For audio recordings click on the available > buttons <
> Back 1960-1969 Sun Schedule <
For Biographies of Artists see: > The Sun Biographies <
Playlists of the Artists can be found on 706 Union Avenue Sessions of > YouTube <
© - 706 UNION AVENUE SESSIONS - ©
The song was Presley's first Top 10 hit in the United States in four years, peaking at number 3, and his first United Kingdom Top 10 hit in three years, peaking at number 2. It hit number 1 on Cash Box. It was a number-one hit in West Germany, Ireland, Norway, Australia and New Zealand.
As a major international hit, Presley included it in his setlist during his return to live performances at the International Hotel in Las Vegas in 1969. It was a staple of his shows in the first two seasons, however in his third (August/September 1970), he included it only once, at the dinner show on 13 August, for the benefit of the MGM cameras who were filming ''Elvis: That's The Way It Is'' (1970).
Lester Flatt and Earl Scruggs perform at inaugural ceremonies for Richard Nixon.
JANUARY 21, 1969 MONDAY
Brenda Lee and husband Ronnie Shaklett have their second daughter, Jolie Lenee Shacklett, at Vanderbilt University Hospital in Nashville, Tennessee.
Ray Price, Charley Pride and Buck Owens perform during inauguration parties for new Texas governor Preston Smith in Austin, Texas.
JANUARY 22, 1969 WEDNESDAY
Roy Clark makes a guest appearance on ''The Beverly Hillbillies'' as Cousin Roy.
Glen Campbell nets the first gold single of his career, for ''Wichita Lineman''.
Bobby Darin sings a portion of his lone country hit, ''Splish Splash'', while hosting ''The Kraft Music Hall'' on NBC-TV. Darin also collaborates with Stevie Wonder on ''If I Were A Carpenter'' and with Judy Collins on ''I'll Be Your Baby Tonight''.
JANUARY 23, 1969 THURSDAY
Elvis Presley recorded ''Suspicious Minds'' at the American Studios in Memphis.
© - 706 UNION AVENUE SESSIONS - ©
STUDIO SESSION FOR CLIFF JACKSON, JELLEAN DELK & THE NATURALS
FOR SUN RECORDS 1969
SAM
PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE EARLY 1969
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - JERRY PHILLIPS
AND/OR TEDDY PAIGE
During the period when Shelby Singleton acquired the old Sun label and went a out re-establishing the label in Nashville, there remained a strong Memphis connection. Several of the ''new'' Sun International artists like Billy Riley and Jerry Dyke, were produced in Memphis. Sam Phillips' sons, Knox and Jerry placed several master tapes and song demos with Singleton's labels.
One short-lived project was the Midnight Sun label, the Phillips brothers attempt to start a label back where their father had begun, with the blues.
Two records were issued by Cliff Jackson that time, ''Fran, This Is It'' and ''Up The Wall'', followed by ''Nine Below Zero'' and ''Blues Walk''. Neither record was particularly successful but Jackson did have a five voice and the enterprise was very worthwhile in terms of the music recorded.
Cliff Jackson was a native of Shelby County, born in 1937, and raised musically in the High School band and the local Baptist church. He was never a professional musician nor a member of a blues band and was working at Avis Rent-A-Car when the Sun recording were made. He was brought to the Phillips studio on 639 Madison Avenue by Baptist Minister, Reverent Oris Mayes, along with a girl singer, Jellean Delk.
Jackson's strong voice intrigued Jerry Phillips and Teddy Paige who persuaded him to try his hand at recording blues. Jackson played drums and sang, while Paige played guitar. Paige later overdubbed the bass and harmonica parts on the record and single-handedly comprised The Naturals.
