Sun Records and Race Records

Total Page：16

File Type：pdf, Size：1020Kb

Sun Records and Race Records Source: Chicago Defender, May 15, 1926 Before the 1950s, recordings by African-American artists released by American record companies were known as “race records.” Billboard published a hit chart of “race records” in the late 1940s (the magazine changed the title of the chart to “Rhythm & Blues” in 1949). While these records were originally intended for African-American audiences, over the years many white listeners began to purchase them as well. In the days before the Civil Rights movement, however, many radio stations would not play them. Sun Records of Memphis, Tennessee, founded by Sam Phillips in 1952, issued many recordings by African-American artists. Phillips produced the song “Rocket 88” by Jackie Brenston and his Delta Cats, a Rhythm and Blues record that is sometimes called the first Rock and Roll song. Phillips was interested in promoting Blues and other African American-inspired music with both black and white audiences when he met Elvis Presley in 1954. Marion Keisker, the receptionist at Sun Records, later told an interviewer, “Over and over I remember Sam saying, ‘If I could find a white man who had the Negro sound and the Negro feel, I could make a billion dollars.’” * Phillips produced Elvis’ first single and helped launch his career. Sun Records also helped launch the careers of several other important early Rock and Roll stars, including Jerry Lee Lewis and Roy Orbison. *Quoted in Jerry Hopkins, Elvis, 1971. WWW.TEACHROCK.ORG.

Copy Link

Recommended publications

Million Dollar Quartet” by Colin Escott & Floyd Mutrux at the Hippodrome Theatre Through December 2
“Million Dollar Quartet” By Colin Escott & Floyd Mutrux At the Hippodrome Theatre through December 2 By James Cooper MEMORIES ARE MADE OF THIS … PRODUCTION Flashing lights, shimmering jackets and long musical solos radiate through the production of “Million Dollar Quartet,” now at the Hippodrome Theatre. Though the special effects and costumes are beneficial in some instances, the show lacks emphasis in the one area it should stress the most: the music. The whole story focuses on the decisions of four major musicians from the 1950s: Carl Perkins, Johnny Cash, Jerry Lee Lewis and Elvis Presley. Music is the main concept within the script, but it certainly isn’t the main concept within the performance. The show focuses on a single event: the night that all four musicians of the “Million Dollar Quartet” were present in the same space at the same time, the Sun Records Studio in Memphis on December 4, 1956. Elvis (Cody Slaughter) used to be a member of the Sun Records family but then he switched to RCA, a bigger label. Since this change, Elvis has lost contact with his former producer, Sam Phillips (Vince Nappo). As Elvis returns with his girlfriend Dyanne (Kelly Lamont) he makes it clear to Sam that he wishes he had stayed at Sun. Sam too wishes that Elvis had stayed, but his main focus is now on producing Johnny (David Elkins) and the up-and-coming Jerry Lee (Martin Kaye). All the while Carl (Robert Britton Lyons) has to decide whether or not he wants to leave Sun Records or move on to Columbia.
[Show full text]
Where Did the Term Rock and Roll Come From
Where Did The Term Rock And Roll Come From Leggiest Roderic stuff extraordinarily and delusively, she qualifying her biome bestrides asymptomatically. Austen is assertory and entreats observingly while monolatrous Dan blackballs and stand-in. Unpolarised Parker cannonading his confirmors juxtaposes evangelically. No longer was here as the listener response is free appraisal to economic force to engage, did the rock and roll from african american Tearjerker and glamour on. Birth of 50s rock n roll Research assigned on 50's rock and. Church music did rock was coming out of their teenage daughters hanging in hartsdale, where did illinois press who frequently requested in search of. Music businessman morris levy, where did the rock and roll come from. It was a time in the United States that the possibility of a pied piper was a real concern. Rock and make them are doing something remarkable but it crossed over the rock and a hillbilly cat into words. Far future simply a musical style, rock to roll influenced lifestyles, fashion, attitudes, and language. He might quite an influence over me probably the music I enjoy our date. It whore a cute animal doing, a hellishly powerful thing, and we mean doing. Chuck i was arrested, and back time of prison for transporting a hammer across state lines. Motown record company, based in Detroit. It often indicates a user profile. Yes we were rolling, yes we rolled a long time. The story begins with others, rock did the and roll from blues was two different combination of a wild, turn to place to? The term became something new generation of music have been released some no king title, roll come from france? Then took out about what you come from law enforcement agencies, roll party events that.
