CARL PERKINS SUN RECORDS ORIGINAL handbill 8.5x11 VINTAGE Rockabilly JOHNNY

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Seller: rsaigal (665) 100%, Location: Ann Arbor, Michigan, Ships to: US & many other countries, Item: 173877036303 AN ORIGINAL CARL PERKINS & JOHNNY POWERS 8.5X11 INCH ORANGE HANDBILL SIGNED BY CARL PERKINS IN BLACK. THIS IS FOR A SHOW IN DEARBORN, MICHIGAN FEATURING BOTH ROCKABILLY LEGENDS. Johnny Powers (born John Leon Joseph Pavlik; May 25, 1938 in East Detroit, Michigan) is an American guitar player, singer, writer and producer specializing in rockabilly. Powers is best known for his 1957 recording on the now-defunct Fox Records label entitled “Long Blond Hair”. Powers (as Pavlik) began his professional career in 1953 at age 15, when he joined a local Detroit country band known as Jimmy Williams and the Drifters. Later, having become a fan of Carl Perkins and the young Elvis Presley, Powers began to include rock & roll elements in his music.[1][2] Until 1955, Powers performed and recorded under his birth name but, following a studio session for Fortune Records in Detroit, co-owner Devora Brown – seeing Pavlik eating a PowerHouse candy bar – gave him the stage name of Johnny Powers.[1][2] Powers released a pair of singles on the Fox Records label (not to be confused with today’s 20th Century Fox Records), including “Long Blond Hair”.[1] Fox went out of business soon thereafter and in 1959 Powers signed with Sun Records, which released one single under his name. In 1960, Powers met with Berry Gordy and signed on with Motown Records, becoming the first white male musician to do so; he is also thought to be the only recording artist to have ever been under contract to both Sun and Motown Records.[1][3][4] In his five year relationship with Motown, Powers devoted most of his energies to producing and writing rather than recording.[2] Powers has been inducted into the Rockabilly Hall of Fame.[5] Today, he continues to tour and perform throughout the United States and Europe. Born John Leon Joseph Pavlik in 1938 in East Detroit, MI, he was the oldest of five children. The family later moved to the small town of Utica, MI, just north of Detroit. Pavlik was exposed to music from an early age by members of his father's family, who all played music for weddings and local dances. It was country music, however, that first drew Pavlik into music on a personal level; he discovered Lonnie Baron, a veteran country singer with a show on local radio and would listen and try to play along with a guitar that he'd bought for $2.50 from a school mate Tony Lawson who is now a neighbor. He later got some helpful instructions from Marvin Maynard, a musician who moved from West Virginia to Utica, MI. In 1953, at age 15, Pavlik met Russ Williams Jr., a guitar player for his brothers band, Jimmy Williams and the Drifters, a local country band that played at a local venue called Bill's Barn and got a featured radio show on WDOG, a radio station out of Marine City, MI. They became good friends. Pavlik then joined the band as a rhythm guitar player. He also played rhythm guitar on two single records recorded by the band, "Rainbow Heart," "Teardrops and Memories," and "Loveless Kisses," and " Dream on Little Heart." But it wasn't long before rock & roll attracted Pavlik; it was Jack Scott's recording, "Baby She's Gone," that drew him into rock & roll. Courtesy of Russ Williams Jr., Pavlik discovered Elvis Presley when he was still a Memphis-based phenomenon. He heard his song "Milk Cow Blues Boogie," which really interested him. It was a country song with a rock & roll beat. Soon after he heard Carl Perkins "Blue Suede Shoes" and "Honey Don't." Before long he was adding the beat to his own country songs. In 1955, he got an audition with Fortune Records with Jack and Devoera Brown in Detroit. He paid $100.00 for his own session to record a pair of songs, "Honey Let's Go, to a Rock and Roll Show" b/w "Your Love," which was released on the Fortune label. When he finished his recording session, Mrs. Brown said to Pavlik, you need to change your name. She then noticed he was eating a candy bar, and said to him, what kind of a candy bar are you eating? He said, Power House. That's it! Your new recording name is Johnny Powers. He named his band the Rocket's. In 1957, Johnny Powers changed the band's name to the Tom Cats, which consisted of Marvin Maynard on