> FRANK, THIS IS IT* <
Composer: - Jerry Phillips-Teddy Paige-Oris Mays
Publisher:
- B.M.I. - Knox Music Incorporated
Matrix number: - 7-391 - Master (2:20)
Recorded: - Unknown Date Early
1969
Released: - September 1969
First appearance: - Midnight Sun (S) 45rpm standard single MS-1-A mono
FRANK, THIS IS IT / BLUES WALK
Reissued: - April 1989 Charly Records (LP) 33rpm Sun Box 109-14/8 mono
SUN RECORDS INTO THE 60S - FRANK, THIS IS IT
''Frank, This Is It'', this song was inspired by the novelty blues of the early 1950s like ''The Bells'' or ''Sinner's Dream''. Jellean Delk recounts Cliff's misdemeanours while he sobs and cries in the background. Apparently the crying part was originally rehearsed by the Reverent Mayes, duetting with Jellean, but the minister ultimately decided that singing the part of a backsliding philanderer was not what God had intended, Cliff Jackson took over that vocal part at the last minute for the record.
BLUES WALK
Composer: - Jerry Phillips-Teddy Paige
Publisher: - B.M.I. - Hi-Lo Music Incorporated
Matrix number: - 7-391 - Master (2:27)
Recorded: - Unknown Date Early 1969
Released: - September 1969
First appearance: - Midnight Sun (S) 45rpm standard single MS-1-B mono
BLUES WALK / FRANK, THIS IS IT
> NINE BELOW ZERO <
Composer:
- Sonny Boy Williamson
Publisher: - B.M.I. - ARC Music
Matrix number: - 7-392 - Master (2:06)
Recorded: - Unknown Date Early 1969
Released: - 1970
First
appearance: - Midnight Sun (S) 45rpm standard single MS-2-A mono
NINE BELOW ZERO / UP THE WALL
Reissued:
- April !989 Charly Records (LP) 33rpm Sun Box 109-14/7 mono
SUN RECORDS INTO THE 60S - FRANK, THIS IS IT
''Nine Below Zero'' is a solidly rocking update of the Sonny Boy Williamson favourite. ''Up The Wall'' is an instrumental version of a blues theme Jackson also recorded as the vocal item, ''Frank, This Is It''.
> UP THE WALL <
Composer:
- Jerry Phillips-Teddy Paige
Publisher: - B.M.I. - Knox Music Incorporated
Matrix number: - 7-394 - Master (2:23)
Recorded: - Unknown Date Early 1969
Released: - 1970
First appearance: - Midnight Sun (S) 45rpm standard single
MS-2-B mono
UP THE WALL / NINE BELOW ZERO
Cliff Jackson began to play a few night clubs on the strength of his record releases, but his musical career appears to have petered out as quickly as it began. Midnight Sun ran only to two issues.
Name (Or. No. Of Instruments)
Cliff Jackson - Vocal and Drums
Jellean Delk - Vocal on ''Frank, This Is It''
Teddy Paige - Guiter,
Bass, and Harmonica
The Naturals
Snooze Mobley - Clarinet
Hank
Plummer - Guitar
King Loomis - Trombone/Saxophone
A. C. Graham - Drums
Horace Wilson
- Upright Bass
Lover Brown - Organ
For
Biography of Cliff Jackson see: > The Sun Biographies <
Cliff Jackson's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <
© - 706 UNION AVENUE SESSIONS - ©
The original opening scene, which was to feature female nudity, was dropped in favor of a more gentle bar scene. Many of the more violent scenes were dropped from the film altogether. A scene which featured Ina Balin nude climbing from a bath was also removed.
The film, although a hit, was not received as well as Presley's previous films. Fans were put off by the lack of songs, and critics were generally unimpressed with the film as a whole. Despite this, the film made a good profit and Presley received $850,000 for his work.
In June 1968, Presley had already completed the sequences and recorded the songs for what would be his 68' Comeback Special and its attendant album, ''Elvis'', that put his musical talents back on display after the long slog of the soundtrack years. During the special, Presley erroneously states that he had made twenty nine '"pictures" up to that time. The actual tally was twenty eight at taping. Charro would be the twenty ninth. At the time the special was aired in December, Presley had completed his thirtieth film, ''The Trouble With Girls (and How To Get Into It)''.
His confidence and enthusiasm restored, Presley turned to his musical obligations for Charro! Appropriately for a Western, the studio hired Hugo Montenegro to produce the film's two songs, the recording session taking place at Sanuel Goldwyn Studio in Hollywood, California on October 15, 1968. The title song appeared in the movie during the opening credits, released commercially on February 25, 1969, as the b-side to RCA 47-9731 "Memories," which had also appeared on the TV special and album. A second song recorded for but not used in the film, "Let's Forget About the Stars" appeared on the budged album ''Let's Be Friends'' in 1970. This song is erroneously referred to in some sources as an outtake from the soundtrack of the later Presley film ''Change Of Habit''.
