CONTAINS
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> Back 1957 Sun Schedule <

1957 SESSIONS 2
February 1, 1957 to February 28, 1957

Studio Session for Warren Smith, January or February 1957 / Sun Records
Studio Session for Jerry Lee Lewis, January/February 1957 / Sun Records
Studio Session for Jerry Lee Lewis, February 1957 / Sun Records
Studio Session for Jerry Lee Lewis, February 5, 1957 / Sun Records
Studio Session for Warren Smith, February 1957 / Sun Records
Studio Session for Billy Riley, February 1957 / Sun Records
Studio Session for The Dixieland Drifters, February 13, 1957 / Sun Records
Studio Session for Dick Penner, February 16, 1957 / Sun Records

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

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR WARREN SMITH
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1957

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE JANUARY OR FEBRUARY 1957
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM C. PHILLIPS
AND/OR JACK CLEMENT

With the momentum of his career sagging a little, Warren Smith returned to Memphis early in 1956 to work on his third single. Roy Orbison pitched a song called "So Long I'm Gone" that - in Smith's hand - effortlessly crossed between country and pop. However, for many it was eclipsed by the 'B' side to end all 'B' sides, "Miss Froggie".

01 - "I HAD A DREAM (THE DARKEST CLOUD)" - B.M.I. - 2:52
Composer: - Jimmy Swan
Publisher: - Copyright Control
Matrix number: - None - False Starts - Not Originally Issued
Recorded: - Unknown Date January/February 1957
Released: - November 1986
First appearance: - Bear Family Records (LP) 33rpm BFX 15211-7-8 mono
THE SUN COUNTRY YEARS 1950 - 1959
Reissued: - February 15, 2013 Bear Family Records (CD) 500/200rpm BCD 17311-4-24 mono
THE SUN COUNTRY BOX 1950 - 1952

For a song that wasn't a hit, ''I Had A Dream'' got around. In 1961, Elvis Presley was recording is Nashville when he spontaneously began singing the bridge. At the time of its release by composer Jimmy Swan in 1952 it was covered by Billy Walker, Ann Clark, and Jean Chapel. Warren Smith's hauntingly lovely version dates to around 1957. Swan was a dee-jay in Hattiesburg, Mississippi, and recorded for Trumpet Records in Jackson, and Smith lived a few miles outside Jackson. He almost certainly heard ''I Had A Dream'' on the radio when it came out. The three-part harmony on the chorus was ragged but haunting in its way. Only the guitarist can be identified for certain on this track (and the earlier version of ''So Long I'm Gone''). Smith identifies Al Hopkins in the session chatter, but the others can not be identified with certainly.

02(1) - "SO LONG I'M GONE" - B.M.I. - 2:39
Composer: - Roy Orbison-Sam Phillips
Publisher: - Knox Music Incorporated
Matrix number: - None - Alternate Take 1 - Not Originally Issued
Recorded: - Unknown Date January/February 1957
Released: - November 1986
First appearance: - Bear Family Records (LP) 33rpm BFX 15211-7-9 mono
THE SUN COUNTRY YEARS 1950 - 1959
Reissued: - February 15, 2013 Bear Family Records (CD) 500/200rpm BCD 17311-4-25 mono
THE SUN COUNTRY BOX 1950 - 1952

This alternate take 1 is a fair distance from the issued version, both in terms of arrangement and instrumentation. Simply put, this is country music whereas the issued version was rockabilly. It provides as clear a statement of the difference between the two as you could hope to find. Either the composer, Roy Orbison, or Smith himself changed around the lyrics a little bit before the song finally hit the streets in the spring of 1957. This version almost certainly dates from the preceding year and shows Smith's high, pure country tenor to great advantage. Sam Phillips was obviously correct to try the fuller instrumentation but this is a lovely version nonetheless.

02(2) - "SO LONG I'M GONE" - B.M.I. - 3:04
Composer: - Roy Orbison-Sam Phillips
Publisher: - Knox Music Incorporated
Matrix number: - None - Alternate Take 2 - False Start - Not Originally Issued
Recorded: - Unknown Date January/February 1957
Released: - November 1986
First appearance: - Bear Family Records (LP) 33rpm BFX 15211-7-10 mono
THE SUN COUNTRY YEARS 1950 - 1959
Reissued: - February 15, 2013 Bear Family Records (CD) 500/200rpm BCD 17311-4-26 mono
THE SUN COUNTRY BOX 1950 - 1952

For many years it had been assumed that Warren Smith's sole chart entry on Sun sported some piano work from Jerry Lee Lewis to help it along. However, there was never a piano solo to really put the matter beyond doubt. Finally, here a take that does indeed contain a piano solo and it is so fair distance from even Jerry Lee's most uninspired work. The most likely conclusion is that, as Al Hopson said, it is Jimmy Wilson on piano. The confusion may have arisen because Phillips had arrived at a very distinctive way of mic-ing the piano so that the basic boogie riff that Lewis and Wilson employed sounded fairly similar no matter who was playing it.

02(3) - "SO LONG I'M GONE" - B.M.I. - 2:10
Composer: - Roy Orbison-Sam Phillips
Publisher: - Knox Music Incorporated
Matrix number: - U 248 Master
Recorded: - Unknown Date January/February 1957
Released: - April 15, 1957
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 268-A < mono
SO LONG I'M GONE / MISS FROGGIE
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15802-4-5 mono
THE SUN SINGLES COLLECTION - VOLUME 2

With its quasi-military marching band beat, takes a simple Roy Orbison composition to unexpected heights. "So Long I'm Gone" sat just behind "Gone" and "White Sport Coat" on the Memphis charts in June, and actually made it to the pop charts in that far off summer of 1957, thus giving Smith a passing taste of fame. Unfortunately for him, Sun's meagre promotional efforts were redirected into the whirlwind success of "Whole Lotta Shakin' Goin On". In any case, the final sustained 1-7 chord of "So Long I'm Gone" is a stroke of understated brilliance and retains its power nearly four decades later.

"So Long I'm Gone" made a fleeting appearance in the Hot 100 but had the misfortune to start breaking at the same time as Jerry Lee Lewis' "Whole Lot Of Shakin' Going On". Sam Phillips placed his eggs in one basket, much to Smith's disgust. There was now constant squabbling on the Stars Incorporated, tours about who should top of the bill. Jimmie Lott remembered: "Warren and Carl Perkins constantly fought Jerry Lee Lewis. They'd sit around in the dressing room before the show on steel chairs with a fifth of Old Crow. Jerry would say, 'I got a big record out now. I'm going on last'. Clayton Perkins would stick his jaw out and say, 'If you're going on last, we're gonna fights".

Six months after the ''Ubangi Stomp'' session, Johnny Bernero was once again back in the studio playing behind Warren Smith. But now Warren was singing a pure country song, ''So Long I'm Gone''. And so Bernero didn't need to play straight rock and roll; he could go back to the style he'd begun with. In some ways, on this track he reprises the shuffle beat he brought to Elvis's record of ''I Forgot To Remember to Forget''. But he doesn't do exactly that. The tempo is fater and Bernero plays that shuffle harder, once again using the snare and hi-hat. Sometimes on the hi-hat he explicitly fills the triplets that tacitly underlie the shuffle beat. On Elvis's record, Bernero's shuffle was the background behind the vocal and guitar. But here it's the central ingredient that moves the record along and makes it danceable. He'd become something of a rock and roller, and there was no going back.

03 - "WHO TOOK MY BABY" - B.M.I. - 2:29
Composer: - Warren Smith
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - Unknown Date January/February 1957
Released: - 1978
First appearance: - Charly Records (LP) 33rpm CR 30115-B-6 mono
SUN: THE ROOTS OF ROCK - VOLUME 8 - SUN ROCKS
Reissued: - November 1986 Bear Family Records (LP) 33rpm BFX 15211-7-12 mono
THE SUN COUNTRY YEARS 1950 - 1959
Reissued: - February 15, 2013 Bear Family Records (CD) 500/200rpm BCD 17311-4-28 mono
THE SUN COUNTRY BOX 1950 - 1952

''Who Took My Baby'' has a very early sound to it and may even date from Smith's association with the Snearly Ranch Boys. The drummer, probably Johnny Bernero or Clyde Leoppard, announces the guitar solo with some well-timed gun raps on the snare. The overall performance is quite accomplished. In fact, it gives the song a touch of class that is slightly more than its due.

04 - "MISS FROGGIE"* - B.M.I. - 2:23
Composer: - Warren Smith
Publisher: - Knox Music Incorporated
Matrix number: - U 249 Master
Recorded: - February 1957
Released: - April 15, 1957
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 268-B <  mono
MISS FROGGIE / SO LONG I'M GONE
Reissued: - 1995 Bear Family Records (CD) 500/200rpm BCD 15802-4-6 mono
THE SUN SINGLES COLLECTION - VOLUME 2

The group had concocted this song while driving back from Dallas one night, although Smith took sole composer credit. Both Al Hopson and Jimmie Lott were on sparkling form. "I always had problem unknowns playing the shuffle that Johnny Bernero used on "Rock 'N' Roll Ruby", asserted Lott, "and my drumming on "Miss Froggie" was almost unsyncopated. The inspiration for my playing as Al's guitar. The kick-off was unbelievable. I could have put Bo Diddley out of business". For his part, Smith hardly appeared to strain. The energy that flowed from the record bordered on maniacal but appeared totally effortless.

With lines like "She oughta been a go-rilla, boy, she sure is wild", the song was hardly calculated to win awards for profundity, but as Phillips would be the first to say, it was sound and the feel that were important, and he caught Hopson's lightning in a bottle. There was no contrivance in his style, the energy flowed from the song rather than being imposed upon it.

Warren Smith cuts loose here with a two-sided gem. "Miss Froggie" has virtually become a rockabilly anthem. In retrospect, it is as close to rock and roll as Smith ever came, bordering on the vocal territory staked out by Billy Riley. The song is just a string of blues cliches, into which new life has been breathed. Al Hopson, glimpsed in the Sun Records Discography with a country fiddle in his hand, cuts loose with some fine guitar work here. Curiously, things start rather slowly: Hopson's 4-bar intro is followed by one of the least assertive drum entrances in Sun history. But Jimmie Lott more than finds his way and by the last 30 seconds has contributed one of the most memorable single stroke drum rolls in rockabilly history.

"The first record I wrote", recalled Warren Smith, "was "Miss Froggie", even though a few verses were borrowed from another song (like "Drinking Muddy Water" and "Sleeping In A Hollow Log"). Yea, the Sun days were real good days and there'll never be any more like that. I had some real good times with some of the people who were on Sun. When I was there Sun was strictly a rock and roll label, with the exception of Johnny Cash".

THE REAL STORY ABOUT MISS FROGGIE - This was the B-side of Warren Smith's only Hot 100 entry but the generations of rockabilly fans it was the A-side to end all A-sides. To the question what is rockabilly? this is the answer. Smith could sing uptempo numbers such as this without coarsening his voice or screaming. His deftly controlled excitement is matched note-for-note by Al Hopson's dazzling guitar and Jimmie Lott's drumming. Hopson's solos are truly lightning in a bottle. The man was possessed on the day he cut this side. The group concocted the song while driving back from Dallas one night, although Smith took sole composer credit. Both Hopson and Lott were on sparkling form. ''I always had problems playing the shuffle that Johnny Bernero used on ''Rock 'N' Roll Ruby'', Lott told Colin Escott, ''and my drumming on ''Miss Froggie'' was almost unsyncopated. The inspiration for my playing was Al's guitar. The kick-off was unbelievable. It could have put Bo Diddley out of business''. One can trace the lyrics back to a clutch of blues standards but, in the final analysis, it doesn't matter because Smith and his group had come up with something stunningly original that is an entire dimension beyond its roots and head and shoulders above its derivatives. Classic then, classic now.

Name (Or. No. Of Instruments)
Warren Smith - Vocal and Guitar
Al Hopson - Guitar
Marcus Van Story - Bass
Jimmie Lott - Drums*
Jimmy Wilson - Piano
Johnny Bernero - Drums
Roland Janes - Guitar
Wil Hopson - Bass

The royalty calculations show payments to Roy Orbison, Stan Kesler, Roland Janes, James Wilson and J.M. Van Eaton for sessions preceding the release of SUN 268. These may refer to SUN 268 or to aborted sessions.

Jerry Lee Lewis' success galled Warren Smith. Not only was a monster unleasing itself from the bottom of the bill but a monster ego was unleasing itself too. Smith had no shortage of egotism and the two were destined to lash. Smith smashed Lewis records whenever he found them but that act could not disquise the hurt and upset that he felt when he heard those records rather than his own on the car radio. "Warren was an egotist - the biggest egotist I've ever met", asserted Jimmie Lott. "A caring man and a good man but an egotist. Warren wanted recognition. He painted 'Warren Smith - The Rock 'N' Roll Ruby Man" on the back of his car - a seven or eight thousand dollar Cadillac sedan".

One of Warren Smith's diversions on the road was practical jokes. Eddie Bond recalled Smith substituted urine for whiskey in the little flask that the group hid on stage for a surreptitious nip. Smith remembered setting off cherry bombs along the road. He and Johnny Cash blew an unfortunate man off the toilet after they flushed four bombs into a hotel's sewage system. Jimmie Lott remembered that "Al Hopson was often the butt of the jokes. One time we were playing West Virginia and Warren waited for Al in the motel room with a set of vampire's teeth and a scary wig and Al really shit his pants". The stunts helped to break the monotony of travel in the days before there were too many interstates and gigs might be as much as five hundred miles apart.

After Johnny Bernero quit Warren Smith, Sam Phillips recommended Jimmie Lott whom he'd used on Elvis Presley's first session with drums in March 1955. ''I had a knock on the door one night'', recalled Lott, ''and three dubious looking guys were there. They identified themselves as Warren Smith, Marcus Van Story and Al Hopson. They said, 'We're looking for a drummer and Sam Phillips said you might be interested'. I said I might and we were over to Warren's attorney's house in east Memphis. We had an audition in the den and Warren hired me. One of the first gigs we played was at the Club Zanzibar in Hayti, Missouri. The place was full of rednecks and I was maybe seventeen years old, hanging onto Warren's coat-tail. I said, 'Are we gonna be alright tonight'? Warren said, 'Don't worry 'bout it, drummer'. He was raised in Greenwood, Mississippi and had a real good rapport with these people. He was one of them''.

