of Carl Perkins and grew up on country music but he had an advantage that few of us had: he watched the evolution of Carl Perkins' music at first hand in the bars around Jackson. In a very real sense, he was present at the creation of rock and roll. In 1953 Austin played drums with Perkins at the El Rancho in Jackson although he quit a few days later realising that his tender years and lack of experience had no place in the emerging virtuosity of the Perkins brothers band. He was soon replaced by W.S. Holland.
Both Holland and Austin had few role models in country music. There were simply few drummers of note and, of course, drums were not even allowed on the Grand Ole Opry. Austin and Holland would listen to the big white swing band drummers such as Buddy Rich, Gene Krupa and Louis Bellson. Austin also like Count Basie's rock solid drummer Jo Jones. He went to Memphis to soak up the music coming from Willie Mitchell's group and closer to home, there was the Phillip Reynolds' band. ''We cropped licks from wherever we could'' recalled Tony.
In 1956 Carl Perkins and Johnny Burnette in Memphis. Burnette was in the process of putting a group together and Perkins mentioned that Austin was a good drummer. The Burnette Trio came to Jackson, auditioned Austin and took him on the road. He played with the group until Johnny left for California a year and a half later. By that point, Dorsey had already departed and Bill Black's brother Johnny was working with the group. Austin later toured England with Johnny's son Rocky was was riding a hit, ''Tired Of Toeing The Line''.
That, however, was some twenty years in the future. When Burnette approached Austin with the offer of work on the west coast, Austin refused. He was on the point of getting married and wanted to stay closer to home. He started work with Rex Hale and they went to the old Sun studio to audition without any success. A little later, another hometown boy, Carl Mann saw his first Sun/Phillips International release shoot into the charts. Mann was managed by W.S. Holland with whom he soon had a falling out over royalties. Austin took over the drummer's stool from Holland and went on the road with Mann as the young singer's career went steadily downhill. Together, Mann, Eddie Bush and Tony Austin toured the country cultivating their drinking habits. It was Bush, the elder statesman, who led the way. ''He was an outstanding guitar player'' recalled Austin. ''Probably the best I've ever heard in that style of music. He just jumped across two clouds and took off. The sad thing was that he turned into a bum. I loved Eddie, but that's the truth. I loaned him money and tried to get him some work but he'd hitchhike out of town, eating out of garbage cans. I haven't seen him in years''.
It was another hometown boy, Rayburn Anthony, who first got Austin a paying gig at Sun. By this point,Phillips was entrenched in the new studio and looking for some music to accommodate the changing times. Austin contributed his drum licks to ''Who's Gonna Show Your Pretty Little Feet'' and he wrote the catchy ''Big Dream'' which also sported his drum work.
After the last of Rayburn's three singles had appeared on Sun, Austin went back to audition some material for Phillips. He had a bassist, Wes Beavers, in tow. Phillips invited them to stay and work up some material. The result was a gloriously idiosyncratic version of ''Blue Suede Shoes'' that sounded good to Phillips that night and even sounded good when he arrived stone cold sober the next day. ''It was pretty funky'', recalled Austin, ''I was playing sock cymbal with my left foot and piano at the same time. I believe I whistled the break. We were two sheets to the wind and I'd taken a couple of pills as well. Sam would nip with you, of course. We got pretty shit faced that night''.
''Blue Suede Shoes'' was scheduled with a song that Austin wrote about his daughter, ''Susie'' as Sun 398. However, it was never issued and the number was assigned later that year to Randy and the Radiants.
By that point, Austin was on the road. He worked Vegas and the west with Carl Perkins before joining Red Sovine and subsequently Billy Walker, Carl Smith and Mel Tillis on the endless highway. Austin also worked on his songwriting and placed ''Superfool'' and ''Mean Martha'' with Carl Perkins. Barbara Mandrell cut some of his material and Faron Young had a hit with the wonderfully titled ''Living Here, Loving There'' and ''Lying In Between''.