MAY 1, 1969 THURSDAY
Prior to the videotaping of the Singer Christmas Special, a soundtrack album to be released before the December 3 broadcast was recorded. Several initial contract stipulations were obviated by Presley and program producer Steve Binder, notably the one against having a live audience present, but album producer Bones Howe was unable to requisition proper recording equipment, getting the sound feed from the single-channel microphones on the video cameras. Hence, the album was released in mono only, at a time when the recording industry was switching over to stereophonic records exclusively for both albums and singles.
Unlike the drudgery of the feature film soundtrack recordings, Presley was genuinely excited by the project. For the album, the musical format presented Presley in three different settings: production numbers featuring medleys of his material; an informal small band featuring medleys in front of a live audience; and the two original numbers with Presley backed by an orchestra in front of a live audience. The two ballad tracks from this album were issued as singles. ''If I Can Dream'' being released earlier in the month, backed on the B-side with a song from his movie in theaters at the time, ''Live A Little, Love A Little'', making it a double promotion on one record. It peaked at number 12 on the Billboard Hot 100, his highest charting single since 1965. ''Memories'' was released over two months after the broadcast, backed with the title song to his next film, ''Charro''. By making it to the top ten on the album chart after his previous album had charted at a dismal #82, this LP resuscitated his recording career at a time when it seemed practically moribund.
Several hours of additional music were recorded for the special, and this material has been reissued in many different formats over the years. On August 27, 1991, RCA released an expanded version for compact disc, including unedited versions of the medleys in several cases. Two extensive compact disc releases appeared in 1998, ''Memories: The '68 Comeback Special'' featuring more comprehensive versions of the production and orchestral numbers, along with the complete first informal small band show of June 27, and ''Tiger Man'' featuring the complete evening show of the two informal small band concerts of June 27, 1968. On August 5, 2008, Sony Legacy released a 4-CD compilation of the complete recording sessions for the special.
JULY 22, 1969 TUESDAY
The command module Columbia carrying the 3 astronauts splashed down in the Pacific Ocean. Estimates put the number who watched or listened to the Moon landing between 1/2 and 1 billion people around the world.
James said that late one night, he was fooling around on his Fender guitar and using his Hammond organ pedals for a bass line and came up with what he thought was a catchy melody. James at the time was married to his first wife, but still had feelings for his childhood sweetheart, who was married back in Houston. James's wife had suspicions of his feelings. James felt it was a confusing time for him and that all three were caught in this trap that they could not walk out of. At the recording session, James sang the lead vocals, and the studio band backed him with Moman producing. The horns, strings and vocals of the Holladay Sisters were later overdubbed. After the tape was mixed, James and Moman flew to New York, where James's manager had contacts with Scepter Records. The label loved the song and put it out, but Scepter did not have the money to promote new artists, and the song did not make the charts.
Later that year, Don Cruise, Moman's partner, told James that Presley had booked their studio to record what would become the ''From Elvis In Memphis'' album. Cruise kept asking James if he had any songs that would be right for Presley. James felt Presley needed a mature rock 'n' roll song to bring him back as Tom Jones was a hot artist at the time. Cruise and James thought of "Suspicious Minds" and James began urging others to get Presley to hear it. Even though James's recording had not been commercially successful, upon reviewing the song Presley decided he could turn it into a hit.
"Suspicious Minds" was a product of a January 23, 1969 session, that took place between 4 am and 7 am. It took eight takes to produce the final song, in which the lead vocal track was later overdubbed by Presley himself that same night. James was in Memphis, but he was not at the recording session. James had walked into the recording studio control room a few days earlier during a session and sensed that Elvis was uncomfortable with his presence. James did not want to jinx the song so he stayed away. When James heard the track the day after it was recorded, he initially thought it sounded too slow. When he later heard the embellished version, he said he was blown away. In later years, whenever Elvis saw James he would cross the room to say hello.