bass, Clark Locker, AKA, Johnny Clark on drums, and Stan Getz on lead guitar. They played at Bills Barn and went on to the Fox label with a pair of regional hits, "Long Blond Hair" b/w" Rock Rock ." They recorded a lot of song demos,, some of which have surfaced as bootleg releases in recent years. Among his strongest work from this period were a pair of originals, "Mama Rock," and "Indeed I Do," released on Leedon Records, Lee Gordon's Australian record label. On both recordings, he sounds like the young, wild Elvis Presley that just arrived at RCA, and the group sings uncannily like the Jordanaires. Things began to happen for Johnny Powers when his manager, Tommy Moers, and a Detroit radio personality, Mr. Don Zee as he would say, "two ee's if you please," got Johnny a contract with Sun Records on July 6th, 1959, heralded with the release of "With Your Love, with Your Kiss" b/w "Be Mine." A second single never followed. It's been believed that Mr. Sam Phillips started losing interest in releasing new product when the music started to change. He later sold Sun Records to Shelby Singleton. In 1960, Johnny was asked to meet with Barry Gordy. He later became the first white artist signed to Motown Records and the only artist in history to have recorded for both, Sun Records and Motown Records, the two most historic independent, legendary record companies In the world. Power's reputation as one of Michigan's preeminent progenitors of rock'n'roll was secured by a May 1999 article in the Detroit News, in which he was included with Bob Seger, Berry Gordy, Jr., and the MC5 in a "Michigan at the Millennium" list of the state's musical heroes. Powers also was the subject of a lengthy profile in the October 1994 issue of New Country magazine. Powers is perhaps best known as the music legend who recorded a rock'n'roll classic seminal hit, "Long Blond Hair," a song that continues to thrill rockabililly aficionados witnessing Powers' live performances, listening to reissues of the original recording, or tapping their feet while enjoying the song's appearance on the soundtrack to the ShowTime Cable Network's film, Reform School Girls. The song's infectious popularity is evidenced by the anecdote Powers relates in which he was approached after a Detroit gig. "I just finished a show with Aaron Tipin, and a guy told me he finally got a chance to hear me do "Long Blond Hair." It was one of his all-time favorite songs." The fan turned out to be Ed Salamon, Westwood One's radio network president of programming. While at Motown, Powers worked with producers and songwriters Eddie Holland, Marvin Gaye and Stevie Wonder's producer, mentor and author of "Fingertips," Clarence Paul. His five-year tenure at Motown enabled Powers to develop his talents as a songwriter and producer, abilities that flourished at Sound Incorporated and Sidra/Drew Records, the Detroit-area studios and record companies he co-owned in the 1960s and '70s. He also oversaw the label's recording-pressing and distribution operations. The many recordings he mastered for such labels as Epic, Capital, Warner Brothers, Roulette, Private Stock, Philly Groove, Ariola America, and many other labels evidence Power's brilliance as a producer of rock'n'roll, rhythm-and-blues and soul-tinged music. In his long and varied career, Powers also performed selective independent music promotion in Michigan and Ohio. In addition to his successes as an artist and producer, Power's entrepreneurial skills resulted in the publishing companies begun by him. Powerhouse Music and his current enterprise, Jet-Eye Music, Inc. With Jet-Eye, Powers played a pivotal role in revitalizing the career of his friend George Clinton by licensing Clinton's music to various labels around the world. Jet-Eye is also responsible for reissuing classic recordings by numerous rock, jazz and doo-wop acts of the 1950s, '60s and '70s with internationally recognized labels in the United States, Europe and Asia. Powers negotiated and placement his performance of "Say It" in the Hemdale Film's production of Mosquito which aired originally on USA Cable Network and it continues to air on U.S and international television networks. While becoming a musical jack-of-all-trades, Powers confesses that his first love is performing this music in front of live audiences. Each visit he says results in a growing legion of international fans. One of his favorite memories is