Deciding to make his career closer to home, Austin launched the Somewhere Else Club in Jackson that played host to the local talent and, after that folded, he began work in local lounges singing and playing keyboards. He remains there to this day (1989). The magic of his buddies from Jackson never quite rubbed off on Austin as a performer. The hit remained elusive although he has certainly had the joy of seeing his songs hit the charts in the hands of others.
Some of his Sun repertoire bears the hallmark of one whose indulgence in alcohol and chemicals has reached the point of excess. Many takes of an instrumental of duck noises (in the key of G) are witness to the numbing potential of Jack Daniels. However, the big pill behind the ''Big Dream'' and ''Jack D.'' combined to make ''Blue Suede Shoes'' one of the most idiosyncratic records cut at Sun in the 1960s.
Tony Edwin Austin died on Saturday, November 8, 2014, at Jackson Madison County General Hospital at the age of 76.
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BALLARD, FRANK & The Phillip Reynolds' band was well-known in the Jackson, Tennessee area and adapted equally well to blues or soul. The March 18, 1962 recordings at Sam Phillips Recording reveal the legacy of rock and roll and piano boogie styles. This is a combination of tunes to provide great listening and dancing pleasure ... and to give an idea of the flexibility of the Phillip Reynolds' Band. In fact, the name Phillip Reynolds' Band with Frank Ballard the featured vocalist, in music, is known in the schools, colleges and universities throughout the south.
The group has appeared on both radio and television. They grew up together in the same community, that's just how close and tight the 'cats' are. The aggregation has been called the 'Band of Teachers' as each musician is a public school music teacher. Singing has always been a part of Frank Ballard! He started singing along the sidewalks in his home town, Jackson, Tennessee. While growing up, he would spend many hours singing for people along the streets for pennies. Later he started singing in elementary school on almost every program. It was at North Jackson Elementary School that Frank first got the name of the 'Golden Voice'. In an elementary school play, he had the role of Roland Hayes, a famous tenor, and gained much fame from that.
Frank was always a little bashful when it came to singing on a stage, but it all left after he started singing at St. Paul C.M.B. Church, Jackson, of which he's a member. High school found him singing at every opportunity and Merry High School was perhaps the greatest help of his singing career. His music teacher, Mrs. Meachem, gave lots of her time and knowledge, which gave him the confidence that was so needed. Frank organized a quartet while in high school that caught on fire with fame all over West Tennessee.
With his mother's help also, he gained great voice control and when he reached college, was ready to sing his heart. Lane College was a wonderful place for Frank to learn the important phases of music, and through the assistance of wonderful instructors, found himself greatly improved.
Time moved and the chance came to star as a vocalist with Curtis Amy and his big band. Since that time he has sung in fifteen states and many fine night clubs. Since Phillip Reynolds organized his famous orchestra, Frank has had the vocal spot-light. Naturally his aim is to turn over hit after hit as a recording artist. Here is recorded music with brilliance, dynamic range, clarity, breadth, and direction. (CS)
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BOBBIE AND THE BOYS (THE THOMAS FAMILY) - Cliff, Ed and Barbara Thomas were frequent visitors to the Sun studio between 1957 and 1959. Their efforts resulted in two singles issued under the trio's name, one single under brother Cliff's name, and one single featuring sister Barbara. The Thomas siblings were masters (and a mistress) of solid white pop music, often with more bite than usual, owing to brother Ed's bluesy piano stylings.
"When Cliff traveled with Charlie Rich for about two months and they were in New York City, my mother cried every day. Her boy was away from home and cold in New York. Cliff loved it and could have probably done it full time, but the family garment business was waiting. I was very frustrated when I stopped recording with my brothers at Sun. Ed and Cliff went on with their music after they left Sam. They did a lot of...
Sun recordings can be heard on the playlists from 706 Union Avenue Sessions on > YouTube
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