Production of the song was nearly scuttled over a copyright dispute. Elvis's business people said they wanted half of Moman's publishing rights. Moman accused them of stealing, and Elvis' people threatened to halt the recording session. Harry Jenkins of RCA agreed with Elvis's people because he sensed that the song would be a big hit and there would be plenty to go around. The songs "I'll Hold You In My Heart (Till I Can Hold You In My Arms)", "Without Love (There Is Nothing)", and "I'll Be There" were recorded in the same session. On August 7, the song was again overdubbed to stereo and mono in Las Vegas, where the final master was produced. The song is noted for its change of time signature, in the bridge section, from 4/4 to a slower 6/8 and back again to the faster 4/4 rhythm. The instrumental arrangement uses an electric guitar, bass guitar, organ, strings, trumpets, trombones, and drums.
Elvis' primary producer Felton Jarvis made the unusual decision to add a premature fade-out to the song starting at 3:36 and lasting for 15 seconds before fading back in. The first verse then continues repeatedly until it completely fades out. In a 2012 interview with Marc Myers of The Wall Street Journal, Moman disclosed that Jarvis was never happy with Elvis recording at American Sound Studio, saying "it was a control thing." Moman added, "So when Jarvis took the tape of 'Suspicious Minds,' he added this crazy 15-second fade toward the end, like the song was ending, and brought it back by overdubbing to extend it. I have no idea why he did that, but he messed it up. It was like a scar. None of which mattered. Soon after the song was released, Elvis was back on top of the charts."
Future Grateful Dead vocalist Donna Jean Godchaux sang backing vocals on the track. The song was later included on the Sony legacy edition of "From Elvis In Memphis" and the follow that dream reissue of ''Back In Memphis''.
The film was produced by Joe Connelly for NBC Productions and distributed by Universal Pictures. Filmed on location in the Los Angeles area and at the Universal Studios during March and April 1969, ''Change Of Habit'' was released in the United States on November 10, 1969. It spent four weeks on the Variety Box Office Survey, peaking at number 17.
''Change Of Habit'' was Presley's 31st and final film acting role; his remaining film appearances were in concert documentaries. The film was Moore's fourth and final film under her brief Universal Pictures contract; she would not appear in another theatrical movie until ''Ordinary People'' in 1980. Moore and Edward Asner, who also appears in the film, would go on to star in ''The Mary Tyler Moore Show, one of the most popular television shows in the 1970s.
NOVEMBER 10, 1969 MONDAY
Merle Haggard recorded his live album ''Okie From Muskogee'' in an appropriate location, Muskogee, Oklahoma.
Gene Autry receives a gold single from the Recording Industry Association of America for the first time, honoring his Christmas hit ''Rudolph, The Red-Nosed Reindeer''.
The Everly Brothers appear on ABC-s ''The Music Scene'' with a medley of former hits, ''Cathy's Clown'', ''All I Have To Do Is Dream'', ''Wake Up Little Susie'', ''Bird Dog'' and ''Bye Bye Love''. Also featured are Dusty Springfield, James Brown and Joe Cocker.
NOVEMBER 11, 1969 TUESDAY
RCA Victor released Elvis Presley's ''Don't Cry Daddy'' (See: January 15, 1969).
NOVEMBER 12, 1969 WEDNESDAY
Willie Nelson appears on CBS' ''The Glen Campbell Goodtime Hour'', joining the show's host on a rendition of ''Hello Walls''. Campbell also performs a medley of Nelson-penned songs, ''Crazy'', ''Night Life'' and ''Funny How Time Slips Away''.
NOVEMBER 13, 1969 THURSDAY
Dean Martin runs through the Robert Mitchum country hit ''Little Ole Wine Drinker Me'' on his weekly NBC variety series ''The Dean Martin Show''.
NOVEMBER 14, 1969 FRIDAY
Apollo 12, the second manned moon mission, launched carrying astronauts Charles Conrad Jr., Alan Bean, and Richard Gordon Jr. The mission successfully landed on the Moon on November 19th about 950 miles away from where the Apollo 11 mission had landed. The mission’s objectives included seismic experiments, examining the Surveyor III spacecraft, studying possible future landing sites, and human ability to work on the moon, among many other things. The crew tried to broadcast parts the mission but the television camera was damaged by sun exposure soon after landing. The crew left on November 20th and got to Earth on November 24th, after having spent about 31 hours on the surface of the moon. Astronaut Charles Conrad Jr., takes a 90-minute tape of Jerry Lee Lewis music with him as Apollo 12 launches.
