In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-Out In The Be-Bop Night- In the Beginning Of Rock- Bop- Once Again, From the Vaults Of Sun Records

Click on the headline to link to a YouTube film clip of Carl Perkins performing Boppin' The Blues.


In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-Out In The Be-Bop Night- In the Beginning Of Rock- Bop- Once Again, From the Vaults Of Sun Records

CD Review


The Sun Gods, 3-CD set, Dressed To Kill Records, 1999


One of the purposes of this space is to review various cultural trends that drove American popular culture in the 20th century. More specifically in the post-Word War II, the lifetimes of many of today’s baby boomers. A seminal point, musically at least, was the breakout of the mid-1950s fueled by a strange and sometimes contradictory mix of black-based rhythm and blues, Arkie, Okie, Appalachian “hillbilly” rock-a-billy and plain old jazz and show tune Tin Pan Alley. The mix of course we now know as rock ‘n’ roll, sadly for this aging reviewer now called the age of classic rock 'n' roll. No sadly that it does not exist except in CDs such as the one under review, The Sun Gods, but that frenetic fury to change the musical direction of popular culture seems to have lost steam along the aging process. But take heart. While we have all probably slowed down a step or seven we will always have Sun Records CD memories to carry us.

And there is no question, no question at all that, pound for pound, the music that came out of Sam Phillips’ Memphis-based Sun Records for about a decade in the 1950s was central to the mix that created rock 'n' roll. Think Elvis, Jerry Lee and Chuck Berry to name just three of the more famous singers to come out of that label. And as this CD demonstrates beyond doubt, highlighted by the work of Sonny Burgess and Warren Smith here, also a whole tribe of lesser lights, one hit Johnnies and Janies, and those who never made it that formed the background milieu that drove the others forward and created this musical chemistry that can boggle the mind. If you want to find, in one spot, a CD set that rediscovers the roots of rock ‘n’ roll, especially the contributions from the rock-a-billy side well here you are.

I have highlighted some of the tracks on each disc.

Disc One: Carl Perkins performing Roll Over Beethoven, a song made famous by Chuck Berry (and that I went crazy over when I first heard it as a kid) which I think that he may actually do better than Chuck, if you can believe that: there are several Elvis interviews recorded here as part of the promotion of his records and/or concerts in the early days. I would say, thank god, that he had that great musical talent because off these innocuous, bland interviews he would have starved otherwise. Still these are good to hear from a time before the king became “the King.”

Disc Two: Red Hot by Billy Lee Riley, a rock-a-billy hard-driving classic that expresses just what the break-out was all about; We Wanna Boogie by Sonny Burgess (a definitely underrated force), Red Cadillac and a Black Mustache by Warren Smith (Bob Dylan covered this one in a tribute album); and, Crazy Women by Gene Simmons. This is one of those CDs that you have to listen to all the way through to get a real feel for this music, and you should.

Disc Three: Rock Boppin’ Baby by Edwin Brice; Let’s Bop by Jack Earls; Thinkin’ Of Me by Mickey Gilley; Rockhouse by Harold Jenkins; and, You Don’t Care by, Narvel Felts. Yes, I know, you probably have never heard of any of them. But if you listen to this CD you will see where Elvis, Jerry Lee and Chuck got their stuff from. And you know, successful or as failures, as I have mentioned before in reviewing Sun Record material, all these guys (and a few gals) all sound like they are happy to be rocking and rolling rather than whatever else they were slated to do in life.

*Going Back Home To The Blues- The Early Ike Turner

Click On Title To Link To YouTube's Film Clip Of Ike Turner And His Kings Of Rhythms Performing "Thinking Black" From 1969.

CD Review

Here is a little taste of Ike Turner's early work. Some of the comments used here have been used in other reviews of the late Ike Turner's work.

Blues King Plus, Ike Turner, Capitol Records, 2003

I have mentioned the recently departed Ike Turner’s rough and tumble drug-induced later lifestyle and his problems with ex-wife Tina Turner elsewhere in this space so there is no need to repeat that here. I have also mentioned Ike’s key role as ‘talent spotter’ in the 1950’s for Chess Records (and Sun Records' Sam Phillips, I believe) and his pivotal role in the early move from R&B to rock & roll with the super-classic hit “Rocket 88”. Thus, his place in musical history (with the appropriate asterisks) is secure. And should be.