playing a country music festival in France, which was hosted by a TV star, Patrick Duffy. The enthusiastic audience response resulted in Powers receiving an invitation to the event's VIP tent, where high-ranking French politicians and celebrities entertained him. Johnny Powers boasts a career that encompasses every facet of the music industry. The ever-youthful Powers continues to tour the United States and Europe today, performing new and classic recordings with a voice recently Described by the LA Time's music critic Mr. Robert Hilburn as "big as Lake Superior." Carl Lee Perkins (April 9, 1932 – January 19, 1998)[1] was an American singer-songwriter who recorded most notably at the Sun Studio, in Memphis, beginning in 1954. Amongst his best-known songs are 'Blue Suede Shoes', 'Matchbox' and 'Everybody's Trying To Be My Baby'. According to Charlie Daniels, "Carl Perkins' songs personified the rockabilly era, and Carl Perkins' sound personifies the rockabilly sound more so than anybody involved in it, because he never changed."[2] Perkins's songs were recorded by artists (and friends) as influential as Elvis Presley, the Beatles, Jimi Hendrix, Johnny Cash and Eric Clapton which further established his place in the history of popular music. Paul McCartney claimed that "if there were no Carl Perkins, there would be no Beatles."[3] Called "the King of Rockabilly", he was inducted into the Rock and Roll Hall of Fame, the Rockabilly Hall of Fame, the Memphis Music Hall of Fame, and the Nashville Songwriters Hall of Fame. He also received a Grammy Hall of Fame Award. Contents1Biography1.1Early life1.2Beginnings as a performer1.3Sun Records1.4Road accident1.5Return to recording and touring1.6Life after Sun1.7Later years1.8Personal life2Guitar style3Legacy4Awards5Discography5.1Studio albums5.2Collaborative albums5.3Live albums5.4Religious albums5.5Selected compilations5.6Guest appearances5.7Charted albums5.8Charted singles6Notes7References8External linksBiographyEarly lifePerkins was born near Tiptonville, Tennessee, the son of poor sharecroppers, Buck and Louise Perkins (misspelled on his birth certificate as "Perkings").[4] He grew up hearing southern gospel music sung by white friends in church and by African-American field workers when he worked in the cotton fields.[5] Beginning at the age of six, during spring and autumn, school days would be followed by a few hours of work in the fields. In the summer, workdays were 12 to 14 hours, "from can to can't." Perkins and his brother Jay together would earn 50 cents a day. All his family members worked, so there was enough money for beans and potatoes, tobacco for Perkins's father, and occasionally the luxury of a five-cent bag of hard candy.[6] On Saturday nights Perkins would listen to the Grand Ole Opry on his father's radio. Roy Acuff's broadcasts inspired him to ask his parents for a guitar.[7] Since they could not afford one, his father made one from a cigar box and a broomstick. Finally, a neighbor in hard times offered to sell his dented and scratched Gene Autry model guitar with worn-out strings. Buck Perkins bought it for his son for a couple of dollars. Perkins taught himself parts of Acuff's "Great Speckled Bird" and "The Wabash Cannonball", having heard them played on the Opry. He also cited Bill Monroe's fast playing and vocals as an early influence.[8] Perkins learned more about the guitar from John Westbrook, an African-American field worker in his sixties. "Uncle John", as Perkins called him, played blues and gospel music on an old acoustic guitar. Westbrook advised Perkins to "Get down close to it. You can feel it travel down the strangs, come through your head and down to your soul where you live. You can feel it. Let it vib-a-rate." Perkins could not afford new strings, and when they broke he had to retie them. The knots cut his fingers when he would slide to another note, so he began bending the notes, stumbling onto a type of blue note.[2][9] Perkins was recruited to be a member of the Lake County Fourth Grade Marching Band. Since his family was too poor to afford them, Lee McCutcheon, the woman in charge of the band, gave him a new white shirt, cotton pants, a white band cap and a red cape.[10] In January 1947, the Perkins family moved from Lake County, Tennessee, to Madison County, Tennessee. A new radio that ran on house current rather than a battery and the closeness to Memphis exposed Perkins to a greater variety of music.