Sonny James and George Burns are gusts on ABC's ''Jimmy Durante Presents The Lennon Sisters Hour''.
NOVEMBER 15, 1969 SATURDAY
Jimmy Buffett is credited for the first time as a member of the Nashville journalism team in the masthead for Billboard magazine, a music industry trade publication.
''We don't burn our draft down on Main Street, Merle Haggard hits number 1 in Billboard with ''Okie From Muskogee''.
NOVEMBER 16, 1969 SUNDAY
Jerry Lee Lewis performs ''She Even Woke Me Up To Say Goodbye'' on ''The Ed Sullivan Show'', along with ''Great Balls Of Fire'' and ''Whole Lot Of Shakin' Going On''. Also guesting, Creedence Clearwater Revival.
Janis Joplin is arrested in Tampa for using vulgar language on stage. Within a year, she recorded ''Me And Bobby McGee'', hailed in the Country Music Foundation's \\Heartaches By The Number''.
NOVEMBER 17, 1969 MONDAY
Paul Anka performs the future Elvis Presley hit ''My Way'' during ABC's ''The Music Scene''. Also aboard, The Cowsills with ''Silver Threads And Golden Needles'', R.B. Greaves, with ''Take A Letter Maris, and B.B. King.
NOVEMBER 18, 1969 TUESDAY
Conway Twitty recorded ''Hello Darlin''' during an afternoon session at Bradley's Barn in Mount Juliet, Tennessee.
Jimmy Dean appears in the ABC-TV movie ''The Ballad Of Andy Crocker''. Starring Lee Majors and Joe Heatherton, the Vietnam War-themed picture, produced by Aaron Spelling, also features pop musicians Bobby Harfield and Marvin Gaye.
NOVEMBER 19, 1969 WEDNESDAY
Mel Tillis recorded ''She'll Be Hanging 'Round Somewhere''.
Glen Campbell performs ''Mystery Train'' on an episode of ''The Glen Campbell Goodtime Hour'', which also features Neil Diamond, Cher and comedian Bob Newhart.
NOVEMBER 20, 1969 THURSDAY
Johnny cash performs ''A Boy Named Sue'' on ABC-TV's ''This Is Tom Jones''. The line-up also includes June carter, Minnie Pearl and Jeannie C. Rile
Dean Martin performs a pair country hits, ''Gentle Of My Mind'' and ''Release Me'', in his role as the host of NBC's ''The Dean Martin Show''.
NOVEMBER 21, 1969 FRIDAY
Johnny Cash makes the cover of Life magazine.
NOVEMBER 22, 1969 SATURDAY
A week of production begins at NBC's Burbank studio for the special ''Bing And Carol Together Again For The First Time''. Roy Clark is among the guests in the Bing Crosby/Carol Burnett broadcast.
NOVEMBER 23, 1969 SUNDAY
Singer/songwriter Spade Cooley dies of a heart attack after a benefit concert for the Alameda County Sheriff's Association. His three-song set included ''San Antonio Rose''. After serving eight years in prison for killing his wife, he was set for parole on February 22, 1970.
With Little Richard in the Los Angeles audience, The Rolling Stones perform ''Honky Tonk Women'' on ''The Ed Sullivan Show''. The song is hailed among the 500 greatest country singles of all-time in a Country Music Foundation book ''Heartaches By The Number''.
NOVEMBER 24, 1969 MONDAY
Tennessee Ernie Ford is a surprise guest on ''Rowan and Martin's Laugh-In''.
Glen Campbell recorded the basic tracks for ''Honey Come Back'' at the Capitol Recording Studios in Hollywood, California. The single is built over three separate sessions.
Tennessee Ernie Ford hosts the NBC-TV special ''The Peapicker in Piccadilly'' with British guests Davy Jones, of The Monkees, and comedian Terry Thomas.