This early effort "Blues King Plus" like a late Turner effort “Risin’ with the Blues” (2006) is a place where Ike goes out in front and does many of the lead vocals, some successfully, some not. The instrumental work is excellent, as is to be expected on a Turner platter. But, to be honest, not all of the vocals made me want to jump, which I assume was Ike’s intention here since some of the works are tributes to those like Louis Jordan who influenced the young Ike Turner. That said, his versions of “Trouble And Heartache ”, " You're Driving Me Insane" and a jumping "Looking For My Baby" are , as is “Night Howler" and "Cubano Jump". We part company, however, on “Early Times", "The World Is Yours" and a couple of others where his voice cannot carry the song.

You know what, go out and get some early Ike and the Rhythm Kings. Then you will be sure to get what Ike was all about and why he has a secure place in musical history. And remember that seminal “Rocket 88”. I went crazy when I listened to it recently after not hearing it for a long time.

*******

Songfacts:

In 1991, after a great deal of debate, the Rock and Roll Hall of Fame recognized this as the first Rock and Roll song ever recorded. Turner was in jail at the time for cocaine possession, so his daughter accepted the award.

The song is about a car. The Oldsmobile "Rocket 88" just came out and was the fastest car on the road at the time. It was advertised as having a V-8 "Rocket" engine.

This was produced by Sam Phillips, who formed Sun Records in 1954. Phillips discovered Elvis in 1955.

Jackie Brenston, who was a member of Ike Turner's Rhythm Kings, sang lead. The single was credited to "Jackie Brenston and His Delta Cats" because Phillips wanted to release a different record credited to Turner.

This was a #1 R&B hit. There were no rock charts at the time.

Turner and his band were playing black clubs in the American South when B.B. King set up a recording session for them in Memphis with Phillips. They wrote most of this on the way to the session.

On the drive to the session, the band's amplifier fell out of the car and broke the woofer. Turner shoved paper in it at the studio to cover the problem, which ended up providing a more distinct sound. The sounds that came from the damaged amp resulted in this being cited as one of the first songs to feature guitar distortion.

Brenston was credited with writing this, although he admitted he stole the idea from a 1947 song called "Cadillac Boogie."

General Motors gave Brenston a Rocket 88 to thank him for the publicity this generated for the car.

Brenston did not handle success well. He quickly spent the money he made from this, became an alcoholic, went broke, and died in 1979.

Turner played piano on this. It was a huge influence on Little Richard, who used the piano intro on his 1958 hit, "Good Golly Miss Molly."

There were other songs recorded before this that could be considered Rock and Roll, but this was unique in that it appealed to a white audience.

Turner recorded a new version of this in 2000.

In an interview with Rolling Stone magazine (issue 93) in 1971, Ike Turner recalled how despite this being a local hit, he made little from it: "Some dude at the record company beat me, and I only got $40 for writing, producing, and recording it. And the lead singer (Jackie Brenston) took the band from me and went on his own."

Rocket '88 lyrics

You may have heard of jalopies,
You heard the noise they make,
Let me introduce you to my Rocket '88.
Yes it's great, just won't wait,
Everybody likes my Rocket '88.
Gals will ride in style,
Movin' all along.(Guitar solo, leading into steel guitar solo.)
V-8 motor and this modern design,
My convertible top and the gals don't mind
Sportin' with me, ridin' all around town for joy.(
Spoken) -- Blow your horn, Rocket, blow your horn!(Horn sound effect leading into guitar solo.)
Step in my Rocket and-a don't be late,
We're pullin' out about a half-past-eight.
Goin' on the corner and-a havin' some fun,T
akin' my Rocket on a long, hot run.
Ooh, goin' out,Oozin' and cruisin' along.(Guitar solo.)
Now that you've ridden in my Rocket '88,
I'll be around every night about eight.
You know it's great, don't be late,Everybody likes my Rocket '88.
Gals will ride in style,
Movin' all along.(Fade out, ending with sound effect of a car driving away.)
Labels: chess records, drugs and rock and roll, ike turner,

*A Taste Of The Later Career Of R&B's Ike Turner

Click On To Title To Link To YouTube's Film Clip Of Bill Haley Performing Ike Turner's "Rocket 88". Wow!