For Biographies of Warren Smith see > The Sun Biographies <
Warren Smith's Sun recordings can be heard on the playlists from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR JERRY LEE LEWIS
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1957

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: PROBABLY JANUARY/FEBRUARY 1957
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM C. PHILLIPS
AND/OR JACK CLEMENT

There is virtually nothing left to say about this session. On only his second release, a young Jerry Lee Lewis produced the cornerstone of his recording career. Sam Phillips had already learned that the best way to record young Jerry Lee was to turn him loose in the studio, asking him to reach his archival memory and play whatever came to mind. Jack Clement hit the big time by placing his composition on this flipside of Jerry Lee's second single (Sun 267). "It'll Be Me" is rockabilly's ode to reincarnation. A comparison with other known takes of this song reveals just how different and truly unusual the arrangement of the issued version is. All it took was a life performance during the summer of 1957 on Steve Allen's network TV show, and the Killer's career was up and running. In Billboard's words, "This platter by Lewis is taking off like wildfire".

During the course of recording the early takes of ''It'll Be Me'', Jerry Lee concurrently toyed with his own arrangement of a number he'd come across a couple of years earlier while learning his trade at the Blue Cat Club in Natchez. The genesis of ''Whole Lot Of Shakin' Going On'', which had already been a modest hit for rhythm and blues songstress Big Maybelle, remains the subject of argument to this day, what is certain is that Lewis made the song his own, rendering such debate almost irrelevant. Whereas the development of ''It'll Be Me'' had been meticulous, with subtle refinements being introduced into successive takes, Lewis simply launched into what was destined to become his magnum opus with characteristic abandon. In so doing, he put to good use the opening riff employed both in ''End Of The Road'' and in ''It'll Be Me'', albeit for the latter he had it moved a couple of notches up the keyboard. Four takes, spearheaded by an eight-bar snipped of fifth, survive of the early run-throughs of ''Whole Lot Of Shakin' Going On'', all of which are solid enough but lack the magic ingredient. (*)

1(1) - "IT'LL BE ME"* (1) - B.M.I. - 2:34
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None - Slow - Take 1
Recorded: - January/February 1957 - Not Originally Issued
Released: - September 1989
First appearance: - Bear Family Records (CD) 500/200rpm BCD 15420-1-31 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-1-18 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(2) - "IT'LL BE ME"* (1) - B.M.I. - 1:09
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – 4 False Starts
Recorded: - January/February 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-2-11 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rom BCD 15420-2-2 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

This is an instance where it may be helpful to give close consideration to certain aspects of the recordings to help determine their dissimilarity. After a number of false starts, the first two complete takes of ''It'll Be Me'' have distinctive openings that make them readily identifiable. By take 3 the jaunty eight-bar introduction has been settled upon but there are still sufficient variations in Jerry Lee's delivery of the first line in each recording to tell them apart with some ease. Notice how, in take 3, the word ''hear'' is, ironically, almost inaudible, while in take 4 there is an emphasis on the word ''knocking'' and finally, in the master of the single version, it's on ''somebody''. (*)

1(3) - "IT'LL BE ME"* (1) - B.M.I. - 2:35
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None - Fast - Take 2
Recorded: - January/February 1957 - Not Originally Issued
Released: - March 1987
First appearance: - Charly Records (CD) 500/200rpm CD Charly 70-19 mono
RARE AND ROCKIN'
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-2-3 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

1(4) - "IT'LL BE ME"* (1) – B.M.I. - 3:06
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None - Chatter – Take 3 - Chatter
Recorded: - January/February 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-2-16/17 mono
JERRY LEE LEWIS - THE SUN YEARS
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-1-21 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(5) - "IT'LL BE ME"* (1) – B.M.I. - 2:51
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – Take 4
Recorded: - January/February 1957 - Not Originally Issued
Released: - July 1995
First appearance: - Sun International (CD) 500/22rpm SRC-CD-7002-10 mono
GREATEST HITS - FINEST PERFORMANES
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-1-22 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(6) - "IT'LL BE ME"* (1) - B.M.I. - 2:44
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - U 246 Master - > Sun 261-270 Series <
Recorded: - January/February 1957
Released: - March 15, 1957
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 267-A < mono
IT'LL BE ME / WHOLE LOTTA SHAKIN' GOING ON
Reissued - 1995 Bear Family Records (CD) 500/200rpm BCD 15802-4-3 mono
THE SUN SINGLES COLLECTION - VOLUME 2

This songs has the distinction of being the very first to be issued in two different versions (unless we include the extremely rare ‘Jamboree’ movie soundtrack album which featured an alternate version of ‘Great Balls Of Fire’). The faster and superior version was issued as the flip of Jerry’s 2nd single ‘Whole Lotta Shakin’ Goin’ On’, while a quite different slower alternate version from a later session was issued the following year on his 1958 debut album ''Jerry Lee Lewis''. I’ve always thought it a little strange that this wasn’t re-recorded for ''Golden Hits'' in 1963, as all A and B sides of his first 5 Sun singles (plus his 7th Sun single) were cut with the exception of this song.

On the single's release, Sam Phillips had higher hopes for the other side, "It'll Be Me", a song that Jack Clement had concocted on the toilet while contemplating the possibility of reincarnation. Before recording, the line, "If you see a turd in your toilet bowl, baby, it'll be me and I'll be starin' at you" had become "If you find a lump in your sugar bowl"; sex may have been in, but scatology was definitely out. Released in mid-March, the record wasn't fully promoted until Jerry returned from the tour in May, and by that time, Sam Phillips had ascertained that "Shakin'" was the side to watch. With Dewey Phillips behind it, "Shakin'" was sitting atop the local charts in Memphis, and on June 12 it entered the national country charts. Two weeks later, it entered the Hot 100 at number 70.

This flip-side is a comparatively easy-going, loping performance with an understated shuffle rhythm. And Jimmy Van Eaton provides lots of additional decoration. For instance, the song is structured so that every time Jerry sings the title line it's followed by more than one full measure in which nothing happens. Van Eaton decorates those moments with a brief roll that fills the gap (although he does miss one). He marks the end of every verse, the release, and every solo with a roll. And he gets very lively in the second appearance of the release that follows the solos, making the shuffle rhythm explicit.

Sam Phillips achievement was simply to turn on the tape machine and let his boy go, hoping to hear something he could sell from the reliquary of forgotten hits and misses in Jerry's head. On this night, Jerry Lee recorded the song that Ray Hall had probably taught him, "Whole Lotta Shakin' Going On". Sam Phillips initially had little faith in it, sensing that it was too suggestive. As usual, Jerry had a hard time recalling the original version and, running out of lyrics before the song was much over a minute long, he eased the band down and inserted a talking segment he had worked up on club dates, before storming back for a climactic finale, ending with a triumphant glissando.

Jerry would later record songs that were demonstrably lascivious ("Big Legged Woman" and "Meat Man", to name two). "Shakin'" has formidable energy behind it - and a suggestive tone in the talking segment - but it isn't explicitly obscene. In contrast, Bill Haley thought he had excised all the objectionable passages of "Shake, Rattle And Roll" when he rewrote out the lines, "You wear them dresses, the sun comes shining through / I can't believe all that mess belongs to you". With charming naivete, he left the line "I'm like a oneeyed cat peeking in a seafood store"; when one considers that "seafood store" was black slang for female genitalia, it doesn't take too much imagination to figure out the identity of the one-eyed cat. Intent counts for a great deal, though, and Jerry imbued "Shakin'" with implicit sex. The record was banned in many cities.

2(1) - "WHOLE LOT SHAKIN' GOING ON"* (1) - A.S.C.A.P. - 0:14
Composer: - Dave Curley Williams-Sunny David (aka Ray Hall)
Publisher: - Robert Mellin Music
Matrix number: - None – Fragment
First part of Take recorded over
Recorded: - January/February 1957 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-1-24 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

In Nashville back in 1955, Lewis had played at the Musicians’ Hideaway bar owned by Roy Hall, and it was after hearing Hall perform ‘Whole Lotta Shakin’ Goin’ On’ that The Killer adapted and incorporated the number into his own live act. Now fast-forward to February 1957, and a Sun session that commenced with Jerry Lee and the boys working on one of Jack Clement's own compositions, ''It'll Be Me''.

''It just wasn’t jiving at that time'', Clement recalls, ''so I went into the studio and said, 'Why don't we get off this for a while and do something else'? That's when Jerry's bass player, J.W. Brown, who was also his first cousin and would soon become his father-in-law, said, 'Hey, Jerry, do that thing we've been doing on the road which everybody likes so much'. Jerry said, 'OK', so I turned the tape machine on and he did ''Whole Lotta Shakin' Goin' On'' in one take. No dry run, nothing. That was the first time I ever heard it''.

During an era when most studios' modus operandi was to record three or four tracks in as many hours, no such time constraints were enforced at Sam Phillips' facility. ''The musicians weren't quick enough to work that way'', Clement says. ''These were often guys who hadn't made records before. But they were good. The thing about Jerry Lee is that you could give him a piano and an audience of one or more people and he would give you the whole show. That’s what was so great about him''.

As performed by Lewis, a catchy but fairly standard rhythm and blues number was transformed into just under three minutes of rock and roll magic. OK, so he only sang a small portion of the ''Whole Lotta Shakin'' lyrics, but the power of his playing and suggestiveness of his vocal delivery were nothing short of transformative, culminating in the sedate yet leering spoken passage, '' shake it, baby, shake it, all you gotta do honey is kinda stand in one spot, wiggle around just a little bit...'', that is followed by the rousing finale and closing glissando.

''I knew it was a hit when I cut it'', Lewis would later say. ''Sam Phillips thought it was going to be too risqué, it couldn’t make it. If that’s risqué, well, I’m sorry''.

2(2) - "WHOLE LOT SHAKIN' GOING ON"* (1) - A.S.C.A.P. - 2:40
Composer: - Dave Curley Williams-Sunny David (aka Ray Hall)
Publisher: - Robert Mellin Music
Matrix number: - None – Take 1
Recorded: - January/February 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-2-A9 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-1-29 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

To discriminate between the complete raw takes of ''Whole Lot Of Shakin' Going On'', it's easiest simply to take note of Jerry Lee's lustful invitation to the subject of his attention once he's uttered the proposition that she should ''stand in one spot'' during the ''easy now'' passage. In succeeding takes he asks her either to ''...bop a little'', ''...wiggle around a little''', ''...twist around a little'' or ''...wiggle around a little bit''. The remnant of a fifth take which, in view of the slightly slower pace, is believed to represent Lewis's earliest recording of the song, is distinguished by the clipped pronunciation of the word ''shakin''', it being related in this instance as little more than a single syllable. (*)

The recording that would launch Lewis's career as a rock and roll icon appears, however, to have been an isolated addendum to a later session on February 5, 1957. On the playback of this cut of ''Whole Lot Of Shakin' Going On'', all involved must have quickly realised they had struck the mother lode, this was to be the ''A'' side of Jerry Lee's second disc, Sun 267.

2(3) - "WHOLE LOT SHAKIN' GOING ON"* (1) - A.S.C.A.P. - 2:42
Composer: - Dave Curley Williams-Sunny David (aka Ray Hall)
Publisher: - Robert Mellin Music
Matrix number: - None – Take 2
Recorded: - January/February 1957 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-1-26 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(4) - "WHOLE LOT SHAKIN' GOING ON"* (1) - A.S.C.A.P. - 2:44
Composer: - Dave Curley Williams-Sunny David (aka Ray Hall)
Publisher: - Robert Mellin Music
Matrix number: - None – Take 3
Recorded: - January/February 1957 - Not Originally Issued
Released: - March 1987
First appearance: - Charly Records (CD) 500/200rpm CD Charly 70-12 mono
RARE AND ROCKIN'
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-1-27 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(5) - "WHOLE LOT SHAKIN' GOING ON"* (1) - A.S.C.A.P. - 2:47
Composer: - Dave Curley Williams-Sunny David (aka Ray Hall)
Publisher: - Robert Mellin Music
Matrix number: - None – Take 4
Recorded: - January/February 1957 - Not Originally Issued
Released: - November 1986
First appearance: - Charly Records (LP) 33rpm Sunbox 106-8-1 mono
SUN RECORDS - THE ROCKING YEARS - WHOLE LOTTA SHAKIN'
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-1-28 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal and Piano
Roland Janes - Guitar
Jay W. Brown – Bass *
James M. Van Eaton – Drums

The other and maybe the true story about ''Whole Lot Of Shakin' Going On'' by Peter Guralnick.

Billy Riley and his band played a little club in Blytheville, Arkansas, called the Twin Gables, on the waydown. It was just Jerry, his cousin Jay Brown, who had accompanied him to the studio when they cut ''Crazy Arms'' on November 14, 1956, and had by now acquired an electric bass, Roland Janes, Jimmy Van Eaton,and the club was barely big enough to accommodate a group of even that size. In fact there was just room forJerry and Jimmy. van Eaton on the bandstand, Jay and Roland Janes had to stand on the floor, and every timeJimmy Van Eaton socked the drums, dust sifted down from the heavy draperies tacked up on the ceiling todeaden the sound, coating the new jackets they had bought to play the Jamboree.

It was a four-hour job, so you really had to throw just about every song you might be able to play together asa band into each set, and then some. Not long into the evening Jerry Lee Lewis played a boogie-woogiefigure to introduce a song he said he used to sing when he was down in Ferriday, and the band fell in behindhim. Before he had even gotten halfway through, Roland Janes said, the people just started going crazy,''bopping all over the floor, you know how they do in Arkansas''. And as soon as they finished, the audiencewanted to hear it again. ''Play that ''Shakin'' song'', they kept calling out. ''They just loved it, man, theyinsisted on hearing it over and over''. And the same thing happened when they played the Big D Jamboree thenext night and then an upstairs club nearby after the show. The song was ''Whole Lot Of Shakin' Going On''.

It had first been recorded in 1955 without any real chart success, or anything like the boogie-woogieapproach that Jerry Lee brought to it, by rhythm and blues belter Big Maybelle. Jerry had first heard itperformed by a Natchez disc jockey named Johnny Littlejohn at the little club across the river from Ferridaywhere he ordinarily performed. According to Jerry, ''and he was playing drums and singing, and I stood thereand listened, and I said, 'Man, that is fantastic'. I said, 'That's a hit'. And I started doing it pretty close toexactly they way he done it. Word for word. The way he would say, 'Easy, Let's get down real low. Stand it inone spot, and wiggle it around a little bit'. I picket it up from, I didn't steal it. I just kind of took it''.