The Los Angeles Times reports MGM has named 24-year-old Mike Curb president of the label. During his tenure, the company will find success with Marie Osmond and Hank Williams Jr.
NOVEMBER 25, 1969 TUESDAY
Tammy Wynette recorded ''Kids Say The Darndest Things''.
Penn State defensive tackle Mike Reid places fifth in voting college football's Heisman trophy and is named first team All-American by UPI. He goes on to write country hits for Ronnie Milsap, Tanya Tucker and Barbara Mandrell, among others.
The Beatles' John Lennon returns his Membership of the Most Excellent Order of the British Empire to the queen in protest of the nation's international policies. Some 20 years later, he's listed as a co-writer on the country hit ''I Feel Fine''.
Neil Diamond, whose pop song ''Solitary Man'' will become a country hit, is divorced from the former Jayne Posner.
NOVEMBER 26, 1969 WEDNESDAY
The Band receives a gold album for the first time, for its self-titled second release. It includes ''Up On Cripple Creek'', cited by the Country Music Foundation among country's 500 greatest singles in the 2003 book ''Heartaches By The Number''.
The CBS variety show ''The Glen Campbell Goodtime Hour'' welcomes guests Jackie DeShannon and Flip Wilson. Campbell sings ''Try A Little Kindness''.
NOVEMBER 27, 1969 THURSDAY
Penn State defensive lineman Mike Reid is named to the American Football Coaches Association all-star team. Two decades later, he become a successful country singer and songwriter.
NOVEMBER 29, 1969 SATURDAY
Penn State beats North Carolina State, 33-8, in the final regular season game for Nittany Lion defensive tackle Mike Reid. He goes on to score a country hit with ''Walk On Faith'', and write songs for Conway Twitty, Ronnie Milsap and Tanya Tucker.
Ray Stevens performs on NBC's ''The Andy Williams Show''. Also appearing, Bob Hope, The Osmonds and Dusty Springfield.
NOVEMBER 30, 1969 SUNDAY
Penn State's Mike Reid is named a first team All-American and honored with the Outland Trophy as the best college line-man by the Football Writers Association. Reid will write such country hits as ''Inside'', ''Love Without Mercy'' and ''Walk On Faith''.
© - 706 UNION AVENUE SESSIONS - ©
UNDER CONSTRUCTION
STUDIO SESSION FOR IVORY JOE HUNTER
FOR EPIC RECORDS 1967
SAM PHILLIPS RECORDING STUDIO
639 MADISON AVENUE, MEMPHIS, TENNESSEE
EPIC SESSION: UNKNOWN DATE BETWEEN 1969/1970
SESSION HOURS: UNKNOWN
PRODUCER - BETTYE BERGER & B.J. ELLIOT
ARRANGERS - CHARLIE CHARMERS &
SANDRA RHODES
RECORDING ENGINEER - JIMMY EVANS & BARRY BECKETT
Session Published for Historical Reasons
> HEARTBREAK AND MISERY <
Composer:
- Ivory Joe Hunter
Publisher: - B.M.I. - Unart Music Corporation
Matrix number: - JZSP 154497 - Single LP Master (2:35)
Recorded: - Unknown Date 1969-1971
Released: - 1971
First appearance: - Epic Records (LP) 33rpm E
30348 A-1 stereo
THE RETURN OF IVORY JOE HUNTER
''I'M COMING DOWN WITH THE BLUES''
Composer: - D. Covay-J. Berry
Publisher: - B.M.I. - Unart Music Corporation
Matrix number: - AL 30348 - LP Master (2:00)
Recorded: - Unknown Date 1969-1971
Released:
- 1971
First appearance: - Epic Records (LP) 33rpm E 30348 A-2 stereo
THE RETURN OF IVORY JOE HUNTER
''EMPTY ARMS''
Composer: - Ivory Joe Hunter
Publisher: - B.M.I. - Unart
Music Corporation
Matrix number: - AL 30348 - LP Master (2:47)
Recorded: - Unknown Date 1969-1971
Released: - 1971
First appearance: - Epic Records (LP) 33rpm E 30348 A-3 stereo
THE RETURN OF IVORY JOE HUNTER
''WE ALL LIKE THAT GROOVY FEELING''
Composer: - Ivory Joe Hunter
Publisher:
- B.M.I. - Unart Music Corporation
Matrix number: - AL 30348 - LP Master (2:47)
Recorded: - Unknown Date 1969-1971
Released: - 1971
First appearance: - Epic Records (LP) 33rpm E 30348 A-4 stereo
THE RETURN OF IVORY JOE HUNTER
''WHAT AM I LIVING FOR''
Composer: - A. Harris-F. Jay
Publisher: - B.M.I.