[Show full text]
The Tin Pan Alley Pop Era (1885-Mid 1950'S)
OVERVIEW: The Foundation of Rock And Roll During the Great Migration more than 100,000 African-American laborers moved from the agricultural South to the urban North bringing with them their music and memories. Also, during the 1920’s the phonograph and the rise of commercial radio began to spread Hillbilly music and the Blues. This gave rise to an appreciating of American vernacular music, both white and black. Ultimately, the homogenizing effect of blending several regional musical styles and cultural practices gave birth to 1950’s rock and roll. The Tin Pan Alley Po ra 15-mid 1950’s) “The Great American Songbook” 1940’s Big Bands 1950’s Polar sic New York: “Tin Pan Alley” 14th St. and 2nd Ave. 1 Tin Pan Alley - New York 15-thogh 1940’s) The msic was distribted throgh sheet msic Proessional songwriters dominated the eriod George Gershwin and ole Porter omosers wrote or o msic Broadway and ilm ventally Tin Pan Alley tradition was relaced by the ock and oll tradition Tin Pan Alle – Ke oints 1. Written b a proessional oten non-peroring song-riters 2. ophisticated arrangeent 3. ncopated rhth accents on unepected, eak beats) 4. lever, ell-crated lrics 5. triving or upper-class sensibilities 6. Priar audience Adults 2 “Roots Music” - K oits 1. Riona ou o music 2. tu usicis 3. ot o tut 4. tou o titio 5. o maistream ican ists 6. o t i co cois “Roots Music” = he Blues D Country music he Blues Country Music 1920’s: Mississippi Delta Blues 1920’s: Cowboy Songs 1930’s: rban Blues 1930’s: Hillbilly Music 1940’s: ump Blues 1940’s: Country Swing
[Show full text]
SUN STUDIO Inspelningsteknik Och Sound
Högskoleexamen SUN STUDIO Inspelningsteknik och sound Författare: Jacob Montén Handledare: Karin Eriksson Examinator: Karin Larsson Eriksson Termin: HT 2019 Ämne: Musikvetenskap Nivå: Högskoleexamen Kurskod: 1MV706 Abstrakt Detta är en uppsats som handlar om Sun Studio under 1950 talet i USA, hur studion kom till och om dess grundare Sam Phillips och de tekniska tillgångarna och begränsningar som skapade ”soundet” för Elvis Presley, Johnny Cash, Jerry Lee Lewis, Ike Turner och många fler. Sam Phillips producerade många tidlösa inspelningar med ljudkaraktäristiska egenskaper som eftertraktas än idag. Med hjälp av litteratur-, ljud- och bildanalys beskriver jag hur musikern och producenten bakom musiken skapade det så kallade ”Sun Soundet”. Ett uppvaknande i musikvärlden för den afroamerikanska musiken hade skett och ingen skulle få hindra Phillips från att göra den hörd. För att besvara mina frågeställningar har texter, tidigare forskning och videomaterial analyserats. Genom den hermeneutiska metoden har intervjumaterial och dokumentärer varit en viktig källa i denna studie. Nyckelord Sun Records, Sam Phillips, Slapback Echo, Soundet, Sun Studio, Analog Tack Stort tack till min handledare Karin Eriksson för den feedback och stöd jag har fått under arbetets gång. Tack till min familj för er uppmuntran och tålamod. Innehållsförteckning Innehållsförteckning.................................................................................................................1 1.Inledning...............................................................................................................................2
[Show full text]
Sam Phillips: Producing the Sounds of a Changing South Overview
SAM PHILLIPS: PRODUCING THE SOUNDS OF A CHANGING SOUTH OVERVIEW ESSENTIAL QUESTION How did the recordings Sam Phillips produced at Sun Records, including Elvis Presley’s early work, reflect trends of urbanization and integration in the 1950s American South? OVERVIEW As the U.S. recording industry grew in the first half of the 20th century, so too did the roles of those involved in producing recordings. A “producer” became one or more of many things: talent scout, studio owner, record label owner, repertoire selector, sound engineer, arranger, coach and more. Throughout the 1950s, producer Sam Phillips embodied several of these roles, choosing which artists to record at his Memphis studio and often helping select the material they would play. Phillips released some of the recordings on his Sun Records label, and sold other recordings to labels such as Chess in Chicago. Though Memphis was segregated in the 1950s, Phillips’ studio was not. He was enamored with black music and, as he states in Soundbreaking Episode One, wished to work specifically with black musicians. Phillips attributed his attitude, which was progressive for the time, to his parents’ strong feelings about the need for racial equality and the years he spent working alongside African Americans at a North Alabama farm. Phillips quickly established his studio as a hub of Southern African-American Blues, recording and producing albums for artists such as Howlin’ Wolf and B.B. King and releasing what many consider the first ever Rock and Roll single, “Rocket 88” by Jackie Breston and His Delta Cats. But Phillips was aware of the obstacles African-American artists of the 1950’s faced; regardless of his enthusiasm for their music, he knew those recordings would likely never “crossover” and be heard or bought by most white listeners.