When they played it for Sam Phillips, he didn't hesitate for a minute. Memories differ, but if they didn't cut iton the spot, they went back into the studio the next day, and after four or five takes they had it.

There has never seen a more breathtaking iconic moment. Jerry Lee kicked the rhythm off, just the way healways did, it was at heart a boogie-woogie number after all, with Jimmy M. Van Eaton on drums andRoland Janes' muted guitar coming in close behind. But where in the early takes the vocal is mannered,almost as if the singer is not fully committed to a consistency of approach, with tempo flirting with thefrenetic, and the piano wavering in its attack, the final take exudes a sense of pure command and rumblingauthority that, as brilliant as all of his previous studio extemporizations may have been, had never beenaltogether realized before.

This sence of authority is unmistakably aided by the liberal application of slapback not just to the vocal butto the piano as well, and by the almost total eradication of Jay W. Brown's electric bass, which had beendisconcertingly present in earlier takes. Most of all, there is a sence of sheer uninhibited fun, underscored bya selective use of glissando and the controlled variations of tone archieved in both the recordings andperforming process. When Jerry Lee swings into his first solo with an ''Aww, let's go'', the record takes off,though nothing physically changes, and then when he calls out, ''Ro, boy'', to invite Roland Janes' stringbendingsolo, there is simply no turning back.

The record concludes with the Johnny Littlejohn spoken passage that may well take its original inspirationfrom Clarence ''Pine Top'' Smith's 1929 classic, ''Pine Top's Boogie Woogie'', in which the singer is directingsimilar double entendres at an unseen audience, who are bidden to dance to the music at his direction. ''Nowwhen I say, 'Hold yourself''', says Pine Top. ''I want you get ready to stop / And when I say, 'Git it', I want youto shake that thing''. In this case Jerry Lee, after directing the band to ''get real low one time now'', turns hisattention to one particular, imagined girl, whom he exhorts to ''kind of stand in one spot, wiggle around just alittle bit'', before concluding, ''That's when you got something''. At which point he turns his attention back to the band, delivering a single irrefutable command (''Now let's go one time'') before capping the exuberantly throbbing finale with yet another glissando.

Neither Jimmy Marcus Van Eaton, nor Roland Janes had any point of comparison in their musicalexperience. They were, unquestionably, participants in the process, they were undeniably contributors, but there was no doubt in either of their minds that, without in any way underestimating their own contributions,they had never encountered such genius before, and they doubted that they ever would again. To SamPhillips, what it all came down to was that Jerry Lee had found his voice, that, for all of the insecurity thatSam suspected lay just beneath the swagger, ''he had that basic sureness about what he was doing. And hebelieved that what he was doing was good''. For Jack Clement, whose recollection of the moment was aspoetically true as it was factually fogged, ''We'd been working and working on a song I wrote called ''It'll BeMe'', and it was getting a little stale, and the bass player spoke up and said, 'Hey, Jerry, let's do that songwe've been doing on the road that everybody likes so much. So I said, 'Okay, ell, let me go turn on themachine'. So I walk in the control room and sit down, just as, they're playing the chord, and we did it. No dryrun, no nothing, just blap, there's ''Whole Lot Of Shakin''. One take. Now that was fun''.

Maybe that's the best description of how it actually happened, even if there were in fact at least three or fouralternate takes, because that's what it sounds like. For all the discipline that was required, for all the carefulattention to feel and sound, it came out as pure and unself-conscious as if it were a first take, as if it couldnever have been anything but what it was. It was the perfect definition of everything that Sam Phillips strovefor in his ''little laboratory of sound''; a thoroughly professional recording that sounded as if it had been puttogether with a minimum of polish and maximum of spontaneity.

For Biography of Jerry Lee Lewis. See: > The Sun Biographies <
Jerry Lee Lewis's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR JERRY LEE LEWIS
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1957

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: PROBABLY FEBRUARY 1957
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM C. PHILLIPS
AND/OR JACK CLEMENT

1(1) - "OLE PAL OF YESTERDAY" (1) - B.M.I. - 2:34
Composer: - Gene Autry-Jimmy Long
Publisher: - Songs Of Universe
Matrix number: - None - Take 1
Recorded: - February 1957 - Not Originally Issued
Released: - April 1993
First appearance: - Charly Records (CD) 500/22rpm Sunbox 4-7-3 mono
JERRY LEE LEWIS - THE ULTIMATE - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-1-29 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

Jerry Lee Lewis like wise treated ''Ole Pal Of Yesterday'' with a great deal of respect and left us with little to help in distinguishing one from any other of four very similar takes of the song. Let's start with the easy one. The first of the four to be issued, though the last in the sequence presented here, fortuitously serves up a classic default marker; a glissando, executed only in this take, is heard at 1:55 during the course of the solo. (*)

1(2) - "OLE PAL OF YESTERDAY" (1) - B.M.I. - 2:34
Composer: - Gene Autry-Jimmy Long
Publisher: - Songs Of Universe
Matrix number: - None - Take 2
Recorded: - February 1957 - Not Originally Issued
Released: - November 1986
First appearance: - Bear Family Records (LP) 33rpm BFX 15211-11-8 mono
THE SUN COUNTRY YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-1-30 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

Next, consider take 2; this can be eliminated from the discussion by reference to the final line of the song, which is alone in not being prefaced with the word ''yes''; as is the case with the remaining two, take 1 and 3, while take 4 features a more casual ''yeah''. To split takes 1 and 3, listen carefully at around 1:05 to 1:10 in both; in the first, the line ''does your memory stray'' is anticipated by the word ''well'' while ''stray'' is delivered conventionally; in the second there's no ''well'' and the word ''stray'' is stretched on a rising inflection into two syllables. There's not much to pick between any of these alternates, but the clues are there. (*)

1(3) - "OLE PAL OF YESTERDAY" (1) - B.M.I. - 2:35
Composer: - Gene Autry-Jimmy Long
Publisher: - Songs Of Universe
Matrix number: - None - Take 3
Recorded: - February 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-2-B1 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-1-31 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

1(4) - "OLE PAL OF YESTERDAY" (1) - B.M.I. - 2:37
Composer: - Gene Autry-Jimmy Long
Publisher: - Songs Of Universe
Matrix number: - None - Take 4
Recorded: - February 1957 - Not Originally Issued
Released: - July 1974
First appearance: - Sun International (LP) 33rpm 6467 029-A8 mono
JERRY LEE LEWIS - ROCKIN' AND FREE
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-2-5 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

2(1) - "IT'LL BE ME" (2) - B.M.I. - 2: 30
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – Take 1
Recorded: - February 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-2-B2 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-1-30 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

Jerry Lee Lewis took an extended break from the studio work throughout April and May 1957, during which he toured extensively in the mid-west and in Canada. But before leaving Memphis he worked on a second, so-called ''slow'' arrangement of ''It'll Be Me'' would itself in due course reap further rewards for Clement when it found a place on Lewis's first album and/or EP that year or so later. Again, successive takes demonstrated steady progress until the LP/EP master was settled upon. With the exception of the initial pair and the last of the seven, these takes are not that easy to differentiate but there are some useful pointers. The opener is straightforward, as it is missing the emblematic ''knock on the door'' drum intro. Take 2, once it is underway following a false start, establishes the template for what is to come but this effort is set apart by Jerry Lee's vocal histrionics as they come out of the instrumental break. In take 3, during the same passage, the phrase ''in the night\\ is noticeably hurried compared to the norm. Take 4 alone features, in the fourth verse, the idea of ''something funny'' as opposed to ''a funny face'' being seen ''in a comic book''. In take 5 an untypical piano break confirms that we're on new ground. The second, LP master then follows; the main point of reference is simply that this is the most recognisable take, against which the variations perceptible in the others can be measured although one vocal nuance which can be highlighted is the clipped way in which the term ''sugar bowl'' is sung in the penultimate line. Take 6 has been presented as a postscript here because it presents a change of tempo that isolates it from the mainstream development of the song. (*)

2(2) - "IT'LL BE ME" (2) - B.M.I. - 0:21
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – 3 False Starts
Recorded: - February 1957 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-2-2 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(3) - "IT'LL BE ME" (2) - B.M.I. - 2:12
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – Take 2
Recorded: - February 1957 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-2-3 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(4) - "IT'LL BE ME" (2) - B.M.I. - 2:14
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – Take 3
Recorded: - February 1957 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-2-4 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(5) - "IT'LL BE ME" (2) - B.M.I. - 0:32
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – 4 False Starts
Recorded: - February 1957 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-2-5 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(6) - "IT'LL BE ME" (2) - B.M.I. - 2:13
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – Take 4
Recorded: - February 1957 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-2-6 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(7) - "IT'LL BE ME" (2) - B.M.I. - 2:18
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – Take 5
Recorded: - February 1957 - Not Originally Issued
Released: - April 1993
First appearance: - Charly Records (CD) 500/22rpm Sunbox 4-9-3 mono
JERRY LEE LEWIS - THE ULTIMATE - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-2-7 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(8) - "IT'LL BE ME" (2) – B.M.I. - 2:13
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – EP/LP Master Take 6
Recorded: - February 1957
Released: - June 1958
First appearance: - Sun Records (EP) 45rpm EPA 110-B2 mono
JERRY LEE LEWIS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-2-11 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

2(9) - "IT'LL BE ME" (2) - B.M.I. - 2:08
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – Take 7
Recorded: - February 1957 - Not Originally Issued
Released: - March 1987
First appearance: - Charly Records (CD) 500/200rpm CD Charly 70-18 mono
JERRY LEE LEWIS - RARE AND ROCKIN'
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-2-9 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

3(1) - "ALL NIGHT LONG" (1) - B.M.I. - 2:05
Composer: - Traditional Arranged by Jerry Lee Lewis
Publisher: - Copyright Control
Matrix number: - None – Chatter Take 1 - Unknown Take
Recorded: - February 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-3-A3 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-2-10 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

3(2) - "ALL NIGHT LONG" (1) - B.M.I. - 2:02
Composer: - Traditional Arranged by Jerry Lee Lewis
Publisher: - Copyright Control
Matrix number: - None – Take 2
Recorded: - February 1957 - Not Originally Issued
Released: - July 1974
First appearance: - Sun International (LP) 33rpm 6467 029-A9 mono
JERRY LEE LEWIS - ROCKIN' AND FREE
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-2-11 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

4(1) - "OLD TIME RELIGION" (1) - B.M.I. - 1:53
Composer: - Charles Davis Tillmans
Publisher: - Copyright Control
Matrix number: - None – Take 1
Recorded: - February 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-1-B8 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-2-13 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

''(Give Me That) Old Time Religion" recorded here by Jerry Lee Lewis, is a traditional gospel song dating from 1873, when it was included in a list of Jubilee songs, or earlier. It has become a standard in many Protestant hymnals, though it says nothing about Jesus or the gospel, and covered by many artists. Some scholars, such as Forrest Mason McCann, have asserted the possibility of an earlier stage of evolution of the song, in that "the tune may go back to English folk origins" (later dying out in the white repertoire but staying alive in the work songs of African Americans). In any event, it was by way of Charles Davis Tillman that the song had incalculable influence on the confluence of black spiritual and white gospel song traditions in forming the genre now known as southern gospel. Tillman was largely responsible for publishing the song into the repertoire of white audiences. It was first heard sung by African-Americans and written down by Tillman when he attended a camp meeting in Lexington, South Carolina in 1889.

A popular version of "Old Time Religion" was done by The Caravans in 1954 with a young James Cleveland singing lead. Vocals in the group also included Cassietta George, Albertina Walker, Louise McDowell and Johneron Davis.

4(2) - "OLD TIME RELIGION" (1) – B.M.I. - 1:35
Composer: - Charles Davis Tillmans
Publisher: - Copyright Control
Matrix number: - None – Take 2
Recorded: - February 1957 - Not Originally Issued
Released: - September 1970
First appearance: Sun International (LP) 33rpm Sun 119-B2 mono
JOHNNY CASH & JERRY LEE LEWIS - SUNDAY DOWN SOUTH
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-2-13 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

5 - "WHEN THE SAINTS GO MARCHIN' IN" (1) - B.M.I. - 2:09
Composer: - Traditional-Jerry Lee Lewis
Publisher: - R&H Music
Matrix number: - None - Undubbed Master
Recorded: - February 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-1-B9 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-2-14 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

"When The Saints Go Marching In", often referred to as "The Saints", is an American gospel hymn. Though it originated as a Christian hymn, it is often played by jazz bands. This song was famously recorded on May 13, 1938 by Louis Armstrong and his Orchestra. The song is sometimes confused with a similarly titled composition "When The Saints are Marching In" from 1896 by Katharine Purvis wrote the lyrics and James Milton Black composed the music.

The origins of this song are unclear. It apparently evolved in the early 1900s from a number of similarly titled gospel songs including "When The Saints Are Marching In" (1896) and "When The Saints March In for Crowning" (1908). The first known recorded version was in 1923 by the Paramount Jubilee Singers on Paramount 12073. Although the title given on the label is "When All The Saints Come Marching In," the group sings the modern lyrics beginning with "When the saints go marching in...". No author is shown on the label. Several other gospel versions were recorded in the 1920s, with slightly varying titles but using the same lyrics, including versions by The Four Harmony Kings (1924), Elkins-Payne Jubilee Singers (1924), Wheat Street Female Quartet (1925), Bo Weavil Jackson (1926), Deaconess Alexander (1926), Rev. E. D. Campbell (1927), Robert Hicks (aka Barbecue Bob, 1927), Blind Willie Davis (1928), and the Pace Jubilee Singers (1928). The earliest versions were slow and stately, but as time passed the recordings became more rhythmic, including a distinctly up tempo version by the Sanctified Singers on British Parlophone in 1931. Even though the song had folk roots, a number of composers claimed copyright in it in later years, including Luther G. Presley and Virgil Oliver Stamps, R.E. Winsett, and Frank and Jim McCravy. Although the song is still heard as a slow spiritual number, since the mid-20th century it has been more commonly performed as a "hot" number. The tune is particularly associated with the city of New Orleans. A jazz standard, it has been recorded by a great many jazz and pop artists.

Both vocal and instrumental renditions of the song abound. Louis Armstrong was one of the first to make the tune into a nationally known pop tune in the 1930s for Decca Records. Armstrong wrote that his sister told him she thought the secular performance style of the traditional church tune was inappropriate and irreligious. Armstrong was in a New Orleans tradition of turning church numbers into brass band and dance.