- Unart Music Corporation
Matrix number: - AL 30348 - LP Master (2:20)
Recorded: - Unknown Date 1969-1971
Released: - 1971
First appearance: - Epic Records (LP) 33rpm E 30348 A-5 stereo
THE RETURN OF IVORY JOE HUNTER
''SINCE I MET YOU BABY'
Composer: - Ivory Joe Hunter
Publisher: - B.M.I.
- Unart Music Corporation
Matrix number: - AL 30348 - LP Master (3:52)
Recorded: - Unknown Date 1969-1971
Released: - 1971
First appearance: - Epic Records (LP) 33rpm E 30348 A-6 stereo
THE RETURN OF IVORY JOE HUNTER
''OL' MAN RIVER''
Composer: - Ivory Joe Hunter
Publisher: - A.S.C.A.P.
- Unart Music Corporation
Matrix number: - AL 30348 - LP Master (1:47)
Recorded: - Unknown Date 1969-1971
Released: - 1971
First appearance: - Epic Records (LP) 33rpm E 30348 B-1 stereo
THE RETURN OF IVORY JOE HUNTER
''YOUR LOVE IS NEEDED SO BADLY''
Composer: - Ivory Joe Hunter
Publisher:
- B.M.I. - Unart Music Corporation
Matrix number: - AL 30348 - LP Master (2:06)
Recorded: - Unknown Date 1969-1971
Released: - 1971
First appearance: - Epic Records (LP) 33rpm E 30348 B-2 stereo
THE RETURN OF IVORY JOE HUNTER
''MY WISH COME TRUE''
Composer: - Ivory Joe Hunter
Publisher: - B.M.I.
- Unart Music Corporation
Matrix number: - AL 30348 - LP Master (2:42)
Recorded: - Unknown Date 1969-1971
Released: - 1971
First appearance: - Epic Records (LP) 33rpm E 30348 B-3 stereo
THE RETURN OF IVORY JOE HUNTER
''I NEED YOU SO''
Composer: - Ivory Joe Hunter
Publisher: - B.M.I. -
Unart Music Corporation
Matrix number: - AL 30348 - LP Master (2:47)
Recorded: - Unknown Date 1969-1971
Released: - 1971
First appearance: - Epic Records (LP) 33rpm E 30348 B-4 stereo
THE RETURN OF IVORY JOE HUNTER
''ALMOST LOST MY MIND''
Composer: - Ivory Joe Hunter
Publisher: - B.M.I.
- Unart Music Corporation
Matrix number: - AL 30348 - LP Master (2:49)
Recorded: - Unknown Date 1969-1971
Released: - 1971
First appearance: - Epic Records (LP) 33rpm E 30348 B-5 stereo
THE RETURN OF IVORY JOE HUNTER
Name (Or. No. Of Instruments)
Ivory Joe Hunter - Vocal and Piano
Jackie
Harvell - Guitar
Sandra Rhodes - Bass
Donna Rhodes - Drums
Bowlegs Miller - Trumpet
Jackie Hale - Trombone
James Mirchell - Saxophone
Isaac Hayes - Keyboards
Here's another great black entertainer whose and works were siphoned leaving him with faint fragments of shadowed hopes and dreams that could have been a most beautiful and sustaining fulfillment. But not so because of the color of his skin. But the greatness is still evident in his works and from those who tapped his resourcefulness. Hopefully, one day, men such as Ivory Joe can share their feelings, their soul and music without fear of being copped and then dropped Love, respect, and preserve men like him, because they only come this way once.