CD Review

Here is a little taste of Ike Turner's later work.

Risin’ With The Blues, Ike Turner, Zoho Roots, 2006

I have mentioned the recently departed Ike Turner’s rough and tumble drug-induced later lifestyle and his problems with ex-wife Tina Turner elsewhere in this space so there is no need to repeat that here. I have also mentioned Ike’s key role as ‘talent spotter’ in the 1950’s for Chess Records (and Sun Records' Sam Phillips, I believe) and his pivotal role in the early move from R&B to rock & roll with the super-classic hit “Rocket 88”. Thus, his place in musical history (with the appropriate asterisks) is secure. And should be.

“Risin’ with the Blues” is a late effort (2006) where Ike goes out in front and does many of the lead vocals, some successfully, some not. The instrumental work is excellent, as is to be expected on a Turner platter. But, to be honest, not all of the vocals made me want to jump, which I assume was Ike’s intention here since some of the works are tributes to those like Louis Jordan who influenced the young Ike Turner. That said, his version of “Eighteen Long Years” (usually five in most versions but the number is used as a dig at Tina) is fine, as is “Big Fat Mama” and “Rockin’ Blues”. We part company, however, on “Jesus Loves Me” his musical retort to Tina’s charges in her book and in the movie.

You know what, go out and get some early Ike and the Rhythm Kings. Then you will be sure to get what Ike was all about and why he has a secure place in musical history. And remember that seminal “Rocket 88”. I went crazy when I listened to it recently after not hearing it for a long time.

*******

Songfacts:

In 1991, after a great deal of debate, the Rock and Roll Hall of Fame recognized this as the first Rock and Roll song ever recorded. Turner was in jail at the time for cocaine possession, so his daughter accepted the award.

The song is about a car. The Oldsmobile "Rocket 88" just came out and was the fastest car on the road at the time. It was advertised as having a V-8 "Rocket" engine.

This was produced by Sam Phillips, who formed Sun Records in 1954. Phillips discovered Elvis in 1955.

Jackie Brenston, who was a member of Ike Turner's Rhythm Kings, sang lead. The single was credited to "Jackie Brenston and His Delta Cats" because Phillips wanted to release a different record credited to Turner.

This was a #1 R&B hit. There were no rock charts at the time.

Turner and his band were playing black clubs in the American South when B.B. King set up a recording session for them in Memphis with Phillips. They wrote most of this on the way to the session.

On the drive to the session, the band's amplifier fell out of the car and broke the woofer. Turner shoved paper in it at the studio to cover the problem, which ended up providing a more distinct sound. The sounds that came from the damaged amp resulted in this being cited as one of the first songs to feature guitar distortion.

Brenston was credited with writing this, although he admitted he stole the idea from a 1947 song called "Cadillac Boogie."

General Motors gave Brenston a Rocket 88 to thank him for the publicity this generated for the car.

Brenston did not handle success well. He quickly spent the money he made from this, became an alcoholic, went broke, and died in 1979.

Turner played piano on this. It was a huge influence on Little Richard, who used the piano intro on his 1958 hit, "Good Golly Miss Molly."

There were other songs recorded before this that could be considered Rock and Roll, but this was unique in that it appealed to a white audience.

Turner recorded a new version of this in 2000.

In an interview with Rolling Stone magazine (issue 93) in 1971, Ike Turner recalled how despite this being a local hit, he made little from it: "Some dude at the record company beat me, and I only got $40 for writing, producing, and recording it. And the lead singer (Jackie Brenston) took the band from me and went on his own."