5(d) - "WHEN THE SAINTS GO MARCHIN' IN"** (1) - B.M.I. - 2:07
Composer: - Traditional-Jerry Lee Lewis
Publisher: - R&H Music
Matrix number: - None – Overdubbed LP Master
Recorded: - February 1957
Released: - May 1958
Fist appearance: - Sun Records (LP) 33rpm SLP 1230-B4 mono
JERRY LEE LEWIS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-6 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal and Piano
Roland Janes - Guitar
James M. Van Eaton – Drums

** - Overdubbed Session April 4 and/or 8, 1958
Vocal Chorus Overdubbed
Ed Bruce, Vernon Drane, Charlie Rich,
Lee Holt, Bobby Thompson,
Ben Strong and Alive Rumple

For Biography of Jerry Lee Lewis. See: > The Sun Biographies <
Jerry Lee Lewis's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

FEBRUARY 2, 1957 SAURDAY

Ernest Tubb and The Wilbuen Bothers recorded ''Mister Love'' in the early evening at the Bradley Film and Recording Studio in Nashville's Music Row.

Singer-songwriter Ashley Cleveland is born in Knoxville, Tennesee. Married to guitarist Kenny Greenberg, the Grammy-winning Christian artist back up Reba McEntire on ''Why Haven't I Hear From You'' and Martine McBride on ''Wild Angels''.

Carl Perkins and his band plays ''Blue Suede Shoes'' and ''Matchbox'' as a guest performer on ABC-TV's ''Ozark Jubilee''.

Fats Domino appears on "The Perry Como Show'' and sings ''Blue Berry Hill'' and ''Blue Monday''.

FEBRUARY 4, 1957 MONDAY

Columbia released Mel Tillis' first single, ''Honky Tonk Song''.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR JERRY LEE LEWIS
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1957

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: PROBABLY TUESDAY FEBRUARY 5, 1957
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM C. PHILLIPS
AND/OR JACK CLEMENT

1(1) - "IT ALL DEPENDS" (1) - B.M.I. - 2:58
Composer: - Billy Mize
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None - Undubbed Master
Recorded: - February 5, 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-6-A3 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-1-27 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

1(1d) - "IT ALL DEPENDS"** (1) - B.M.I. - 3:08
Composer: - Billy Mize
Publisher: - Hi-Lo Music Incorporated
Matrix number: - None – Overdubbed LP Master
Recorded: - February 5, 1957
Released: - May 1958
Fist appearance: - Sun Records (LP) 33rpm SLP 1230-A4 mono
JERRY LEE LEWIS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-4-8 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

Recorded on this session and (along with 3 other songs) overdubbed in April 4 and/or 8, 1958 with a male vocal chorus for inclusion on Jerry’s first album, this is one of his finest early country-pop ballads. The 1979 re-cut (released under the alternate title ''Who Will Buy The Wine'' on the mostly brilliant ''When Two Worlds Collide'' album the following year) is given the full Nashville treatment of fiddle, steel guitar, strings and girly backing vocals. Despite (or because of) this, it’s a more than worthy remake. However, for some reason is Jerry more “innocent” younger vocals more appealing on this particular song.

2(1) - "YOU ARE MY SUNSHINE" (1) - B.M.I. - 0:24
Composer: - James H. Davis-Charles Mitchell
Publisher: - Peer International
Matrix number: - None – 2 False Starts - 1st False Start Unissued
Recorded: - February 5, 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-3-A8 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-2-16 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

This standard, Jerry here cut three superb (but similar) takes during his early months at Sun, both performed fairly fast and with the trademark ''pumpin'' piano much in evidence. One take was issued on ''Olde Tyme Country Music'' in 1970, while the alternate take was first issued on ''The Sun Years'' in 1983. The re-cut is performed much slower, the prominent harmonica gives it a similar feel to his 1975 ''Odd Man In'' album and for once the overdubbed duet vocal (by Sheryl Crow) probably genuinely enhances what was a more than OK track beforehand. Released on the ''Mean Old Man'' EP in 2009 and again on the album of the same name this year, it’s an undoubted highlight of both the EP and the album.

2(2) - "YOU ARE MY SUNSHINE" (1) - B.M.I. - 2:11
Composer: - James H. Davis-Charles Mitchell
Publisher: - Peer International
Matrix number: - None – Take 1
Recorded: - February 5, 1957 - Not Originally Issued
Released: - January 1983
First appearance: - Charly Records (LP) 33rpm Sunbox 102-3-A8 mono
JERRY LEE LEWIS - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-2-17 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

2(3) - "YOU ARE MY SUNSHINE" (1) - B.M.I. - 2:09
Composer: - James H. Davis-Charles Mitchell
Was first heart in the 1940 film "Take Me Back To Oklahoma",
sung by Tex Ritter.
Publisher: - Peer International
Matrix number: - None –Take 2
Recorded: - February 5, 1957 - Not Originally Issued
Released: - September 1970
First appearance: - Sun International (LP) 33rpm LP 121-B3 mono
JERRY LEE LEWIS - OLE TYME COUNTRY MUSIC
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-1-24 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 – 1963

"You Are My Sunshine" is a popular American song and it was first recorded in 1939. It also happens to be one of Louisiana's state songs. The songwriters for this song are Charles Mitchell and James Davis. While Jimmie Davis who sung the 2nd version of this song used his association with this song for immense political mileage when running for governorship of Louisiana.

This song is soaked in history and it has been featured in numerous films, television shows, television commercials, and radio commercials additionally numerous sporting teams, such as Wigan Athletic Football Club too have used this song. Today this song is a extremely well known song and is a standard for traditional country music and traditional jazz performers. The song "You Are My Sunshine" is frequently called "The Sunshine Song".

3(1) - "I DON'T LOVE NOBODY" (1)- B.M.I. - 1:23
Composer: - Elizabeth Cotten
Publisher: - Traditional
Matrix number: - None – Take 1
Recorded: - February 5, 1957 - Not Originally Issued
Released: - April 1993
First appearance: - Charly Records (CD) 500/22rpm Sunbox 4-9-4 mono
JERRY LEE LEWIS - THE ULTIMATE - THE SUN YEARS
Reissued: - October 2015 Bear Family Records (CD) 500/200rpm BCD 17254-2-19 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

Elizabeth "Libba" Cotten (née Neville) born on January 5, 1893, was an American blues and folk musician, singer, and songwriter. A self-taught left-handed guitarist, Cotten developed her own original style. Her approach involved using a right-handed guitar (usually in standard tuning), not re-strung for left-handed playing, essentially, holding a right-handed guitar upside down. This position required her to play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "cotten picking".

Elizabeth Nevills was born in Chapel Hill, North Carolina, to a musical family. Her parents were George Nevill (also spelled Nevills) and Louisa (or Louise) Price Nevill. Elizabeth was the youngest of five children. At age seven, Cotten began to play her older brother's banjo. By eight years old, she was playing songs. At the age of 11, after scraping together some money as a domestic helper, she bought her own guitar. The guitar, a Sears and Roebuck brand instrument, cost her $3.75. Although self-taught, she became very good at playing the instrument. By her early teens she was writing her own songs, among ''I Don't Love Nobody'' voiced here twice by Jerry Lee Lewis with his pumping piano style with the sharp guitar accompaniment by Roland Janes and the drumming of Jimmy Van Eaton, but one of which, "Freight Train", became one of her most recognized. Cotten wrote "Freight Train" in remembrance of the nearby train that she could hear from her childhood home.

Around the age of 13, Cotten began working as a maid along with her mother. On November 7, 1910, at the age of 17, she married Frank Cotten. The couple had a daughter named Lillie, and soon after young Elizabeth gave up guitar playing for family and church. Elizabeth, Frank and their daughter Lillie moved around the eastern United States for a number of years between North Carolina, New York, and Washington, D.C., finally settling in the D.C. area. When Lillie married, Elizabeth divorced Frank and moved in with her daughter and her family.

Cotten had retired from the guitar for 25 years, except for occasional church performances. She didn't begin performing publicly and recording until she was in her 1960s. She was discovered by the folk-singing Seeger family while she was working for them as a housekeeper.

While working briefly in a department store, Cotten helped a child wandering through the aisles find her mother. The child was Penny Seeger, and the mother was composer Ruth Crawford Seeger. Soon after this, Elizabeth again began working as a maid, caring for Ruth Crawford Seeger and Charles Seeger's children, Mike, Peggy, Barbara, and Penny. While working with the Seegers (a voraciously musical family) she remembered her own guitar playing from 40 years prior and picked up the instrument again to relearn almost from scratch.

In the later half of the 1950s, Mike Seeger began making bedroom reel to reel recordings of Cotten's songs in her house. These recordings later became the album Folksongs and Instrumentals with Guitar, which was released on Folkways Records. Since that album, her songs, especially her signature track, Freight Train, which she wrote when she was 11, have been covered by Peter, Paul, and Mary, Jerry Garcia, Bob Dylan, Joan Baez, Devendra Banhart, Laura Gibson, Laura Veirs, His Name Is Alive, Doc Watson, Taj Mahal and Geoff Farina. Shortly after that first album, she began playing concerts with Mike Seeger, the first of which was in 1960 at Swarthmore College.

In the early 1960s, Cotten went on to play concerts with some of the big names in the burgeoning folk revival. Some of these included Mississippi John Hurt, John Lee Hooker, and Muddy Waters at venues such as the Newport Folk Festival and the Smithsonian Festival of American Folklife.

The new-found interest in her work inspired her to write more material to play, and in 1967 she released a record created with her grandchildren, which took its name from one of her songs, Shake Sugaree. Using profits from her touring, record releases, and from the many awards given to her for her own contributions to the folk arts, Elizabeth was able to move with her daughter and grandchildren from Washington, D.C., and buy a house in Syracuse, New York. She was also able to continue touring and releasing records well into her 1980s. In 1984, she won the Grammy Award for "Best Ethnic or Traditional Recording" for the album on Arhoolie Records, ''Elizabeth Cotten Live''. When accepting the award in Los Angeles, her comment was, "Thank you. I only wish I had my guitar so I could play a song for you all." In 1989, Cotten was one of 75 influential African-American women included in the photo documentary, ''I Dream A World''. Elizabeth Cotten died in June 29, 1987, at Crouse-Irving Hospital in Syracuse, New York, at the age of 94.

3(2) - "I DON'T LOVE NOBODY" (1) - B.M.I. - 2:09
Composer: - Elizabeth Cotten
Publisher: - Traditional
Matrix number: - None – Take 2
Recorded: - February 5, 1957 - Not Originally Issued
Released: - January 1974
First appearance: - Sun International (LP) 33rpm Sun NY-6-A1 mono
JERRY LEE LEWIS - COLLECTORS EDITON
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-1-28 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

''Long Gone Lonesome Blues'' is a prime example of the session dynamic that both Roland Janes and Jimmy M. Van Eaton described. Jerry Lee would simply start to play and it was up to his sidemen to scramble until they caught up with him. The result, as on this track, is that it ends a lot more solidly than it begins. Even if you're not a studio musician, it stands to reason that you can play with more authority when you know the key, the tempo, and the song title.

That being said, this performance still has a lot to recommend it. It also underscores the fact that Hank Williams songs were a part of everyone's musical consciousness, at least in Tennessee in February 1957, barely four years after the singer's death. Two things to help put this track into context: (1) it stems from an early February 1957 session and was only the 22nd song title Jerry Lee recorded for Sun, and (2) if session logs are to be believed, it was followed almost immediately by the master recording of ''Whole Lotta Shakin' Goin' On'' (Sun 267). Would you have guessed listening to this Hank Williams title that within minutes the same musicians would produce one of rock and roll's classic recordings?

4 - "LONG GONE LONESOME BLUES" - B.M.I. - 2:02
Composer: - Hank Williams
Publisher: - Warner Chappell Music
Matrix number: - None – Unknown Take
Recorded: - February 5, 1957 - Not Originally Issued
Released: - July 1974
First appearance: - Sun International (LP) 33rpm 6467 029-B7 mono
JERRY LEE LEWIS - ROCKIN' AND FREE
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-2-16 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

"Long Gone Lonesome Blues" is 1950 song by Hank Williams played on this session by Jerry Lee for Sun Records. The song was Hank Williams' second number one on the country and western chart. "Long Gone Lonesome Blues" stayed on the charts for twenty-one weeks, with five weeks at the top of the country and western chart. The B-side of the song, entitled "My Son Calls Another Man Daddy," peaked at number nine on the country and western chart.

"Long Gone Lonesome Blues" is quite similar in form and style to Williams' previous number 1 hit "Lovesick Blues." Biographer Colin Escott speculates that Hank deliberately utilized the similar title, tempo, and yodels because, although he had scored five Top 5 hits since "Lovesick Blues" had topped the charts, he had not had another number 1. Williams had been carrying the title around in his head for a while but it was not until he went on a fishing trip with songwriter Vic McAlpin that the inspiration to write the song took hold: "They left early to drive out to the Tennessee River where it broadens into Kentucky Lake, but Hank had been unable to sleep on the trip, and was noodling around with the title all the way. As McAlpin told journalist Roger Williams, he and Hank were already out on the lake when McAlpin became frustrated with Hank's pre-occupation. ''You come here to fish or watch the fish swim by''? he said, and suddenly Hank had the key that unlocked the song for him. ''Hey''! he said. ''That's the first line''!

As he sometimes did, Williams bought out McAlpin's meager share in the song and took sole credit. The tune was recorded in Nashville at Castle Studio with Fred Rose producing on January 9, 1950 and featured Jerry Rivers (fiddle), Don Helms (steel guitar), Bob McNett (lead guitar), Jack Shook (rhythm guitar), and Ernie Newton (bass). The song's bluesy guitar intro, high falsettos, and Hank's suicidal yet irresistibly catchy lyrics, sent it soaring to the top of the country charts on March 25, 1950.