- Isaac Hayes
In the middle of 1950s, about the time the Alan Freed was giving rock and roll it's name, it was most possible than it is today for a black performer have a hit and the pop charts. At that time, rock and roll was a polite name for rhythm and blues; and rhythm and blues, after all, was what they called the popular of the black ghetto. A few very talented black musicians managed to squeeze cut a hit or two before the people who ran the record business and the communication industry closed ranks and began to push white artists again. Things have loosened up quite a bit since the late 1950s and early 1960s, but they have never reached the free-for-all intensity off the mid-1950s. The instrument used by rhythm and blues performers to reach their audience was the small, independent record company; it didn't take long for the big outfits to figure out how to do them both in. Since it was clear that teenagers loved rock and roll and that there was no going back to ''Oh Mine Papa'' and ''How Mach Is That Doggie In The Window'', the major labels did the nest best thing: they recorded "covers" of the best songs by rhythm and blues artist.
A cover was e polite name for a copy. A black group would release a new record and within hours, there would a cover by a white artist, often with the same arrangement, note for note. Although usually in the same what blander, more ''acceptable'' rendition. Some black artists, who managed to keep working in black clubs and selling in the black community, were copied over and over again, others never recovered from the emotional and financial shock having their first record become someone else's hit. How frustrating it must be to create brilliant music and then have most of the credit and all of the profit go to others whose major talent is being white. Some of those have survived into the present, their integrity and their abilities intact. Quite a few others, for more that there should have been, are dead, often the victims of drug abuse. Some others are still out there on the road, playing the same songs, they were playing in 1956, derided by their audiences if they try to change and grow. There is nothing sadder than seeing a once-brilliant performer now reduced to blind, mindless readings of music that he had breathed life info a decade and a half ago.
Ivory Joe Hunter is one of those who survived. His music matured before rock and roll's heyday, and it has continued with equal vigor up to today. Essentially, he is a blues-based balladeer, although he is as capable of downhome funkiness as any of the other heavies. like Johnny Ace and Chuck Willis., with whom he shares his style. His biggest record, ''Since I Met You Baby'', a bittersweet song about finding a love that is re-created here, was so strong that even a cover by the ubiquitous Pat Boone couldn't keep it from making Ivory Joe Hunter famous. By 1958, however, things were closing in on black musicians, and Joe couldn't sustain his success. He tried capitalizing on his most marketable commodity, his warm way with a ballad, on an album of straight pop tunes, but id didn't work. Despite one of the most accessible and appealing styles in pop music, he dropped off the charts. What you hold in your hands is the long-overdue comeback album by the great Ivory Joe Hunter.
It isn't true that talent will always win out, but here is one time when it did, Ivory Joe Hunter is one of the most talented performers, and one of the most underrated, in pop music. He has written some lovely and memorable pop tunes. His piano is just the proper-fillip to his vocalizing. And his singing is masterful, full and rich and compuling, capable equally of expressing joy and sadness, a voice that is old and wise, and gentle and experienced. I could listen to this man for hours. As a matter of fact, I have receiving the acetate of this album a couple of weeks ago.
The Return Of Ivory Joe Hunter is some sene a re-creation of the 1950s for the listener, especially since the sound of the musician is one that has so thoroughly integrated into pop music. But Ivory Joe Hunter is only doing his thing as he has been doing it since long before he was ever famous. Many of this tunes were in the 1950s, notably ''Since I Met You Baby'' and ''What Am Living For'', Hunter's tribute to the late Chuck Willis. Credit for a lot of the success of this album must go to producer. B. J. Elliot, and arrangers Charlie Charmers and Sandra Rhodes, for the solid charts and excellent foundation laid down by the band. The taller include Jackie Harvell, lead guitar; Isaac Hayes, organ; James Mitchell, trombones; Gene Miller, trumpet; Charlie Chalmers, tenor; Sandro Rhodes. rhythm guitar and Donné Rhodes, drums. Instrumentally, The Return Of Ivory Joe Hunter is tight and polite behind the bossman's piano, the funky guitar and tenor, the strings and section work, and the rock-solid meter of the sisters Rhodes, Nut it is the voice of Ivory Joe Hunter that is, quite rightly, the reason for it all. There are a lot of dues in the blues. Listen.
Liner notes by John Gabree, High Fidelity
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