Rocket '88 lyrics

You may have heard of jalopies,
You heard the noise they make,
Let me introduce you to my Rocket '88.
Yes it's great, just won't wait,
Everybody likes my Rocket '88.
Gals will ride in style,
Movin' all along.(Guitar solo, leading into steel guitar solo.)
V-8 motor and this modern design,
My convertible top and the gals don't mind
Sportin' with me, ridin' all around town for joy.(
Spoken) -- Blow your horn, Rocket, blow your horn!(Horn sound effect leading into guitar solo.)
Step in my Rocket and-a don't be late,
We're pullin' out about a half-past-eight.
Goin' on the corner and-a havin' some fun,T
akin' my Rocket on a long, hot run.
Ooh, goin' out,Oozin' and cruisin' along.(Guitar solo.)
Now that you've ridden in my Rocket '88,
I'll be around every night about eight.
You know it's great, don't be late,Everybody likes my Rocket '88.
Gals will ride in style,
Movin' all along.(Fade out, ending with sound effect of a car driving away.)

Blue Suede Shoes- Carl Perkins

Commentary



How About Them Blue Suede Shoes

Carl Perkins- King of Rockabilly and Friends, Carl Perkins, 1985



Everyone who cares now knows that the roots of rock and rock came from a few sources, country blues, city blues, and rhythm and blues of the Big Joe Turner sort and from the white South rockabilly from the likes of Jerry Lee Lewis and the artist reviewed here- Carl Perkins. Over the long haul I believe that the key is that Turner rhythm and blues on Shake, Rattle and Roll that defines the roots of rock and roll but that is just for argument’s sake. Carl Perkins can lay claim to a piece of that magic with Blue Suede Shoes (latter covered by Elvis, adding a great deal to his career, of course).

Whether Perkins is a key figure is the history of rock and roll beyond that initial contribution is also an open question. However, no one can question that here in a 30th Anniversary show in London to an audience that was perhaps more appreciative than a home-grown one at that time no one can doubt that he rocks the rockabilly with the best of them. As usual with this format we have the guests- and quite good ones in the likes of Roseanne Cash, Ringo Starr, Eric Clapton and George Harrison as well as a nice traveling band. Additionally there were some serious dancers, dressed in appropriate 50's style, in the audience kicking up a storm. The hit here is, without a doubt, the finale with a collective all out rendition of Blue Suede Shoes.

The Killer Once Again-Jerry Lee's Back

CD REVIEWS

The Killer At The Top Of His Form

Jerry Lee Lewis-18 Original Greatest Hits, Jerry Lee Lewis, Rhino Records, 1984

The last time we heard the name Jerry Lee Lewis in this space was in connection with a rave review of his star-studded concert on DVD and in a CD in New York City in 2006 entitled The Last Man Standing. A couple of paragraphs below are taken from the concert and CD review because they certainly apply to this album which also gets a rave review from these quarters. The last paragraph details some of the highlights of this CD. If you need to go back to the Fifties there are plenty of his compilations to choice from but this one is a good primer. Here goes.

“…Elvis, Chuck Berry, Carl Perkins, Bo Diddley. Yes those are the men who created rock and roll, as we know it. However in that list do not forget one Jerry Lee Lewis. Fate dealt him an uneven hand due to the foibles of his personal life (the subject of a movie, Great Balls of Fire, with Dennis Quaid) but his form of rockabilly/boogie woogie piano-driven music and madman presentation must be placed in the mix of influences that drove the best of early rock.

If for no other reason that that he is one of the few `still standing' from that generation it is nice to see what the Killer can do in his 71st year in concert in New York City in 2006 with a host of guests some old, some young. Clearly off these performances he has lost a couple of steps. Hell the kind of energy that Jerry Lee produced in the 1950's definitely had a short shelf life. There are some nice clips from that period intertwined with the concert, by the way.”

Of the 18 original hits from the Fifties that are included here are about 16 are must haves in any Jerry Lee compilation. When the Saints Go Marching In and Drinkin' Wine Spo-Dee-O-Dee one can pass on (although rapper Kid Rock did an incredible cover version on PBS’s American Masters- Sun Records Legacy tribute). Starting with Whole Lotta Shakin’ Goin’ On to the salacious Big Legged Woman you get Jerry Lee when he could pound it out all day and all night. Get it.