5(3) - "IT'LL BE ME" (3) - B.M.I. - 2:36
Composer: - Jack Clement
Publisher: - Knox Music Incorporated
Matrix number: - None – Unknown Take
Recorded: - February 5, 1957 - Not Originally Issued
Released: - October 2015
First appearance: - Bear Family Records (CD) 500/200rpm BCD 17254-2-22 mono
JERRY LEE LEWIS AT SUN RECORDS THE COLLECTED WORKS

At a later stage here, Lewis entertain everyone in the studio with a casual yet innovative third version of ''It'll Be Me'' which, unaccountably, has been overlooked in any re-issue programme until now. This shows Jerry Lee a tad irreverent, and quite what Jack Clement would have made of it can only be guessed at. For all one knows, he may have been disappointed that Lewis didn't pick up on the original analogy and replace the line about u lump in a sugar bowl with an explicit reference to the scatological inspiration, although there's certainly a hint in the final refrain that Jerry Lee almost did exactly that. The rest of us can simply celebrate the fact that in 2015, fifty-eight years after this light-hearted gem was recorded, it's finally available for us to enjoy. (*)

Winner and first runner-up in the Lewd and Lascivious category, "Shake Rattle And Roll" and "Whole Lotta Shakin' Goin' On" are the two strongest arguments for the idea that prudes really did have something to fear from rock and roll. Both, Big Joe and Jerry Lee leer and drool with an indelicacy that would be comic if it weren't so intense. If there's a way to impute more pure, dripping lust into the word "Shake", no one has ever fount it, even though Lewis and Turner doubtless inspired many a search. A side from that, the records are opposites. Turner's never made the pop charts, although its wonderful, witty lyrics was bowdlerized and turned into a multi-million seller by Bill Haley later the same year; Lewis got a number one Rhythm and Blues hit to go with the pop success, even though rhythm and blues shouter Big Maybelle (Perhaps the closest thing to a distaff equivalent of Turner) had flopped with the same song in 1955. There's a kind of double whammy here because "Whole Lotta Shakin' Goin' On" began its life as a collaboration between a black man, Williams, and a white one, Hall (Jerry Lee apparently worked from Hall's country version, even more obscure than Big Maybelle's). The contrast is greatest when it comes to the piano playing.

Forty-three-year-old Turner, who'd been making records since the late thirties when he came East from Kansas City as part of the boogie-woogie boom, got his most famous hit with an arrangement driven by lovely triplets that wouldn't have been out of place on his first sides. Lewis, like the twenty-two-year-old hothead he was, simply guns it from the first notes, playing a cross between honky-tonk and blues shuffle at an impossible tempo, which he was the audacity to speed up after the first verse. Turner is commanding because he remains dignified even while exorcising his lust. Lewis is in charge because he's tough and arrogant enough to back up every claim his romp over the keyboards makes. in a way, this only restates the obvious: Big Joe Turner was a blues shouter who had rhythm and blues hits in the rock and roll era. Jerry Lee Lewis was a rock and roller. Still, their finest records live on, side by side.

6(2) - "WHOLE LOTTA SHAKIN' GOING ON" (2) - B.M.I. - 2:55
Composer: - Dave "Curly" Williams-Sunny David (aka Roy Hall)
"Whole Lotta Shakin' Goin' On" was written by Dave Williams and Roy Hall
while both were in Pahokee, Florida, in 1954. Hall had been Webb Pierce's
piano player. The song has been variously copyrighted through the years as
"Whole Lot-ta Shakin' Goin' On", "A Whole Lot Of Ruckus", and
"Whole Lot Of Shakin' Going On".
Publisher: - Marlyn Music - Robert Mellin Music
Matrix number: - U 247 Master
Recorded: - February 5, 1957
Released: - March 15, 1957
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 267-B < mono
WHOLE LOTTA SHAKIN' GOING ON / IT'LL BE ME
Reissued - 1995 Bear Family Records (CD) 500/200rpm BCD 15802-4-4 mono
THE SUN SINGLES COLLECTION - VOLUME 2

The master take is, readily set apart from its forebears by the introduction of the ''slapback'' echo that invests the performance with its distinctive and memorable character. This process was never better illustrated than by the words of hank Davis, in his 1983 essay ''The Sun Sound'', published in association with the Charly box sets, viz; ''...the driving, pounding sound came from miking the piano just right and feeding the sound back on itself at just the right rate in order to fatten it up. By the time the drums join and Jerry Lee begins to sing, the record id throbbing with its own hypnotic life. Words like ''pounding'' or ''incessant'' don't even scratch the descriptive surface. In a sense, the entire record is the rhythm section. No wonder Jerry Lee's vocal or piano glissandi work so well, anything that moves in counterpoint to or breaks the underlying tension is bound to succeed''. (*)

Rockabilly pianist Roy Hall, who, under the pseudonym of Sunny David, wrote ''Whole Lotta Shakin’ Goin’ On'' with black musician Dave Williams, also recorded his own version, before Lewis inspired a generation of teens by injecting the song with his inimitable brand of boogie-woogie, country, gospel and rhythm and blues-infused hellfire. Released in May 1957, the single rose to number eight in the United Kingdom, reached number three on what was then known as the Billboard Top 100, and became an rhythm and blues and country chart-topper. In the process, it launched the career of the piano-pounding, rocket-fuelled wildman whose manic, overtly sexual live performances provoked parental nightmares. As it happens, the self-described ''Killer'' only enjoyed four Top 20 hits before the scandal of his marriage to a 13-year-old cousin brought the successes to a screeching halt. Yet, courtesy of a wide-ranging career that has now spanned seven decades and comprised an impressive body of work, Lewis’s legend has remained intact, and the tale of how he first came to prominence is, like the man himself, quite unique.

After four recordings, disc jockey Johnny Littlefield received Roy Hall's latest Decca release in the mail in the fall of 1955. He immediately began playing the record in the air. He also began singing the song in his nightclub, the Wagon Wheel also called the Music Box in some sources). One of the members of his house band was piano player Jerry Lee Lewis. Reportedly, Lewis began begged Littlefield to allow him to sing the song in the club. Lewis has said that he first remembers hearing "Big Mama Thornton's recording of "Whole Lotta Shakin' Goin' On" sometime in 1955. Obviously, Lewis meant Big Maybelle, not Willie Mae Thornton. In any case, Jerry Lee Lewis incorporated "Whole Lotta Shakin' Goin' On" into his act. On April 15, 1957, Jerry Lee Lewis appeared "Whole Lotta Shakin' Going On" on the Steve Allen show.

Jerry Lee didn't write many songs but he sure did breathe new life into virtually everything he performed. "Whole Lotta Shakin'" is a case in point. Listen to earlier versions of the song by Roy Hall or blues shouter Big Maybelle. What Jerry Lee has brought to this massive hit is truly worthy of composer credit.

7 - "MY CAROLINA SUNSHINE GIRL" - B.M.I. - 1:51
Composer: - Jimmie Rodgers
Publisher: - Peer International
Matrix number: - None - Unknown Take
Recorded: - February 5, 1957 - Not Originally Issued
Released: - July 1974
First appearance: - Sun International (LP) 33rpm 6467 029-B8 mono
JERRY LEE LEWIS - ROCKIN' AND FREE
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-2-15 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

Jimmy Rogers (aka "The Singing Brakeman", "The Blue Yodeler", and "The Father of Country Music" recorded ''My Carolina Sunshine Girl'' on October 20, 1928 in Atlanta, Georgia, backed with ''Desert Blues'' for Victor (V-40096).

8 - "SHAME ON YOU" - B.M.I. - 2:08
Composer: - Spade Cooley
Publisher: - Hill and Range Songs Incorporated
Matrix number: - None - Unknown Take
Recorded: - February 5, 1957 - Not Originally Issued
Released: - July 1974
First appearance: - Sun International (LP) 33rpm 6467 029-A5 mono
JERRY LEE LEWIS - ROCKIN' AND FREE
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-1-22 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

"Shame On You" performed here by Jerry Lee Lewis is a western swing song written by Spade Cooley and became Cooley's signature song. The title comes from the refrain that starts each verse: ''Shame, shame on you. Shame, shame on you''. In the song, the singer is rebuking his straying girlfriend.

First recorded by Spade Cooley, it was released January 15, 1945 (OKeh 6731). With vocals by Tex Williams, it reached number 1 spending 31 weeks on the charts. The "B" side, "A Pair Of Broken Hearts", also a hit reached number 8. The recording was Cooley's first after taking over the band from Jimmy Wakely, and the first of an unbroken chain of six hits which led to him being on the cover of Billboard in March 1946. "Shame On You" was the first song whose rights were owned by the Hill & Range publishing company, which later grew to become a dominant force in country music.

Later in 1945, "Shame On You" was recorded by The Lawrence Welk Orchestra with Red Foley. Their version also went to number one on the country charts. The B-side of the song, entitled, "At Mail Call Today" went to number three on the country charts. Coast Records, based in Los Angeles released a version by Walt Shrum and His Colorado Hillbillies. "Shame On You" has also been recorded by several other western swing bands.

9(1) - "DRINKIN' WINE SPO-DEE-O-DEE" (1) - B.M.I. - 2:35
Composer: - Stick McGhee
Publisher: - Leeds Music Incorporated
Matrix number: - None - Unknown Take
Recorded: - February 5, 1957 - Not Originally Issued
Released: - April 1971
First appearance: Sun International (LP) 33rpm SUN 124-B3 mono
JERRY LEE LEWIS - MONSTERS
Reissued: - September 1989 Bear Family Records (CD) 500/200rpm BCD 15420-2-17 mono
CLASSIC JERRY LEE LEWIS - THE DEFINITIVE SUN RECORDINGS 1956 - 1963

''Drinkin' Wine'' a long-time favourite of Jerry’s (legend has it that this was the first non-religious song he ever performed in public way back in circa 1949), and every version is great in it’s own way. The first version from 1957 has a very memorable piano intro (I wish he’d recreate it ‘live’) though due to the subject matter (getting paralytic drunk) it had to wait until the 1971 ´Monsters’ album before it was released. The 1958 version (actually 2 takes) wasn’t released until the 1983 ''The Sun Years'' box-set, and the 1963 Smash cut was one of the highlights of the 1966 ''Memphis Beat'' LP. Lastly, the 1973 cut from ''The Session'' was also released as a single (times had changed since 1957), deservedly reaching the United States pop top 40. The song is still more often than not part of Jerry's stage show today.

Granville ''Stick'' McGhee, in the military, Granville often played his guitar and one of the songs, that McGhee was best known for his co-written song "Drinkin' Wine, Spo-Dee-O-Dee". The original lyrics of the song were as follows: ''Drinkin’ that mess is our delight, and when we get drunk, start fightin’ all night. Knockin’ out windows and tearin’ down doors, drinkin’ half-gallons and callin’ for more. Drinkin’ wine motherfucker, drinkin’ wine! Goddam! Drinkin’ wine motherfucker, drinkin’ wine! Goddam! Drinkin’ wine motherfucker, drinkin’ wine! Goddam! Pass that bottle to me''! This song was one of the earliest prototypical rock and roll songs and was covered by Jerry Lee Lewis for his Sun International LP ''Monsters'' (Sun 124, April 1971) and Mike Bloomfield's Electric Flag (as "Wine"). The song lent its name to the alcoholic fruit drink, spodi.

In 1946, Granville and Brownie McGhee collaborated and modified the song into a clean cut version for Harlem Records. The song was released a year later in January 1947 at the price of 49 cents. The song did not get much airplay time until two years later, when Granville recreated the song for Atlantic Records. As a result, it rose to number 2 on the Billboard Rhythm And Blues chart, where it stayed for 4 weeks, spending almost half a year on the charts overall.

His songs attracted countless covers over the years. The first cover was by Lionel Hampton featuring Sonny Parker, then Wynonie Harris, and lastly, Loy Gordon and His Pleasant Valley Boys with their hillbilly-bop rendition. His song "Drinkin' Wine, Spo-Dee-O-Dee" maintained its popularity throughout the 1950s by various artists, including Malcolm Yelvington, recorded on October 10, 1954 for Sun Records (Sun 211), and Johnny Burnette (Coral 9-61869) in 1957.

Name (Or. No. Of Instruments)
Jerry Lee Lewis - Vocal and Piano
Roland Janes - Guitar
James M. Van Eaton – Drums

** - Overdubbed Session April 4 and/or 8, 1958
Vocal Chorus Overdubbed
Ed Bruce, Vernon Drane, Charlie Rich,
Lee Holt, Bobby Thompson,
Ben Strong and Alive Rumple

For Biography of Jerry Lee Lewis. See: > The Sun Biographies <
Jerry Lee Lewis's Sun recordings can be heard on his playlist from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

WHOLE LOTTA SHAKIN' GOIN' ON''
STORY TOLD BY ROY HALL

In the summer of 1954, soon after he joined Sun Records, Elvis Presley entered the Music Box Night Club also named Hideaway, located at Commerce Street in Nashville, looking for a job. Future Sun recording artist Roy Hall, and owner of the club recalls, "I was drunk that night, I didn't feel like playing piano, so I told him to get up there and start doing whatever in hell it was that he did''.

''I fired him after just one song that night. He wasn't no damn good". It is an interesting story but doubtful, since Elvis Presley was living and working in Memphis at the time. It seems to be popular among rockers who didn't make it big to claim they fired Elvis Presley from their acts or clubs. Singer Eddie Dean also claimed to have fired Elvis Presley.

There is one segment of Hall's story that might be credible - that he gave Jerry Lee Lewis a job at his club in 1956, and it was there that Lewis first learned Hall's song "Whole Lotta Shakin' Goin' On". Jerry and Hall were more like-minded and they had the musical bond of the piano. ''I hired him for fifteen dollars a night'', Hall told Toshes. He kept Lewis on for several weeks apparently, playing while the club was open illegally after hours. ''He'd play that damn piano from one in the morning until daylight. We did a lot of duets together too. He was still a teenager, and everybody figured that when we got musted he'd be the one that the cops let go; so everybody gave him their watches and jewellery to hold for them case the cops came. We got hit one night; he must'a had fifteen wristwatches on his arms. Sure enough he was the only one didn't get searched''.