[Show full text]
4/12/14 Slagg Brothers Rhythm & Blues, Soul
4/12/14 Slagg Brothers Rhythm & Blues, Soul & Grooves Show 1953, written by Atlantic Records president and founder Ahmet Ertegün and was one Mess Around 2:42 Ray Charles of Ray Charles’ first hits. Featured in the film Planes, Trains, and Automobiles, during a scene in which John Candy's character dances to it while driving a car. Backslop 2:33 Baby Earl & The Trinidads Originally recorded by Junior Parker in 1953. Elvis’s version from 1955 as the B-side of Mystery Train 2:30 Elvis Presley "I Forgot to Remember to Forget". Both versions produced by Sam Phillips at Sun Studios 1984, from his 3rd solo album, Centerfield. All instruments, vocals, production and Big Train (From Memphis) 2:58 John Fogerty arrangement done by John Fogerty. 1951. Credited to Jackie Brenston and his Delta Cats, who were actually Ike Turner's Jackie Brenston & His Delta Rocket 88 2:51 Kings of Rhythm. Regarded as the first rock and roll record. Praises to the joys of the Cats Oldsmobile "Rocket 88" automobile, which had recently been introduced. 1961. Brown replaced the original lyrics of the song with a shouted list of cities on his Night Train 3:34 James Brown East Coast touring itinerary (and hosts to black radio stations he hoped would play his music). He also played drums on this. No.9 Train 2:52 Tarheel Slim Born Alden Bunn, this from 1958 From the 1979 album The Pleasure Principle. Inspired by an incident of road rage, Cars 3:34 Gary Numan about how you feel safe inside a car in the modern world From 1988 album From Langley Park to Memphis.
[Show full text]
LECTURE 4 from Whence Came 1950S Rock and Roll? (And Where Did It Go?) What Was the First Rock and Roll Song? “Rocket 88” 1951
LECTURE 4 From Whence Came 1950s Rock and Roll? (and where did it go?) What was the first Rock and Roll song? “Rocket 88” 1951 • Jackie Brenston and His Delta Cats (Ike Turner and his Rhythm Kings) • Ike Turner – boogie woogie piano • Jackie Brenston – vocals/sax • heavily distorted electric guitar • R&B hit about partying in a Oldsmobile Rocket 88 • recorded by Sam Phillips at Memphis Recording Services 1950s COVER SONGS released on R&B charts cross-over into pop charts re-recorded by white artists re- marketed by major labels often the biggest money makers “Shake, Rattle, and Roll” 1954 • Big Joe Turner • KC Blues Shouter • R&B jump band • boogie-woogie bass • piano • riffing • growling sax solo • strong backbeat • chauvinist and objectivist lyrics • strong sexual innuendo • weakly coded metaphor “Shake, Rattle, and Roll” - Turner Get outta that bed I said shake, rattle and roll Wash your face and hands Shake, rattle and roll Get outta that bed Shake, rattle and roll Wash your face and hands Shake, rattle and roll Well, you get in that kitchen Well, you won't do right Make some noise with the pots and pans To save your doggone soul Way you wear those dresses I'm like a one-eyed cat The sun comes shinin' through Peepin' in a seafood store Way you wear those dresses I'm like a one-eyed cat The sun comes shinin' through Peepin' in a seafood store I can't believe my eyes Well, I can look at you All that mess belongs to you Till you ain't no child no more I believe to the soul I get over the hill You're the devil and now I know And way down
[Show full text]
The Nitecaps