Jerry Lee Lewis and His Friends, Jerry Lee Lewis and other artist, Enterprise, 1989

I have attempted to make a case over the past several months for recognizing the musical talents of Jerry Lee Lewis. I have in essence argued that while, for a while, Elvis was clearly ‘king of the hill’ by the time Jerry Lee got rolling he was very well positioned to challenge that role. In the long haul he probably has ‘won’ that distinction but that is the subject for endless, sports-like, controversy. What matters is how he rates in his career against his early performances. I have argued that his 2006 Last Man Standing performances on CD and DVD are the standard by which to judge his later work. I continue to stand by that premise. By that standard this 1989 performance in England comes up short.

In one of the ironies of his very controversial and scandal-filled life Jerry Lee goes back to London in this concert film. The irony, of course, is that it is his obtracization by the British over his marriage to his young cousin that broke the back of a very promising career. A little vignette at the beginning of the concert asking fans and his fellow musicians why they were there puts paid to that long ago silliness. Notwithstanding all the good vibes produced by the show before devoted fans the technical production here of the film itself (the music comes across tinny) and of the meshing among the musicians does not work overall. High School Confidential, Whole Lotta Shakin’ Goin’ On and Goodnight, Irene (with Van Morrison), yes. The rest no. If you want to buy one DVD that reflects Jerry Lee when he rocks, is technically well done and has some very nice duos get that above-mentioned Last Man Standing. This, take it or leave it.


Jerry Lee Lewis: I Am What I Am, Jerry Lee Lewis and other, Enterprise, 2001

Apparently, I cannot leave this Jerry Lee Lewis thing alone. I have reviewed several of his CDs and DVDs in this space over the past several months as I have attempted argue for his proper place in the among the founders of rock and roll. This documentary is more in the way of a musical biography interspersing archival musical segments with the story of his life. And what a life. If one rocker epitomized the slogan drug, sex and rock and roll before the 1960’s the profile of Jerry Lee Lewis could serve as the model. Many marriages, many drug problems, many setbacks, many run ins with the law many… well, you get the picture. The real reason to get this film though is that early footage, like the Steve Allen Show performance of Whole Lotta Shakin’ Goin’ On. Those performances tell the tale. They tell why he could have been ‘king of the hill’. Hell, he didn’t do so badly after all. And he would be the first to tell you that. If you only need Jerry Lee’s music there are many good compilations, including an eight CD set that gives everything from the Sun Record period. If you like a little background get this.

Good Rockin' Tonight, Part II

CD REVIEW

Good Rockin’ Tonight: The Legacy of Sun Records, various artists, London-Sire Records, 2001



I have already commented elsewhere in this space about the Public Broadcasting Service’s American Masters 2001 production of Good Rockin’ Tonight: The Legacy of Sun Records. Here we have a CD produced in tandem with that effort. And not just any old CD but a CD that has material covered by artists who either are in, will be in or are on a short list to be included in, some musical Hall of Fame. Strangely, when I first heard this CD I was put off by it because I thought, correctly, if stupidly that covers of these Sun classics could not possibly measure up to the originals, even if done by extremely competent musicians. Well, on a second hearing I got over that little personal problem and while the originals still set the standards there are some very good, and in at least one case, better covers of the classics.

So who is good here? Well, start with a nice cover by Paul McCartney (you know him) and the Elvis classic That’s All Right, Mama. Jeff Beck with a fair rendition of another Elvis classic Mystery Train. A nice upbeat cover of My Bucket’s Got A Hole In It. An excellent Blue Suede Shoes by Johnny Halladay. A passable Whole Lot of Shaking Going On by Elton John. Okay covers of Blue Moon of Kentucky by Tom Petty and Sittin’ On Top Of The World by Van Morrison and Carl Perkins. A right on cover of Don’t Be Cruel by Brain Ferry. A surprisingly good cover of the little known Red Cadillac and Black Mustache by the endlessly surprising Bob Dylan. Classic throwback performances of Just Walking In The Rain by Eric Clapton and Lonely Weekend by Matchbox Twenty. A so-so performance of Jerry Lee’s (who can do it better) Who Will The Next Fool Be by Sheryl Crow. A stand up performance of Johnny Cash’s Walk The Line by Live. Another classic throwback performance by Mandy Barnett on You Win Again. The biggest surprise and the one that clearly is done better than the original is Kid Rock’s cover of the Jerry Lee covered Drinkin’ Wine Spo-Dee-O-Dee. I have taken the time to evaluate each song in this collection to both do penance and to give just a whiff of what this masterful album holds in store for you. These are serious artists paying their dues to artists who played Rock and Roll for keeps. Kudos.