By the time Roy Hall turned up for his Decca session in September 1955, both he and Paul Cohen had figured Roy could do something leaning towards the new rock and roll end of the marked. Roy Hall made four sessions in all for Decca, and summarised his Decca period like this, ''yeah man, I was hot in those days. I recorded four million sellers for Decca, ''See You Later Alligator'', ''Whole Lotta Shakin''', ''All By Myself'', and ''Blue Suede Shoes''. He omitted to mention that these songs were million sellers for someone else. When pressed, he clarified the hype a little, ''Well, yes, Ok, but see, that was part of the plan. Cover records were a big thing in the early days of rock and roll. And then, ''Whole Lotta Shakin'''was my song, after all. Jerry Lee learned that song from me in my club. When I cut it, he wasn't even recording. That song was a sleeper. It was made up of parts I put together with another feller, and he sung it as blues and I sung it as myself in the club. It was recorded all kinds of ways before Jerry Lee Lewis got to it''. He later told Nick Tosches: ''Me and a coloured guy name of Dave Williams put it together. We was down in Pahokee, Florida, out at Lake Okeechobee. We was drunk, writing songs. We was out there fishing and milking snakes. Drinking wine. This guy had a bell out there and he'd ring us to get us to come in for dinner. And I call over there to the other part of the island, I say 'What's going on'? Colored guy said, 'We got twenty one drums, see, they's all drunk. We got an old bass horn, and they even keeping time on a ding dong. 'See, that's the big bell they'd ring to get us to come in''. When they returned from the swamps, Williams apparently started pitching their song to black singers in New York while Hall started playing it in the honky tonks of Nashville. The song was first copyrighted by Marlyn-Copar Music, Decca producer Paul Cohen's company, in New York early in 1955 under the title ''Whole Lotta Shakin' Goin' On'' and credited to Dave Williams and Sunny David. Roy Hall was Sonny David: ''When me and Curlee Williams copyrighted the song I used a pen name, Sunny David. I had me a lot of pen names, I was trying to get away from the income tax. They finally caught my ass, too''. The first to record ''Whole Lotta Shakin' Goin' On'' was blues shouter Big Maybelle who recorded the song in New York in March 1955 with a band led by Quincy Jones. It was issued on the Okeh label that summer, credited only D.C. Williams as the writer. Presumably Williams, who was based in New York, facilitated the recording. In October 1955 David Williams copyrighted the song through Village Music Company under the name of ''A Whole Lot 'O Ruckus''. The final version was never copyrighted until August 1957 after Jerry Lee Lewis hit with it on Sun. Currently it's registered in Williams' name only.

When ''A Whole Lot Of Ruckus" was copyrighted, Roy Hall's own version of the song had been cut on September 15, 1955, and it appeared as the B-side of Decca 29679 within just a few days. On October 8, 1955, it was reviewed in Billboard: ''Webb Pierce's pianist takes a stab in the vocal field and shows a highly distinctive, flavorsome voice, showcased in two rock and roll type entries''. Like Maybelle's record, Hall opens with the ''Twenty one drums... beating on a ding dong'' before venturing into the more familiar ''come on over baby... whole lotta shakin'... chicken in the barn... bull by the horns'' lines so familiar to the world from Lewis's later version.

FEBRUARY 1957

SOMETHING ABOUT THE PRISONAIRES - When John Drue (member of the Prisonaires and Marigolds) was paroled for the last time, just Johnny Bragg was left inside from the original Prisonaires. He continued to sing with an ever-changing line-up of Marigolds and, as he told Colin Escott, ''the Prisonaires had engagements stacked up too, so the original ones in the free world would meet up with us and we sang, we went to Texas and Georgia, like that''. There were to be no further recording sessions for Excello, though.

Ernie Young did not issue anything more by the Marigolds after ''Juke Box Rock And Roll'' failed to sell and in 1957 he launched his pop-oriented Nasco label and probably had plenty to occupy him without negotiating with the penitentiary for access to Bragg and the Marigolds.

Throughout the Marigolds era, of course as far as the state Governor and the prison warden were concerned, Bragg and his group were still called the Prisonaires and always would be It was the brand name that went with their rehabilitation programme. Though 1955, 1956, and 1957 the warden's office continued to act as a part-time talent agency and to book the Prisonaires to sing at civic events, radio programmes, and the Governor's mansion. In April 1955 Governor Frank Clement had them sing for former president Harry Truman and a number of senators while at one point Truman's wife, Margaret, played piano as the Prisonaires sang the ''Old Rugged Cross''. It seems that Ed Thurman had kept a log and this had been the Prisonaires 294 visit to the Governor’s mansion. The shows were not always for politicians, and over the years Bragg and the group sang there for singing stars including Dinah Shore, Tennessee Ernie Ford, Roy Rogers and Elvis Presley. According to Jay Warner it was December 21, 1957 when Elvis Presley sat at the Governor's piano and played ''Just Walkin' In The Rain'' with the vocal group behind him comprising on that day Johnny Bragg, Henry Jones, Harold Hebb, Willie Wilson and Alfred Brooks.

The Prisonaires were still appearing on WSOK and other radio stations, too, through this period. It was part of the continuing rehabilitation project started by Governor Clement and Warden Edwards in 1953. The project had its supporters and its detractors, depending on their alignment or not with the governor or with social reform generally. At the height of Johnny Ray's success, a trade press report of September 8, 1956 noted that Sun Records had reissued the Prisonaires original version of ''Just Walkin' In The Rain'' and that ''Sam Phillips, Sun Records chief and owner of WAGI in Memphis, Tennessee, used most of the profits from the record to aid a prisoner-rehabilitation project in Tennessee''.

By now there was a new man in charge at the penitentiary. James Edwards left in February 1956 and was succeeded on March 1 by Lynn Bomar whose aim was to enhance further the rehabilitation efforts at the prison. Bomar was a former star college football player at Nashville's Vanderbilt University. He was known as The Blonde Bear, and went on to play for the New York Giants from 1925. He became a deputy U.S. Marshall in 1934 and was later police and fire chief in Knoxville, and Commissioner of Safety for Tennessee. He had been Nashville's Superintendent of Public Works since 1953 and he remained prison warden until his death on June 11, 1964. He was proud of his role in encouraging and supporting talented prisoners and those who wanted to improve themselves. At the same time, he operated in a harsh environment. A WSM reporter once wrote that Bomar would always invite him to witness executions at the prison. The reporter refused these early morning events but knew he would get the story soon enough. ''It wouldn't take long for the warden and the others involved in the execution to get back to the dining room. While eating their breakfast. I got all the grim details, nothing held back''. The last execution Bomar president over was that of William Tines in November 1960. Tines had killed two men in a gun battle in Knoxville in 1945, an era when even his own lawyer referred to his black client at trial as ''boy'', but it was for attacking and raping a white woman that he was sentenced to death. ''His voice didn't quiver or anything'', Lynn Bomar told the press. ''He acted as if he was ready''.

One of the innovations Warden Bomar extended was the programme of sponsorship of inmates to undertake civic duties. He openly courted the great and the good of Tennessee to donate and to support the activities at the penitentiary. One of the criticisms of allowing the Prisonaires and other inmates to travel outside the prison was that it wasted public money.

Bomar sought to use the group to add to the prison's budget instead. He asked people to sponsor particular events and he used the Prisonaires to reward the best sponsors by singing for them and composing songs about them. Governor Clement also used these customized songs with his political visitors, many of whom left the mansion with a song of praise for them ringing in their ears. Some of the sponsors even received a specially made tape or a custom-pressed LP disc of the Prisonaires singing to them.

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR WARREN SMITH
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1957

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE PROBABLY FEBRUARY 1957
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM C. PHILLIPS
AND/OF JACK CLEMENT

01(1) - "RED CADILLAC AND A BLACK MOUSTACHE" - B.M.I. - 2:38
Composer: - Lilly May-Wriston Auguste Bea Thompson
Publisher: - EMI United Partnership Limited
Matrix number: - None - Alternate Take 1 - Not Originally Issued
Recorded: - Unknown Date February 1957
Released: - May 1973
First appearance: - Phonogram Records (LP) 33rpm 6467 025-B7 mono
SUN ROCKABILLYS - PUT YOUR CAT CLOTHES ON
Reissued: - November 1986 Bear Family Records (LP) 33rpm BFX 15211-7-15 mono
THE SUN COUNTRY YEARS 1950 - 1959
Reissued: - February 15, 2013 Bear Family Records (CD) 500/200rpm BCD 17311-4-31 mono
THE SUN COUNTRY BOX 1950 - 1959

In terms of Sun's chart legacy, "Red Cadillac And A Black Moustache" was unquestionably the Warren Smith success that got away. Its vacuous relegation to the back burner can be part-explained by the presence of Bob Luman's rival version on Imperial, but only just. Originally entitled "Who You Been Lovin' and written by amateur tunesmith Lilly May, with cursory help from one Wriston Auguste Thompson, the song was hookfilled and brimming with hit potential: It was not meant to be. Quintessential rockabilly. Smith really excelled at this breezy mid tempo; the quality of his voice shone through. The guitarist, probably Al Hopson, covers a lot of ground and takes a solo that veers back to his fingerpicking roots. A fair amount of the tape was expended on this title but it was ultimately abandoned.

01(2) - "RED CADILLAC AND A BLACK MOUSTACHE" - B.M.I. - 2:14
Composer: - Lilly May-Wriston Auguste Bea Thompson
Publisher: - EMI United Partnership Limited
Matrix number: - Alternate Take 2 - Not Originally Issued
Recorded: - Unknown Date February 1957
Released: - 1988
First appearance: - Sun England (LP) 33rpm CDX 23-25 mono
WARREN SMITH - REAL MEMPHIS ROCK AND ROLL
Reissued: - August 2000 Bear Family Records (CD) 500/200rpm BCD 16405-11 mono
THAT'LL FLAT GIT IT! - VOLUME 17

This is an alternate to the better known version of this rockabilly anthem. Smith undoubtedly learned the song from Bob Luman, who recorded it for Imperial at his second session on February 27, 1957. Whether Smith heard Luman's record, which was a sizeable regional hit, or learned it from performing with Luman on some shared venue (Luman was largely a West Coast artist in early 1957) is unknown. Also a mystery is why the track was never issued by Sun at the time. Perhaps the simplest reason has nothing to do with the quality of the song or Smith's performance. It is simply that Sam Phillips did not own the copyright to this title, and preferred to release singles that contained Hi Lo/Knox material. Each of Smith's first three singles featured compositions by Sun alumni, published by Sam Phillips.

Whatever its origins, the track contains some of what makes rockabilly special. Warren's vocal reveals a fine combination of swagger and country stylings; Guitarist Al Hopson manages to return to his roots and work in some fine fingerpicking rather than depend on stinging high string work; and drummer Jimmie Lott finds good use for his cowbell - a part of the drum kit all too rarely used in rockabilly. (It was put to best use on Dale Hawkins' "Susie Q"). Smith's performance, not to mention the song's construction, produce what sounds like a vocal duet between an alto and a tenor. Each couplet starts with a high line, and is answered in the second by the lower half of the vocal range. You can find another instance of this kind of songwriting on Don Gibson's "Sea Of Heartbreak", 1961 hit. This song might have been a natural for an act like The Everly Brothers. Phil sings the top lines, Don follows with the low part, and the brothers harmonize on the chorus. Warren had a lot of ground to cover here and handless himself admirably.

The writer(s) on ''Stop The World'' is/are unknown, but it was a polished performance ready for release. The song is of uncertain provenance but the idea at least seems to owe a debt to the Carl Belew-W.S. Stevenson composition ''Stop The World (And Let Me Off)'' which dates from early 1957. This song and the arrangement needed a little more work but it is hard to see they gave up on it. It was an ideal vehicle for Smith's vocal talents and the backing bristles with energy. There is a piano buried deep in the mix although it is hard to see how Phillips could mix any instrument so far back when he was working in such cramped surroundings. Lost for upwards of thirty years in an outtake box, this track surely deserved a better fade.

02 - "STOP THE WORLD"* - B.M.I. - 1:57
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None – Not Originally Issued
Recorded: - Unknown Date February 1957
Released: - 1985
First appearance: - Sun England (LP) 33rpm LP 1025 mono
HOT FLOP AND FLY
Reissued: - November 1986 Bear Family Records (LP) 33rpm BFX 15211-7-14 mono
THE SUN COUNTRY YEARS 1950 - 1959
Reissued: - February 15, 2013 Bear Family Records (CD) 500/200rpm BCD 17311-4-30 mono
THE SUN COUNTRY BOX 1950 - 1959

Name (Or. No. Of Instruments)
Warren Smith - Vocal and Guitar
Al Hopson - Guitar
Marcus Van Story or Will Hopson - Bass
Jimmie Lott - Drums
Unknown – Piano*

Warren Smith quit Bob Neal's Stars Inc. and started booking through G.D. Kemper in Charlotte, North Carolina. Kemper had the group set for an appearance on the Ed Sullivan show but Smith managed to alienate Kemper by booking his own gigs. Marcus Van Story quit and was replaced by Al Hopson's brother Will. Jimmie Lott packed his bags and headed back to Memphis. After more disappointment with the final single, Smith and his family went to Jackson, Mississippi before deciding to try California. They settled in Sherman Oaks, near Johnny Cash who'd moved to Van Nuys a few months earlier. The contrast between Smith's hard-nosed Sun singles and his cloying Christmas record on Warners that followed them couldn't have been greater. But soon enough, Smith finally found chart success on Liberty.

For Biographies of Warren Smith see > The Sun Biographies <
Warren Smith's Sun recordings can be heard on the playlists from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

© - 706 UNION AVENUE SESSIONS - ©

STUDIO SESSION FOR BILLY RILEY
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1957

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: UNKNOWN DATE FEBRUARY 1957
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER – UNKNOWN

''SHE'S MY BABY''

What is the status of ''She's My Baby''? Is it just a primitive cousin of ''Red Hot'', a forerunner that eventually morphed into its better known and more polished relative?

Surely, the music we present here as Alternate Take1 and Alternate Take 2 was not destined for mainstream airplay in 1958. Hell, there were spoons on it! The possible progression of ''She's My Baby'' into ''Red Hot'' is a great story, but it doesn't happen to be the truth. The Escott/Hawkins discography says that ''She's My Baby'' was recorded after ''Red Hot'', which is correct. But the liner notes for BCD 15444 contain a discography (credited to Escott) that claims ''She's My Baby'' was recorded before ''Red Hot''. How this erroneous switch got made is anyone's guess, but the truth is now unmistakable. Riley, himself, has confirmed that ''She My Baby'' came after the fact. The guys were sitting around the studio, having fun, extremely well lubricated, and they decided (probably too strong a word) to mess around with ''Red Hot'', offering a primitive, back-country take on the more sophisticated released version that was already in the can. There was no expectation that the evening's festivities were destined for release. The fact that the tape was running was hardly a singular occurrence. Perhaps the guys were in the studio to back up somebody else's session. For example, in February, 1957 (just after ''Red Hot'' was cut), Jerry Lee recorded ''Whole Lotta Shakin' Goin' On'', using Roland Janes, Jimmy Van Eaton and unknown group.