(Sun Records continued) “His song 'Moanin' at Midnight' ...when it came out, it was as if everything just stopped, everything that was going on. Time Shows begin at 6:30 unless noted stopped. Everything stopped. And you heard the In case of inclement weather, shows will be held just down the Wolf. This is where the soul of man never dies," street at the Grand Theater, 102 West Grand Avenue. - Sam Phillips on Howlin' Wolf. June 1 Left Wing Bourbon MySpace.com/LeftWingBourbon June 8 The Pumps From BluesCentric.com ThePumpsBand.com MySpace.com/ThePumpsBand Notable Books on Sun Records June 15 The Blues Dogs Good Rockin' Tonight: Sun Records and the Birth of July 27, 2010 at Owen Park MySpace.com/SteveMeyerAndTheBluesDogs Rock 'N' Roll June 22 Pete Neuman and the Real Deal by Colin Escott and Martin Hawkins PeteNeuman.com June 29 Code Blue with Catya & Sue Catya.net Sun King: The Life and Times of Sam Phillips, the Man HE ITECAPS July 6 Mojo Lemon T N Behind Sun Records MojoLemon.com By Kevin Crouch, Tanja Crouch MySpace.com/MojoLemonBluesBand July 13 Dave Lambert featuring Alexis Moyer DaveLambertBand.com July 20 Deep Water Reunion MySpace.com/DWReunion July 27 The Nitecaps MySpace.com/TheNitecapsBand Aug 3 *Young Blues Night with The Love Buzzards (show begins at 7:00pm) LoveBuzzards.com MySpace.com/LoveBuzzardsBluesBand Friends of the Blues Aug 10 South Farwell MySpace.com/FarwellOnline (Thank you for your donations) Facebook.com/SouthFarwell Sport Motors Harley-Davidson, The Timber Lane Toms-Quigley, Aug 17 Ellen Whyte w/ The Sue Orfield Band Schultz & McCarty EllenWhyte.com / SueOrfield.com Aug 24 The Tommy Bentz Band Chippewa Valley Theatre Guild MySpace.com/TommyBentzBand Broadway Shows, Bands, Concerts & Events Aug 31 Howard ‘Guitar’ Luedtke & Blue Max 102 West Grand Ave, EC CVTG.org HowardLuedtke.com If you’d like to sponsor Tuesday Night Blues, just talk to one of the CV Blues members at the park.
[Show full text]
Mississippi Musicians Hall of Fame a Short History
Mississippi Musicians Hall of Fame A short History Mississippi, Birthplace of America's Music (c) is our slogan. Mission Statement - Mississippi Musicians Hall of Fame The mission of the Mississippi Musicians Hall of Fame is to inform, educate, and entertain the public about Mississippi's unique and unusual music history. That history includes the birth of popular music in America. In addition, the Hall of Fame highlights the contributions of Mississippi's many successful musicians of all genres throughout the state's history. Our Slogan: Mississippi, Birthplace of America's Music(c). The blues was born in the Delta; country music with the father of country music, Jimmie Rodgers; and rock-n- roll with Ike Turner, Jackie Brenston and Blind Roosevelt Graves All forms of American music came from one of these roots. In 1995, Dr. Jim Brewer assembled a group of arts and music experts to discuss creating a music hall of fame. They all agreed it should be done. Since then, we have performed many inductions, conducted several talent searches, held many music industry seminars, produced two CDs, a book, a blues map, and a music sites map. Attraction for these activities has come from as far away as Great Britain, Canada, and Mexico, not to mention from all across the United States. Several magazines and newspapers including Rolling Stone magazine, have favorably mentioned the organization in their publications. At present, we do not have a brick-and-mortar home, but we are always on the lookout and open to ideas for a permanent home. Much of our memorabilia can be viewed at the Mississippi Music Museum in Crystal Spring, Mississippi.