From Out In The Be-Bop 1950s Rock Night-Carl Perkin's "Boppin' The Blues"

Click on the headline to link to a YouTube film clip of Carl Perkins performing his classic Boppin' The Blues.



Markin comment:



Hell, I don't need to comment here. Carl Perkins says it all- bop, bop the blues-get it.
******



Boppin' The Blues Lyrics- Carl Perkins



Well, all my friends are boppin' the blues; it must be goin' round
All my friends are boppin' the blues; it must be goin' round
I love you, baby, but I must be rhythm bound

Well, the doctor told me, Carl you need no pills.
Yes, the doctor told me, boy, you don't need no pills.

Just a handful of nickels, the juke box will cure your ills.

Well, all my friends are boppin' the blues; it must be goin' round
All them cats are boppin' the blues; it must be goin' round
I love you, baby, but I must be rhythm bound

Well, the old cat bug bit me, man, I don't feel no pain
Yeah, that jitterbug caught me, man, I don't feel no pain.
I still love you baby, but I'll never be the same.

I said, all my friends are boppin' the blues; it must be goin' round
All my friends are boppin' the blues; it must be goin' round
I love you, baby, but I must be rhythm bound

Well, all my friends are boppin' the blues; it must be goin' round
All them cats are boppin' the blues; it must be goin' round
I love you, baby, but I must be rhythm bound

Well, grand-pa Don got rhythm and he threw his crutches down.
Oh the old boy Don got rhythm and blues and he threw that crutches down
Grand-ma, he ain't triflin', well the old boy's rhythm bound.

Well, all them cats are boppin' the blues; it must be goin' round
All my friends are boppin' the blues; it must be goin' round
I love you, baby, but I must be rhythm bound.

A rock bop, rhythm and blues.
A rock bop, rhythm and blues.
A rock rock, rhythm and blues.
A rock rock, rhythm and blues.
Rhythm and blues, it must be goin' round.

Good Rockin', Tonight- The Legacy of Sun Records

DVD REVIEW



Good Rockin' Tonight- The Legacy of Sun Records, PBS American Masters, 2001



Howlin’ Wolf, Roscoe Gordon, Rufus Thomas and an assortment of black blues notables in the early days. Elvis, Carl Perkins, Johnnie Cash and Jerry Lee Lewis and an assortment of white rockabilly notables in the mid to late 1950’s. What do they have in common? Well, one thing, and make that an important one thing, is that they passed through Mr. Sam Phillips’ Sun Records recording studio in Memphis, Tennessee on the way to some kind of career. Amazing. With the possible exception of Chess Records in Chicago, that moreover concentrated on the blues, no other studio can claim so much as the catalyst for what became rock and roll in the mid- 1950’s, the youth of the present writer and of his Generation of ‘68.

The format here, as in most of the Public Broadcasting Station’s American Masters series, is to have a generous round of ‘ talking heads’ interspersed with some performances, in this case, to honor the 50th Anniversary of the founding of the Sun Records (1950). An added touch here is that some of the performances by the old Sun recording artists are covered by more recent performers like Paul McCartney and Kid Rock.

The ‘talking heads’ here also include many of the old Sun artists who did not attain the stardom of those mentioned in the first paragraph yet who nevertheless had some interesting things to say about the meaning of the Sun Record experience. A recurring theme is that mainly it got them the hell off the farms and out of the fields, especially those damn cotton fields or out of those dead end jobs. And they had fun and got paid for it. And met girls. How can you beat that? My take on this is that they were good old boys who got more out of the Sun, if not financially then musically, than they had originally bargained for. And all of this trip down memory lane is presided over by the impresario himself, the late Sam Phillips.