Finding unself-conscious treasures like ''She's My Baby'' some 50 years later complicates things for Sun archaeologists. We'll probably never know exactly this recording came to be, but one thing is for sure. It bears a remarkable similarity to ''You're My Baby'' (Sun 251), recorded by Roy Orbison. The title, the rhythmic pattern, and the strong guitar hook (from E to G) are all strikingly similar. How, might this have happened? After all, Orbison's session probably predates Riley's by at least six months. One answer lies in the fact that Riley and Orbison toured together in late fall/winter 1956. Riley would have heard Orbison singing Sun 251 on stage every night as well as over the miles as they drove long miles together. All told, that's a lot of exposure to ''You're My Baby''.

01(1) - "SHE'S MY BABY (RED HOT)" - B.M.I. - 1:33
Composer: - William Robert Emerson
Publisher: - Hi-Lo Music Incorporated - Copyright Control
Matrix number: - None - Take 1 - Not Originally Issued
Recorded: - Unknown Date February 1957
Released: - 1987
First appearance: - 2011
Reissued: - Bear Family Records (CD) 500/200rpm BCD 17122-2 mono
BILLY RILEY - THE OUTTAKES

01(2) - "SHE'S MY BABY (RED HOT)" - B.M.I. - 1:44
Composer: - William Robert Emerson
Publisher: - Hi-Lo Music Incorporated - Copyright Control
Matrix number: - None - Take 2 - Not Originally Issued
Recorded: - Unknown Date February 1957
Released: - 1985
First appearance: - Sun England (LP) 33rpm LP 1024-6 mono
HOT SOUTHERN BOPPERS
Reissued: - 2011 Bear Family Records (CD) 500/200rpm BCD 17122-2 mono
BILLY RILEY - THE OUTTAKES

01(3) - "SHE'S MY BABY (RED HOT)" - B.M.I. - 1:16
Composer: - William Robert Emerson
Publisher: - Hi-Lo Music Incorporated - Copyright Control
Matrix number: - None - Take 3 - Not Originally Issued
Recorded: - Unknown Date February 1957
Released: - 1974
First appearance: - Charly Records (LP) 33rpm CR 30115-B-4 mono
SUN THE ROOTS OF ROCK - VOLUME 8 - SUN ROCKS
Reissued: - 1990 Bear Family Records (CD) 500/200rpm BCD 15444-2-5 mono
BILLY RILEY - THE CLASSIC SUN RECORDINGS 1956 - 1960

Name (Or. No. Of Instruments)
Billy Riley – Vocal & Guitar
Roland Janes – Guitar
Marvin Pepper- Bass
Jimmy M. Van Eaton – Drums

For Biographies of Billy Riley see > The Sun Biographies <
Billy Riley's Sun recordings can be heard on the playlists from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

FEBRUARY 1957

Jerry Lee Lewis appears on the Big D Jamboree in Dallas, Texas, for the first time, and is booked to return in March.

Johnny Cash tours Ohio, Texas and California with Marty Robbins and Ray Price.

Andrei Gromyko was appointed as the Soviet Union’s Minister of Foreign Affairs in February of 1957. Gromyko had worked his way up the Soviet hierarchy having previously served as an ambassador to the U.S. and U.K., and a UN Security Council representative during the 1940s before his appointment to the Foreign Ministry. Gromyko was considered a skilled negotiator and trustworthy diplomat but it was unclear if he had any political or personal agenda and the scope of his influence on Soviet policy was unknown. He would often accompany Soviet leaders on their foreign visits and was a proponent of disarmament. Gromyko held his position until 1985 after which he was given the title of Chairman of the Presidium of the Supreme Soviet, a mostly ceremonial but honorable position as the Head of State, which he held until 1988.

FEBRUARY 6, 1957 WEDNESDAY

Bill Haley and his Comets become the first American act to tour the United Kingdom.

FEBRUARY 7, 1957 THURSDAY

Drummer Jerry Marotta is born in Cleveland, Ohio. As a member of Orleans, he appears on the 1976 pop hit ''Still The One'', remade for the country audience by Whisperin' Bill Anderson.

Jim Reeves recorded ''Four Walls'' during the evening at the RCA Studios in Nashville.

FEBRUARY 9, 1957 SATURDAY

Patsy Cline is a guest on the ABC music series ''Ozark Jubilee''.

FEBRUARY 10, 1957 SUNDAY

''Little House On The Prairie'' author Laura Ingalls Wilder dies in Mansfield, Missouri, following a battle with diabetes. She's referenced in 2005 in the lyrics of Jason Aldean's first hit, ''Hicktown''.

FEBRUARY 11, 1957 MONDAY

Decca released Patsy Cline's ''Walkin' After Midnight'' and ''A Poor Man's Roses (OR A Rich Man's Gold)''.

FEBRUARY 12, 1957 TUESDAY

The King Sisters' Yvonne King marries Delmore Courtney, a decade after the pop group earned its only country hit, ''Divorce Me C.O.D.''.

FEBRUARY 13, 1957 WEDNESDAY

Doris King is born in Nashville, Tennessee. She joins the female vocal quartet The Girls Next Door, who make a Top 10 appearance for Mary Tylor Moore's MTM label with 1986s ''Slow Boat To China''.

© - 706 UNION AVENUE SESSIONS - ©

This is the first of two recordings by the Dixieland Drifters in the grand tradition of Sun's hybrid music. Just as Sam Phillips moulded Elvis Presley's style from elements of country music, blues, gospel and pop, here Jack Clement has encouraged an unusual hybrid of bluegrass and rock. These were seen by both Clement and the group as finished masters, not simply experiments. They had arrived at the invitation of Jack Clement who had worked in a bluegrass unit during his military service and retained the light folky feel in his own music.

He wrote a little note for the tape box saying that the band could be reached c/o their manager R.L. Blake (Norman's brother, Rufus, who played guitar with the Drifters on occasion) at Combustion Engineering in Chattanooga. Jack Clement then presumably played the results of the afternoon's work for Sam Phillips who decided that it was not an experiment he wanted to back commercially.

STUDIO SESSION FOR THE DIXIELAND DRIFTERS
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1957

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: WEDNESDAY FEBRUARY 13, 1957
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - JACK CLEMENT

The Dixieland Drifters were a group of young bluegrass-based musicians who operated out of the Chattanooga area. The Drifters made several records on the BB, Do-Ra-Me and Hap labels in the late 1950s and early 1960s, some of which displayed the same mix of traditional country music and rock and roll influences pioneered on the Sun tapes.

The Drifters have remained a fairly obscure outfit and more research is needed before their story can be told fully. They would have been more obscure still were it not for the fact that dobro player Norman Blake has gone on to become a renowned picker in the country music world. The Memphis connection is not absolutely clear. Certainly the band comprising Norman Blake on dobro, Hal Culpepper vocal, Robert Johnson on guitar and banjo, Harold Bradford on fiddle and guitar, and Cecil Powell on mandolin. They came to Sun in 1957 to work with Jack Clement, himself a former bluegrass musician. This was apparently their first recording work. Less certain is whether or not they were introduced by Memphis radio singer Buck Turner. Although Turner does not appear on the Sun session, he does appear on their Hap and Do-Ra-Me singles under the name Buck "Houston" Turner delivering such titles as "How Big A Fool" and "Uncle John's Bongoes".

Try an exercise in imagination. Remove the banjo figure and replace it with the identical figure played by Roland Janes on lead guitar. Reinforce the acoustic guitar/mandolin backing with Jimmy Wilson's piano. What do you have? A fairly anonymous but quite accomplished Sun rock-a-ballad from 1957. It is really the banjo and the gentle, understated bluegrass harmonies that make this experiment stand out.

01 - "MAYBE TOMORROW" – B.M.I. - 2:23
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None – Not Originally Issued
Recorded: - February 13, 1957
Released: - November 1986
First appearance: - Bear Family Records (LP) 33rpm BFX 15211-10-20 mono
THE SUN COUNTRY YEARS 1950 - 1959
Reissued: - February 15, 2013 Bear Family Records (CD) 500/200rpm BCD 17311-6-21 mono
THE SUN COUNTRY BOX 1950 - 1959

Although several takes were made of "I'm Gonna Find Her" and "Maybe Tomorrow", and Sun session drummer James M. Van Eaton was brought into the action, it appears that these sides were never scheduled for release.

They remain just one of the very many examples of the demo and demo-plus standard session tapes that remained in the Sun vaults. Until the best of them were uncovered for issue.

02 - "I'M GONNA FIND HER" – B.M.I. - 2:08
Composer: - Unknown
Publisher: - Copyright Control
Matrix number: - None
Recorded: - February 13, 1957
Released: - November 1986
First appearance: - Bear Family Records (LP) 33rpm BFX 15211-10-19 mono
THE SUN COUNTRY YEARS 1950 - 1959
Reissued: - February 15, 2013 Bear Family Records (CD) 500/200rpm BCD 17311-6-20 mono
THE SUN COUNTRY BOX 1950 - 1959

There is an interesting footnote to ''I'm Gonna Find Her''. Norman Blake was obviously disappointed that these tracks never found their way onto a Sun single around 1957 and, several years later, a record appeared on the obscure Do-Ra-Me label featuring a Norman Blake group called the Dixielanders. The A-side, ''The Trot'' sported an identical musical riff to that used on ''I'm Gonna Find Her''. That record barely sold a copy but it found its way into the hands of Chet Atkins who promptly recorded a cover version by the Browns for RCA. Thus, in barely five years, an unissued Sun session began a chain of events leading to a mainstream Nashville release and a solid career for Norman Blake.

Name (Or. No. Of Instruments)
Hal Culpepper - Vocal
Norman Blake - Dobro
Robert Johnson - Banjo
Cecil Powell - Mandolin
Harold Bradford - Fiddle
James M. Van Eaton – Drums

For Biographies of The Dixieland Drifters see > The Sun Biographies <
The Dixieland Drifters' Sun recordings can be heard on the playlists from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

FEBRUARY 14, 1957 THURSDAY

Payment royalties settlement for Rosco Gordon's three singles: Sun 227, Sun 237, and Sun 257 (above).

Webb Pierce recorded ''Honky Tonk Song'' and ''Someday'' in Nashville during an afternoon session at the Bradley Recording Studio.

FEBRUARY 16, 1957 SATURDAY

Sonny James hits number 1 in Billboard with his signature hit, ''Young Love''.

© - 706 UNION AVENUE SESSIONS - ©

Although mos Sun artists came from the Tri-State area (Tennessee, Mississippi and Arkansas), the label's allure brought Roy Orbison from west Texas, and, in Orbison's wake came Wade Moore and Dick Penner, the pair who'd written Orbison's first hit, ''Ooby Dooby''. There's no better illustration of the studio at work than the two very different takes of Penner's ''Don't Need Your Lovin' Baby''. Another Penner song, ''Cindy Lou'', sported a guitar lick curiously similar to Tommy Blake's ''Lordy Hoody''. Guitarist Don Dow Gililland (yes, it's spelled that way) earns an occasional mention in vintage guitar mags for his work on Penner's recordings. It was exotic, spooky stuff for 1957. Partially sighted since birth, Gililland cowrote Sid Kings'''Sag, Drag And Fall'' and became a jazz guitarist in Dallas while holding down a day job at Dallas Area Rapid Transit. Trivia note: he was in ''Rock Baby, Rock It'', the movie that starred Johnny Carroll and Rosco Gordon.

STUDIO SESSION FOR DICK PENNER
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1957

SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: SATURDAY FEBRUARY 16, 1957
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM C. PHILLIPS

Sam Phillips invited one half of 'the College Kids' back to the studio in an attempt to work up some of the elusive magic he had heard during the session for Sun 269. In truth, Phillips succeeded, although the rewards were not financial, and spelled an end to Penner's association with Sun.

01 - "CINDY LOU" – B.M.I. - 2:17
Composer: - Dick Penner
Publisher: - Hi-Lo Music Incorporated
Matrix number: - U 279 Master - > Sun 281-290 Series <
Recorded: - February 16, 1957
Released: - November 3, 1957
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 282-B < mono
CINDY LOU / YOUR HONEY LOVE
Reissued: - 1996 Bear Family Records (CD) 500/200rpm BCD 15803-1-7 mono
THE SUN SINGLES COLLECTION - VOLUME 3

Dick Penner seemed to gravivate to eerie, soaring minor key mid-tempo ballads with a decidedly romantic cast. "Cindy Lou", an ode to the woman he would eventually marry, is one such case. In fact, it is more than that. This is a really extraordinary record that has been overlooked in the reissue sweepstakes. There's a lot going on here and there are only three people doing it. The lead guitar work is incredibly assertive and its interplay with Penner's gentle understated vocal is brilliant. The drumming is restrained, although its use of the cowbell is quite unusual for 706 Union.

The electric bass player has the easiest job in town, and for a very special reason. "Cindy Lou" may be the only Sun record that never changes chords. This entire song is performed in a single chord. The bass player could have earned his fee by simply alternating two notes for the whole session. He adds a couple of grace notes here and there, perhaps to stay awake, but they were technically unnecessary. Not surprisingly, this limited structure creates a heap of tension, which the strident guitar player continues to punch at throughout the recording. This is a fine, fine record.

02 - "YOUR HONEY LOVE" – B.M.I. - 2:10
Composer: - Dick Penner
Publisher: - Knox Music Incorporated
Matrix number: - U 278 Master - > Sun 281-290 Series <
Recorded: - February 16, 1957
Released: - November 3, 1957
First appearance: - Sun Records (S) 78/45rpm standard single > Sun 282-A < mono
YOUR HONEY LOVE / CINDY LOU
Reissued: - 1996 Bear Family Records (CD) 500/200rpm BCD 15803-1-8 mono
THE SUN SINGLES COLLECTION - VOLUME 3

The structure of "Your Honey Love" is a lot more conventional and again, the three musicians make a lot of music. The bass player is finally free to do some playing and uses the opportunity well, providing a fat sound to underpin the bluesy changes. The lead guitar is as strident as ever (where did this guy go?), and Penner's voice is, once more, disarmingly gently.

Whilst his partner Wade Lee Moore continued his studies, the somewhat more ambitious Dick Penner returned to Memphis to try his luck as a solo performer. Surmounted by a primitive combo whose guitarist toted a razorsharp Fender Telecaster, he managed to find an edge in what was essentially a crooner's lilt, for the soon-to-bestowed "Fine Little Baby". Overshadowed by the coming might of Jerry Lee Lewis, he headed for a career of a different tack entirely - high order intellectualism.