[11] At age fourteen, using the I-IV-V chord progression common in country music of the day,[12] he wrote a song that came to be known around Jackson as "Let Me Take You to the Movie, Magg"[13] (the song later persuaded Sam Phillips to sign Perkins to his Sun Records label). Beginnings as a performerPerkins and his brother Jay had their first paying job (in tips) as entertainers at the Cotton Boll tavern on Highway 45, twelve miles south of Jackson, starting on Wednesday nights during late 1946. Perkins was 14 years old. One of the songs they played was an up-tempo country blues shuffle version of Bill Monroe's "Blue Moon of Kentucky". Free drinks were one of the perks of playing in a tavern, and Perkins drank four beers that first night. Within a month Carl and Jay began playing Friday and Saturday nights at the Sand Ditch tavern, near the western boundary of Jackson. Both places were the scene of occasional fights, and both of the Perkins brothers gained a reputation as fighters.[14] During the next couple of years the Perkins brothers began playing other taverns around Bemis and Jackson, including El Rancho, the Roadside Inn, and the Hilltop, as they became better known. Carl persuaded his brother Clayton to play the upright bass to complete the sound of the band.[15] Perkins began performing regularly on WTJS in Jackson during the late 1940s as a sometime member of the Tennessee Ramblers. He also appeared on Hayloft Frolic, on which he performed two songs, sometimes including "Talking Blues" as done by Robert Lunn on the Grand Ole Opry. Perkins and then his brothers began appearing on The Early Morning Farm and Home Hour. Positive listener response resulted in a 15-minute segment sponsored by Mother's Best Flour. By the end of the 1940s, the Perkins Brothers were the best-known band in the Jackson area.[16] Perkins had day jobs during most of these early years, picking cotton and later working at Day's Dairy in Malesus, at a mattress factory and in a battery plant. He worked as a pan greaser for the Colonial Baking Company in 1951 and 1952.[17][18] In January 1953, Perkins married Valda Crider, whom he had known for a number of years. When his job at the bakery was reduced to part-time, Valda, who had her own job, encouraged Perkins to begin working the taverns full-time. He began playing six nights a week. Later the same year he added W.S. "Fluke" Holland to the band as a drummer. Holland had no previous experience as a musician but had a good sense of rhythm.[19] Malcolm Yelvington, who remembered the Perkins Brothers when they played in Covington, Tennessee, in 1953, noted that Carl had an unusual blues-like style all his own.[20] By 1955 Perkins had made tapes of his material with a borrowed tape recorder, and he sent them to companies such as Columbia and RCA, with addresses like "Columbia Records, New York City". "I had sent tapes to RCA and Columbia and had never heard a thing from 'em."[21] In July 1954, Perkins and his wife heard a new release of "Blue Moon of Kentucky" by Elvis Presley, Scotty Moore and Bill Black on the radio.[22] As the song faded out, Perkins said, "There's a man in Memphis who understands what we're doing. I need to go see him."[23] According to another telling of the story, it was Valda who told him that he should go to Memphis.[24] Later, Presley told Perkins that he had traveled to Jackson and seen Perkins and his group playing at El Rancho.[21] Years later the musician Gene Vincent told an interviewer that, rather than "Blue Moon of Kentucky" being a "new sound", "a lot of people were doing it before that, especially Carl Perkins."[25] Sun RecordsPerkins successfully auditioned for Sam Phillips at Sun Records in early October 1954. "Movie Magg" and "Turn Around" were released on the Phillips-owned Flip label (151) on March 19, 1955.[26] "Turn Around" became a regional success.[1] With the song getting airplay across the South and Southwest, Perkins was booked to appear along with Elvis Presley at theaters in Marianna and West Memphis, Arkansas. Commenting on the audience reaction to both Presley and himself, Perkins said, "When I'd jump around they'd scream some, but they were gettin' ready for him. It was like TNT, man, it just exploded. All of a sudden the world was wrapped up in rock."