Along the way there are discussions, sometimes heated, about the roots of rock and roll- black blues or white country. That will never, ultimately, get resolved although I think the case for the blues gets stronger the more I see and read about the early 1950’s and the shift of the blues from a country sound to a city sound. But that can be argued another day. What we have here is recollections, funny and bittersweet, by those who were either one-shot johnnies or were ‘put on the shelf’ by one Sam Phillips. That is the kind of influence that he had for that one golden decade of the 1950’s. Another nice touch here is that the one- shot johnnies not only get their ‘hit’ covered by currently popular musicians but they get one last 15 minutes of fame by belting out their own classics. Who can forget Lonely Weekend or Rock and Roll Ruby after this retrospective to speak nothing of Good Rockin’, Tonight.

A note on sound- no, not of this American Masters production which like virtually all PBS productions is technically of high quality. No, I am referring here to the sound in Sun Studio. I do not believe in ghosts or other such things but tell me this. Why, for example, does Johnny Cash in his Sun Records days sound like god’s own creation when on work from other recordings I can take him or leave him? And that goes for Elvis, Carl, Jerry Lee and the others as well. The gods and goddesses of Rock and Roll were smiling on that joint- thanks.

Out In The Be-Bop Night- In the Beginning Of Rock- Bop- Once Again, From the Vaults Of Sun Records

Click on the headline to link to a YouTube film clip of Carl Perkins performing Boppin' The Blues.

CD Review

The Sun Gods, 3-CD set, Dressed To Kill Records, 1999

One of the purposes of this space is to review various cultural trends that drove American popular culture in the 20th century. More specifically drove those trends in the post-World War II, the lifetimes of many of today’s baby boomers. A seminal point, musically at least, was the breakout of the mid-1950s fueled by a strange and sometimes contradictory mix of black-based rhythm and blues, Arkie, Okie, Appalachian “hillbilly” rock-a-billy and plain old jazz and vanilla show tune Tin Pan Alley. The mix of course we now know as rock ‘n’ roll, sadly for this aging reviewer now called the age of classic rock 'n' roll. No sadly that it does not exist except in CDs such as the one under review, The Sun Gods, but that frenetic fury to change the musical direction of popular culture seems to have lost steam along the aging process. But take heart. While we have all probably slowed down a step or seven we will always have Sun Records CD memories to carry us.

And there is no question, no question at all that, pound for pound, the music that came out of Sam Phillips’ Memphis-based Sun Records for about a decade in the 1950s was central to the mix that created rock 'n' roll. Think Elvis, Jerry Lee and Chuck Berry to name just three of the more famous singers to come out of that label. And as this CD demonstrates beyond doubt, highlighted by the work of Sonny Burgess and Warren Smith here, also a whole tribe of lesser lights, one- hit Johnnies and Janies, and those who never made it that formed the background milieu that drove the others forward and created this musical chemistry that can boggle the mind. If you want to find, in one spot, a CD set that rediscovers the roots of rock ‘n’ roll, especially the contributions from the rock-a-billy side well here you are.

I have highlighted some of the tracks on each disc.

Disc One: Carl Perkins performing Roll Over Beethoven, a song made famous by Chuck Berry (and that I went crazy over when I first heard it as a kid) which I think that he may actually do better than Chuck, if you can believe that. There are several Elvis interviews recorded here as part of the promotion of his records and/or concerts in the early days. I would say, thank god, that he had that great musical talent, that look and those hips swaying in the sex-fantasy driven night because off these innocuous, bland interviews he would have starved otherwise. Still these are good to hear from a time before the king became “the King.”

Disc Two: Red Hot by Billy Lee Riley, a rock-a-billy hard-driving classic that expresses just what the break-out was all about; We Wanna Boogie by Sonny Burgess (a definitely underrated force), Red Cadillac and a Black Mustache by Warren Smith (Bob Dylan covered this one in a tribute album); and, Crazy Women by Gene Simmons. This is one of those CDs that you have to listen to all the way through to get a real feel for this music, and you should.