03 - "FINE LITTLE BABY" – B.M.I. - 2:37
Composer: - Allen Richard Dick Penner
Publisher: - Carlin Music Corporation
Matrix number: - None - Not Originally Issued
Recorded: - February 16, 1957
Released: - 1978
First appearance: – Charly Records (LP) 33rpm CR 30147-13 mono
RAUNCHY ROCKABILLY
Reissued: - 2002 Sanctuary Records (CD) 500/200rpm FBUBX002-4-20 mono
50 GOLDEN YEARS 1952 - 2002

03 - "MOVE BABY, MOVE" – B.M.I. - 1:57
Composer: - Dick Penner
Publisher: - Copyright Control
Matrix number: - None - Not Originally Issued
Recorded: - February 16, 1957
Released: - October 1976
First appearance: - Charly Records (LP) 33rpm CR 30116-7 mono
SUN - THE ROOTS OF ROCK - VOLUME 9 - MORE REBEL ROCKABILLY
Reissued: - August 1997 Bear Family Records (CD) 500/200rpm BCD 16210-2 mono
THAT'LL FLAT GIT IT! - VOLUME 14

04 - "SOMEDAY BABY" – B.M.I. - 1:56
Composer: - Dick Penner
Publisher: - Copyright Control
Matrix number: - None - Sun Unissued
Recorded: - February 16, 1957
Released: - 1998
First appearance: - Charly Records (CD) 500/200rpm CPCD 8137-26 mono
UNISSUED SUN MASTERS

Name (Or. No. Of Instruments)
Dick Penner - Vocal and Guitar
Don Gilliland - Guitar
Unknown – Bass

Don Dow Gililland (commonly misspelled as Gilliland; born 31 January 1939 Dallas, Texas) is a jazz guitarist and composer who is best known for having recorded three rockabilly hits in 1956 on Sun Records with Wade & Dick, ''The College Kids'', led by Wade Lee Moore (born 1934) and Dick Penner.

Gililland has been legally blind since birth but has always been able to get around. Gililland played guitar with Buster Smith. Gililland also worked 26 years for the Oak Cliff Tribune, becoming managing editor. He currently works for Dallas Area Rapid Transit and still performs in the evenings.

For Biographies of Dick Penner see > The Sun Biographies <
Dick Penner's Sun recordings can be heard on the playlists from 706 Union Avenue Sessions on > YouTube <

© - 706 UNION AVENUE SESSIONS - ©

TRUE STORY DICK PENNER - Allen Richard (Dick) Penner was born in Chicago, Illinois in 1936 shortly before his family moved to Texas. As soon as 1953, he started having local gigs with a musical partner named Dave Young. Together they performed at the Big D Jamboree doin' some Johnny and Jack songs. Dick enrolled into North Texas State University in Denton, Texas where he met, in 1955, Wade Lee Moore.

Wade was born in Amarillo in 1933. Soon they found their way to The Big D Jamboree were they sang June 25, 1955, two classic rhythm and blues songs "Hey, Miss Fanny" and "Dance with Me Henry". That day they shared the stage with Charline Arthur, Sonny James and Jimmy Patton to name a few. One week earlier, they were probably there too as Dick remember well Elvis coming late on stage after a date in West Texas. They also played various dates in Hope, Arkansas, Little Rock (Arkansas) and Dallas (Texas).

The North Texas State University was a real cradle of rock and roll singers. Among the pupils were Roy Orbison, The Strikes, Bob "Git It" Kelly and even, Pat Boone. In February 1955, Wade and Dick composed "Ooby Dooby", in fifteen minutes on the roof of the frat house, but nothing happened even when Roy Orbison recorded the song. That demo was sent to Don Law, a Columbia Records representative, in vain with "Hey, Miss Fanny" as B-side. However, Roy and The Teens Kings keep faith on the song and they will often perform it on stage. Soon Weldon Rodgers, himself a great singer, wanted to set a up session in Norman Petty's studio in December 1955. "Ooby Dooby" b/w "Tryin' To Get to You" was issued on JE-WEL 101. That label was named from the first letters Jean Olivier (daughter of Weldon's label associate) and Weldon. The record was manufactured in Phoenix, Arizona and, in spite of good sales, Roy Orbison was still lookin' around for fame and fortune on a major label.

At last, Roy's demo/record came between the hands of Sid King and The Five Strings who recorded the song for Columbia, on March 5, 1956. The session in Dallas and worked fine. One month earlier, as the same band had covered Carl Perkins "Blue Suede Shoes". Sam Phillips should have watching for them next record. In spite of the JE-WEL contract, Sam Phillips took on Roy and his band. A battle followed in court and the JE-WEL contract was cancelled as not signed by Roy's folks because he was still underage. The JE-WEL records had to be released from the records shops too. That's now a real rare record often gets bootlegged. So be aware if you are looking for one vintage copy.

On March 27, 1956, a Roy Orbison's session was at 706 Union Avenue. Sam Phillips was disappointed by the result and gave a phone call to Weldon Rogers in order to buy the JEWEL master. Weldon asked for a so high price than Sam Phillips issued what he got on the Sun 242.

In June 1956, "Ooby Dooby" climbed to number 59 in Billboard's Hot 100 and quickly sold over 500.000 copies. Some covers followed, the better being recorded by Rockabilly Queen Janis Martin for RCA records.

The "Ooby Dooby" success led Sam Phillips to sign Dick Penner and Wade Moore on his label. On September 10, 1956, a composer contract for two songs was signed between Sam and Dick Penner. On the same date, an artist contract was signed between Sam and Dick & Wade for one year with an option and eight sides to be recorded. That contract offered 3% royalty to the artists. On December 16, 1956, they recorded "Bop Bop Baby" issued on Sun 269 b/w "Don't Need you Lovin'". The record was on the market in April 1957 becoming the release on Sun Records after Warren Smith's "Miss Froggie". That's "Bop Bop Baby" you heard in "Walk The Line"! Other songs from the session were a solo version of "Don't Need Your Lovin' Baby" by Dick and "Wild Woman", a song they often did on stage. On those four recordings the backing is provided by The College Kids (often spelled The Kollege Kids) the incisive guitar is played by Bob Izer with the support of Don Hicky (bass) and Roger Berkley (drums).

A solo session for Dick Penner was on February 19, 1957 and "Cindy Lou" b/w "Your Honey Love" (Sun 282) would be his last record on the legendary Memphis label. That record was issued November 3, 1957, the same day than Jerry Lee Lewis' "Great Ball of Fire" single (Sun 281). In the mid 1970's, two unissued songs "Fine Little Baby" b/w "Move Baby Move" were legally issued in France from the famous Sun label (Sun 615). Since then Dick Penner's recorded
work is featured in countless Rockabilly records and even a new vinyl singles. The Norton label released "Move Baby Move" in 2005. For that session, the only member change was Don Gilliland on guitar instead Bob Izer.

In 1958, Dick Penner, then with a record on his own, appeared on the Louisiana Hayride, at The Big D Jamboree and even on Dick Clark's show. But, after a six month stay in the army, he made the choice to get back at the University and to become literature professor at the University of Tennessee.

Dick Penner's longterm friend, Susan, is a retired Professor of History and an artist. His older son, Richard, is a sales engineer for Trane Co., and will compete in the Ironmay triathalon in Austria, in July, 2007. His younger son, Gregory, is co-owner of a busing company, and is an accomplished song writer, vocalist, and guitarist. Dick is grateful to have five grandchildren.

Now Dick is retired, travelling around the world and taking very artistic pictures, but his music is still played worldwide. "Ooby Dooby" is a classic song and was even covered by "Creedence Clearwater Revival" in the late 1960's. Recently, Jerry Naylor (a former member of The Crickets) released a set a wonderful collection of CD's and a double DVD titled "The Rockabilly Legends: A Tribute to My Friends". Here you will find first class stuff from Carl Perkins to Gene Vincent via Roy Orbison to name few of the performers featured. And, guess why ... you will heard loud and clear "Ooby Dooby" by Roy but also performed by Jerry Naylor, as tribute. Backed by first class musicians, Jerry offers a great and fresh rendition of that classic ... Wade & Dick song!

It was cool to heard them on "Walk The Line" 'cause behind the Sun's Kings there was a lot of foot soldiers who deserve more recognition for their valuable work. Among them Billy Lee Riley, Mack Self or Kenny Parchman to name a few. Let's enjoy the musical work of those "unknown legends" and Rock for one more century.

Camille Daddy
Brest Rock And Roll Appreciation Society

FEBRUARY 17, 1957 SUNDAY

Billboard was clearly impressed with Ernie Chaffin's first record "Feelin' Low", review they observed, "Sun Records may have another big time artist in Ernie Chaffin. He warbles in the earthy Presley groove, with plenty of feeling, interesting phrasing and spontaneous sounding vitality". Knowing what we do today, it is a bit hard to see the Presley connection, but on all other counts it is clear that Billboard' saw the virtue in this Mississippi singer.

FEBRUARY 19, 1957 TUESDAY

Lorianne Crook is born in Wichita, Kansas. She co-hosts a series of TV and radio shows with Charlie Chase in syndication and on TNN, including ''Crook and Chase'' and ''Music City Tonight''.

Webb Pierce quits the Grand Ole Opry for the second time in two years. The Opry chides his ''Unwillingness to conform''; Pierce says he's tired of paying to play on the Opry, and of the Opry's parent company using his likeness to sell insurance polices.

FEBRUARY 20, 1957 WEDNESDAY

Del Reeves holds his first recording session for Capitol Records.

FEBRUARY 21, 1957 THURSDAY

Webb Pierce leaves Nashville for Los Angeles, where he films scenes for ''Buffalo Gun'', co-starring Carl Smith and Marty Robbins.

Buck Owens sings a recording contract with Capitol Records in the middle of a session with The Farmer Boys, a Capitol act for whom he is playing guitar.

FEBRUARY 22, 1957 FRIDAY

Billy Riley and his band played a little club in Blytheville, Arkansas, called the Twin Gables, on the way down. It was just Jerry, his cousin Jay Brown, who had accompanied him to the studio when they cut ''Crazy Arms'' on November 14, 1956, and had by now acquired an electric bass, Roland Janes, Jimmy Van Eaton, and the club was barely big enough to accommodate a group of even that size. In fact there was just room for Jerry and Jimmy. van Eaton on the bandstand, Jay and Roland Janes had to stand on the floor, and every time Jimmy Van Eaton socked the drums, dust sifted down from the heavy draperies tacked up on the ceiling to deaden the sound, coating the new jackets they had bought to play the Jamboree.

It was a four-hour job, so you really had to throw just about every song you might be able to play together as a band into each set, and then some. Not long into the evening Jerry Lee Lewis played a boogie-woogie figure to introduce a song he said he used to sing when he was down in Ferriday, and the band fell in behind him. Before he had even gotten halfway through, Roland Janes said, the people just started going crazy, ''bopping all over the floor, you know how they do in Arkansas''. And as soon as they finished, the audience wanted to hear it again. ''Play that ''Shakin'' song'', they kept calling out. ''They just loved it, man, they insisted on hearing it over and over''. And the same thing happened when they played the Big D Jamboree the next night and then an upstairs club nearby after the show. The song was ''Whole Lot Of Shakin' Going On''.

It had first been recorded in 1955 without any real chart success, or anything like the boogie-woogie approach that Jerry Lee brought to it, by rhythm and blues belter Big Maybelle. Jerry had first heard it performed by a Natchez disc jockey named Johnny Littlejohn at the little club across the river from Ferriday where he ordinarily performed. According to Jerry, ''and he was playing drums and singing, and I stood there and listened, and I said, 'Man, that is fantastic'. I said, 'That's a hit'. And I started doing it pretty close to exactly they way he done it. Word for word. The way he would say, 'Easy, Let's get down real low. Stand it in one spot, and wiggle it around a little bit'. I picket it up from, I didn't steal it. I just kind of took it''.

FEBRUARY 23, 1957 SATURDAY

Jerry Lee Lewis with the band of Billy Riley, makes his first guest appearance on the "Big D Jamboree" broadcast from the Dallas Sportatorium, Dallas, Texas.

Newly formed Roulette Records is sued by Monte Carlo Records which contends that Roulette's use of the roulette wheel logo infringes on Monte Carlo's label style.

Porter Wagoner joins the Grand Ole Opry, at the Ryman Auditorium in Nashville, Tennessee.

Elvis Presley recorded ''One Night'' and ''I Beg Of You'' during a late-night session at Hollywood's Radio Recorders, 7000 Santa Monica Boulevard, Los Angeles, California.

FEBRUARY 24, 1957 SUNDAY

Seven months after he recorded an unreleased version of ''That'll Be The Day'' in Nashville. Buddy Holly recorded the definitive version of the song in Clovis, New Mexico.

Elvis Presley recorded ''Loving You'' at Hollywood's Radio Recorders, 7000 Santa Monica Boulevard, Los Angeles, California.

Warner Mack recorded ''Is It Wrong (For Loving You)''.

Brenda Lee performs ''One Step At A Time'' on ''The Steve Allen Show'' on NBC.

FEBRUARY 25, 1957 MONDAY

Don Gibson holds his first RCA recording session with producer Chet Atkins at the Methodist Television, Radio and Film Commission on McGavock Street in Nashville.

FEBRUARY 26, 1957 TUESDAY

Sonny James recorded ''First Date, First Kiss, First Love''.

FEBRUARY 28, 1957 THURSDAY

Kitty Wells recorded ''Three Ways (To Love You)'' and ''Your Wild Life's Gonna You Down'' at Nashville's Bradley Film and Recording Studio.

END FEBRUARY 1957

After many arguments and disagreements with Sam Phillips, Marion Keisker leaves Sun Records and the radio station, with no more idea of what do next than she had when she and Sam Phillips first entered the storefront location some seven and one-half years earlier. Without the cause of Sam to dedicate herself to the drifted around for the next six months. She got another job in radio, but her heart wasn't in it. But then, as Bob Johnson reported in his August 21 column in the newspaper, Marion joined the Air Force to see the world, and she was soon dispatched to Germany, where she served as information officer in charge of the Armed Forces television station at the Ramstein, Air Base in Rhineland-Palatinate, a state in South-Western Germany, where she was stationed. It would be another twelve years before she returned to Memphis, with a renewed commitment to feminism and acting (she was a founding member of the Memphis chapter of the National Organization for Women and one of the leading lights in Memphis professional theater), as well as a concern for the first time for her own place in history.

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