[Show full text]
Sun Records and Race Records
Sun Records and Race Records Source: Chicago Defender, May 15, 1926 Before the 1950s, recordings by African-American artists released by American record companies were known as “race records.” Billboard published a hit chart of “race records” in the late 1940s (the magazine changed the title of the chart to “Rhythm & Blues” in 1949). While these records were originally intended for African-American audiences, over the years many white listeners began to purchase them as well. In the days before the Civil Rights movement, however, many radio stations would not play them. Sun Records of Memphis, Tennessee, founded by Sam Phillips in 1952, issued many recordings by African-American artists. Phillips produced the song “Rocket 88” by Jackie Brenston and his Delta Cats, a Rhythm and Blues record that is sometimes called the first Rock and Roll song. Phillips was interested in promoting Blues and other African American-inspired music with both black and white audiences when he met Elvis Presley in 1954. Marion Keisker, the receptionist at Sun Records, later told an interviewer, “Over and over I remember Sam saying, ‘If I could find a white man who had the Negro sound and the Negro feel, I could make a billion dollars.’” * Phillips produced Elvis’ first single and helped launch his career. Sun Records also helped launch the careers of several other important early Rock and Roll stars, including Jerry Lee Lewis and Roy Orbison. *Quoted in Jerry Hopkins, Elvis, 1971..
[Show full text]
Mississippi Musicians Hall of Fame Inductees Blues • Charlie
Mississippi Musicians Hall of Fame Inductees Tammy Wynette - Tremont Mississippi Sheiks - Bolton Blues Charlie Musselwhite - Kosciusko O. B. McClinton - Senatobia Hubert Sumlin - Greenwood Carl Jackson - Louisville Vasti Jackson - McComb Charlie Feathers - Slayden Willie Dixon - Vicksburg Bobbie Gentry - Chickasaw County Robert Johnson - Hazlehurst LeAnn Rimes - Pearl B. B. King - Itta Bena Mickey Gilley – Natchez Charlie Patton - Edwards Muddy Waters - Rolling Fork Gospel and Religious Howlin Wolf - White Station James Blackwood/Blackwood Bros. - Ackerman Sonny Boy Williamson - Glendora Canton Spirituals - Canton Pinetop Perkins - Belzoni Jackson Southernaires - Jackson Mississippi John Hurt - Teoc Mississippi Mass Choir/Frank Williams -Jackson Tommy Johnson - Terry Pop Staples/Staples Singers - Winona Honey Boy Edwards - Shaw C. L. Franklin - Sunflower County Joseph Lee (Big Joe) Williams - Crawford Blind Boys of Mississippi - Piney Woods School Elmore James - Richland Williams Brothers - Smithdale Cleophus Robinson - Canton Classical James Owens - Clarksdale James Sclater - Clinton Southern Sons - Delta John Alexander - Meridian Pilgrim Jubilees - Houston Ruby Pearl Elzy - Pontotoc Elizabeth Taylor Greenfield - Natchez Jazz Samuel Jones - Inverness Brew Moore - Indianola Willard Palmer - McComb Mose Allison - Tippo Leontyne Price - Laurel Milt Hinton - Vicksburg William Grant Still - Woodville Jimmie Lunceford - Fulton Walter Turnbull - Greenville Cassandra Wilson - Jackson Milton
[Show full text]
A Golden Investment Opportunity
SUN ENTERTAINMENT HOLDING CORPORATION A GOLDEN INVESTMENT OPPORTUNITY Sun Entertainment Holding Corporation United States: OTC: SETHF Canada/TSX Venture: SED THE SUN RECORDS LABEL FIRST BEGAN TO APPEAR ON RECORDS SUN RECORDS has one of the most in the 1950s, featuring songs by new recording artists whose names soon coveted catalogs in the music industry. became legends, and whose electrifying sound revolutionized the music Although Sun inarguably is the place industry: Elvis Presley, Johnny Cash, Jerry Lee Lewis, Carl Perkins, Roy where rock ‘n’ roll was born, that Orbison, and many more. Inevitably, Sun famous Sun sound grew out of a unique Records became a legend all its own: it is, combination of country, rockabilly, and after all, where rock ‘n’ roll was born. rhythm & blues, all part of the rich mix of Memphis music. With so many great Today the bright Sun logo is one of the most songs and hits in so many genres, recognized logos in the world, representing Sun Records has ongoing demand not only a catalog of solid gold hits, but for licensing of its music to be used over five decades of continuing sales in television and film, with tie-ins to and marketing success. Now you have a blockbusters like I Walk the Line, golden opportunity to own a piece of this priceless the story of Johnny Cash. In musical heritage, and to profit from the limitless growth addition to dramatic licensing, Sun potential being realized from creative licensing and a also participates in special powerful merchandising campaign that reaches around music compilations in the world.
[Show full text]