[27] Johnny Cash and the Tennessee Two were the next musicians to be added to the performances by Sun musicians. During the summer of 1955 there were junkets to Little Rock and Forrest City, Arkansas and to Corinth and Tupelo, Mississippi. Again performing at El Rancho, the Perkins brothers were involved in an automobile accident in Woodside, Delaware. A friend, who had been driving, was pinned by the steering wheel. Perkins managed to drag him from the car, which had begun burning. Clayton had been thrown from the car but was not injured seriously.[28] Another Perkins song, "Gone Gone Gone",[29][30] released by Sun in October 1955,[31] was also a regional success. It was a "bounce blues in flavorsome combined country and r.&b. idioms".[32] It was backed by the more traditional "Let the Jukebox Keep On Playing", complete with fiddle, "Western boogie" bass line, steel guitar and weepy vocal.[33] Commenting on Perkins's playing, Sam Phillips has been quoted as saying, "I knew that Carl could rock and in fact he told me right from the start that he had been playing that music before Elvis came out on record ... I wanted to see whether this was someone who could revolutionize the country end of the business."[34] Also in the autumn of 1955, Perkins wrote "Blue Suede Shoes"[5] after seeing a dancer get angry with his date for scuffing up his shoes.[35] Several weeks later, on December 19, 1955, Perkins and his band recorded the song during a session at Sun Studio in Memphis. Phillips suggested changes to the lyrics ("Go, cat, go"), and the band changed the end of the song to a "boogie vamp".[36] Presley left Sun for a RCA in November, and on December 19, 1955, Phillips, who had begun recording Perkins in late 1954, told Perkins, "Carl Perkins, you're my rockabilly cat now."[37] Released on January 1, 1956, "Blue Suede Shoes" was a massive chart success. In the United States, it reached number 1 on Billboard magazine's country music chart (the only number 1 success he would have) and number 2 on the Billboard Best Sellers popular music chart. On March 17, Perkins became the first country artist to reach number 3 on the rhythm and blues charts.[36][38] That night, Perkins performed the song on ABC-TV's Ozark Jubilee, his television debut (Presley performed it for the second time that same night on CBS-TV's Stage Show; he'd first sung it on the program on February 11). In the United Kingdom, the song reached number 10 on the British charts. It was the first record by a Sun artist to sell a million copies. The B side, "Honey Don't", was covered by the Beatles,[5] Wanda Jackson and (in the 1970s) T. Rex. John Lennon sang lead on the song when the Beatles performed it, before it was given to Ringo Starr to sing. Lennon also performed the song on the Lost Lennon Tapes.[38] Road accidentAfter playing a show in Norfolk, Virginia, on March 21, 1956, the Perkins Brothers Band headed to New York City for a March 24 appearance on NBC-TV's Perry Como Show. Shortly before sunrise on March 22, on Route 13 between Dover and Woodside, Delaware, Stuart Pinkham (also known as Richard Stuart and Poor Richard) assumed duties as driver. After hitting the back of a pickup truck, their car went into a ditch containing about a foot of water, and Perkins was left lying face down in the water. Drummer Holland rolled Perkins over, saving him from drowning. He had sustained three fractured vertebrae in his neck, a severe concussion, a broken collar bone, and lacerations all over his body in the crash. Perkins remained unconscious for an entire day. The driver of the pickup truck, Thomas Phillips, a 40-year-old farmer, died when he was thrown into the steering wheel.[39] Jay Perkins had a fractured neck and severe internal injuries; he never fully recovered and died in 1958. On March 23, Bill Black, Scotty Moore and D.J. Fontana, the members of Elvis's band, visited Perkins on their way to New York to appear with Presley the next day. Fontana recalled Perkins saying, "Of all the people, I looked up and there you guys are. You looked like a bunch of angels coming to see me."[40] Black told him, "Hey man, Elvis sends his love", and lit a cigarette for him, even though the patient in the next bed was in an oxygen tent. A week later, Perkins was given a telegram from Presley (which had arrived on March 23), wishing him a speedy recovery.[41] Sam Philips had planned to surprise Perkins with a gold record on The Perry Como Show. "Blue Suede Shoes" had sold more than 500,000 copies by March 22.