Disc Three: Rock Boppin’ Baby by Edwin Brice; Let’s Bop by Jack Earls; Thinkin’ Of Me by Mickey Gilley; Rockhouse by Harold Jenkins; and, You Don’t Care by, Narvel Felts. Yes, I know, you probably have never heard of any of them. But if you listen to this CD you will see where Elvis, Jerry Lee and Chuck got their stuff from. And you know, successful or as failures, as I have mentioned before in reviewing Sun Record material, all these guys (and a few gals) all sound like they are happy to be rocking and rolling rather than whatever else they were slated to do in life.

*A Mixed Bag Musical Potpourri-Jazz, Blues, Gospel, Rock And Rockabilly-In Search Of Lost Rockabilly Time

Click On Title To Link To YouTube's Film Clop Of Warren Smith Doing "Rock 'N' Roll Ruby". Wow!

CD Review

In Search Of Lost Time

Lost Gold Rockabilly Collector’ Series, Original Historic Rockabilly Classics, various artists, Lost Gold Records, 1998

I have spent some time discussing the various rockabilly artists who did, or did not, make it in the 1950's out of Sam Phillips' Memphis-based Sun Records. I have reviewed at least one CD with a compilation that contained such one-shot hits as Sonny Burgess' "Red-Headed Women" and "Rock `n' Rock Ruby". I have also reviewed a very interesting PBS documentary on the 50th Anniversary of Sun Records that included the usual "talking head" commentary, although this time though including various artists who did not make the "bigs" for one reason or another. It is that last point that is relevant here.

I have also been spending a fair amount of ink in this space recently discussing those who didn't make it big in various genres like folk, the blues, early rock and now rockabilly. This compilation is a case study about why, out of all the talents who tried to become "kings of the hill" (and it was mainly, although not exclusively men), some did not make it. We have here the usual subjects for rockabilly songs of thwarted love, longing for love, the vagaries of love, two-timing women (and men, listen to the result, in "Black Cadillac"), cars, Saturday night dances and other things near and dear to the hearts of teenagers in the 1950's (and, with updating, now as well) that made up the lyrics of this genre. So that is not the problem.

What struck me after listening to this compilation a couple of times was that although there were some outstanding riffs, some hot guitar playing, some lines of parts of songs that could have made it big the whole package were not there. Only a couple of songs grabbed and held my attention throughout. Nothing came up to the two classics mentioned in the first paragraph. A number of songs barely were to the left of traditional country and western numbers. I do not know how much of a role being in the right place at the right time, being merely imitative of greater artists, like Elvis and Carl Perkins, as is obviously the case with some performers here or of not being willing to risk all for glory played in all of this. However, just as with the Sun rockabilly artists who didn't make it, or who were one shot johnnies (or janies) or who just gave up the grind was tough. If you want to know about those who didn't get to the top of the rockabilly heap listen here. This is the search for lost time, indeed.

Do You Want To Hear The Start Of Rock And Roll? - Little Milton's Sun Record Sessions

CD REVIEW

Little Milton- Sun Sessions, Little Milton, Rounder Records, 1990

For those of you who have read some of my other musical reviews in this space you may have noticed that I am on a crusade to check out early Sun Record material, black and white. For all practical purposes Sun started out as a black label (although the late Sam Phillips who ran the Sun studio was nothing but the epitome of a white 'good old boy'- Memphis-style) or to use the term of the day "race records" (ouch!). Virtually anyone with the price of the recording fee tried to get recorded in those days- some failed, some were one-shot johnnies and some like the artist under review, Little Milton, are the stuff of legend.

I have mentioned previously elsewhere in this space that there was something about the sound at Sun that brought out the best in the talent that survived. Little Milton also recorded on Chess and other labels but these early recordings just hum along, like those of early Johnny Cash, Elvis, Howlin’ Wolf and so on. Maybe, they were hungry and that is what comes through the music. Whatever it was this, my friends, was the roots of rock 'n' roll. And, whatever you might think of his treatment of Tina and it was not good, the late Ike Turner on piano in some of these selections keeps the beat jumping. Wow.

What do you absolutely need to hear here? Well, this is one of those albums where the music kind of grows on you (like with Bessie Smith and some others). "Looking For My Baby", "Running Wild Blues" and "I Love My Baby" set the mood in the middle. Is this Little Milton's definitive work? No. But he is hungry for fame and he is starting to rock- rock into musical history.