[42] Now, while Perkins recuperated from his injuries, "Blue Suede Shoes" reached number 1 on regional pop, R&B, and country charts. It also reached number 2 on the Billboard pop and country charts. Elvis Presley's "Heartbreak Hotel" was number one on the pop and country charts at that time, but "Blue Suede Shoes" did better than "Heartbreak" on the R&B charts. By mid-April, more than one million copies of "Blue Suede Shoes" had been sold.[43] On April 3, while still recuperating in Jackson, Perkins watched Presley perform "Blue Suede Shoes" on his first appearance on The Milton Berle Show, which was his third performance of the song on national television.[44][45] He also made references to it twice during an appearance on The Steve Allen Show. Although his version became more famous than Perkins's, it reached only as high as number 20 on the Billboard pop chart.[46] Return to recording and touring "Dixie Fried"MENU0:00The rockabilly song "Dixie Fried" performed by Carl PerkinsProblems playing this file? See media help.Perkins returned to live performances on April 21, 1956, beginning with an appearance in Beaumont, Texas, with the "Big D Jamboree" tour.[47] Before he resumed touring, Sam Phillips arranged a recording session at Sun, with Ed Cisco filling in for the still-recuperating Jay. By mid-April, "Dixie Fried", "Put Your Cat Clothes On", "Right String, Wrong Yo-Yo", "You Can't Make Love to Somebody", "Everybody's Trying to Be My Baby", and "That Don't Move Me" had been recorded.[48] Carl Perkins (2nd from left) performing "Glad All Over" with (left to right) Clayton Perkins, W.S. "Fluke" Holland, and Jay Perkins in the movie JamboreeBeginning early that summer, Perkins was paid $1,000 to play just two songs a night on the extended tour of "Top Stars of '56". Other performers on the tour were Chuck Berry and Frankie Lymon and the Teenagers. When Perkins and the group entered the stage in Columbia, South Carolina, he was appalled to see a teenager with a bleeding chin pressed against the stage by the crowd. During the first guitar intermission of "Honey Don't" they were waved offstage and into a vacant dressing room behind a double line of police officers. Perkins was quoted as saying, "It was dangerous. Lot of kids got hurt. There was a lot of rioting going on, just crazy, man! The music drove 'em insane." Appalled by what he had seen and experienced, Perkins left the tour.[49] Appearing with Gene Vincent and Lillian Briggs in a "rock 'n' roll show", he helped pull 39,872 people to the Reading Fair in Pennsylvania on a Tuesday night in late September. A full grandstand and one thousand people stood in a heavy rain to hear Perkins and Briggs at the Brockton Fair in Massachusetts.[50] Sun issued more Perkins songs in 1956: "Boppin' the Blues"/"All Mama's Children" (Sun 243), the B side co-written with Johnny Cash, and "Dixie Fried"/"I'm Sorry, I'm Not Sorry" (Sun 249). "Matchbox"/"Your True Love" (Sun 261)[51] came out in February 1957.[31] "Boppin' the Blues" reached number 47 on the Cashbox pop singles chart, number 9 on the Billboard country and western chart, and number 70 on the Billboard Top 100 chart. "Matchbox" is considered a rockabilly classic. The day it was recorded, Elvis Presley visited the studio. Perkins, Presley, Jerry Lee Lewis and Johnny Cash (who left early) spent more than an hour singing gospel, country and rhythm-and-blues songs while a tape rolled.[5] The performers at this casual session were called the Million Dollar Quartet by a local newspaper the next day. These recordings were released on CD in 1990.[1] On February 2, 1957, Perkins again appeared on Ozark Jubilee, singing "Matchbox" and "Blue Suede Shoes". He also made at least two appearances on Town Hall Party in Compton, California, in 1957,[52] singing both songs. Those performances were included in the Western Ranch Dance Party series filmed and distributed by Screen Gems. He released "That's Right", co-written with Johnny Cash, backed with the ballad "Forever Yours", as Sun single 274 in August 1957. Neither side made it onto the charts. The 1957 film Jamboree included a Perkins performance of "Glad All Over" (not to be confused with the Dave Clark Five song of the same name), which ran 1:55. "Glad All Over", written by Aaron Schroeder, Sid Tepper, and Roy C. Bennett,[53] was released by Sun in January 1958.[54] Life after SunIn 1958, Perkins moved to Columbia Records, for which he recorded "Jive After Five", "Rockin' Record Hop", "Levi Jacket (And a Long Tail Shirt)", "Pop, Let Me Have the Car", "Pink Pedal Pushers", "Any Way the Wind Blows", "Hambone", "Pointed Toe Shoes", "Sister Twister", "L-O-V-E-V-I-L-L-E" and other songs.[31] In 1959, he wrote the country-and-western song "The Ballad of Boot Hill" for Johnny Cash, who recorded it on an EP for Columbia Records. In the same year, Perkins was cast in a Filipino movie produced by People's Pictures, Hawaiian Boy, in which he sang "Blue Suede Shoes".[citation needed] He performed often at the Golden Nugget Casino in Las Vegas in 1962 and 1963. During this time he toured nine Midwestern states and made a tour in Germany. In May 1964, Perkins toured Britain with Chuck Berry.[55] Perkins had been reluctant to undertake the tour, convinced that as forgotten as he was in America, he would be even more obscure in the U.K., and he did not want to be humiliated by drawing meager audiences. Berry assured him that they had remained much more popular in Britain since the 1950s than they had in the United States and that there would be large crowds of fans at every show. The Animals backed the two performers. On the last night of the tour, Perkins attended a party where he sat on the floor sharing stories, playing guitar, and singing songs while surrounded by the Beatles. Ringo Starr asked if he could record "Honey Don't". Perkins answered, "Man, go ahead, have at it."[56] The Beatles went on to record covers of "Matchbox", "Honey Don't" and "Everybody's Trying to Be My Baby" (recorded by Perkins, adapted from a song originally recorded by Rex Griffin in 1936, with new music by Perkins; a song with the same title was recorded by Roy Newman in 1938). The Beatles recorded two versions of "Glad All Over" in 1963.[57] Another tour to Germany followed in the autumn. He released "Big Bad Blues" backed with "Lonely Heart" as a single on Brunswick Records with the Nashville Teens in June 1964.[58] In 1966, Perkins signed with Dollie Records and released as his first single "Country Boy's Dream" which reached #22 in the country charts. While on tour with the Johnny Cash troupe in 1968, Perkins went on a four-day drinking binge. With the urging of Cash, he opened a show in San Diego, California, by playing four songs after seeing "four or five of me in the mirror" and while being able to see "nothin' but a blur". After drinking yet another pint of whiskey, he passed out on the tour bus. By morning he started hallucinating "big spiders, and dinosaurs, huge, and they were gonna step on me". The bus was parked on a beach at the ocean. He was tempted by yet another pint of whiskey that he had hidden. He took the bottle with him onto the beach and fell on his knees and said, "Lord, ... I'm gonna throw this bottle. I'm gonna show You that I believe in you. I sailed it into the Pacific ... I got up, I knew I had done the right thing." Perkins and Cash, who had his own problems with drugs, then gave each other support to stay sober.[59] In 1968, Cash recorded the Perkins-written "Daddy Sang Bass" (which incorporates parts of the American standard "Will the Circle Be Unbroken") and scored No. 1 on the country music charts for six weeks. Glen Campbell also covered the song, as did the Statler Brothers and Carl Story. "Daddy Sang Bass" was a Country Music Association nominee for Song of the Year. Perkins also played lead guitar on Cash's single "A Boy Named Sue", recorded live at San Quentin prison, which went to No. 1 for five weeks on the country chart and No. 2 on the pop chart (the performance was also filmed by Granada Television for broadcast). Perkins spent a decade in Cash's touring revue, often as an opening act for Cash (as at the Folsom and San Quentin prison concerts, at which he was recorded singing "Blue Suede Shoes" and "Matchbox" before Cash took the stage; these performances were not released until the 2000s). He also appeared on the television seriesThe Johnny Cash Show. He played "Matchbox" with Cash and Derek and the Dominos's Eric Clapton. Cash also featured Perkins in rehearsal jamming with José Feliciano and Merle Travis. On the television program Kraft Music Hall on April 16, 1969, hosted by Cash, Perkins performed his song "Restless".[60][61] Perkins and Bob Dylan wrote "Champaign, Illinois" in 1969. Dylan was recording in Nashville from February 12 to February 21 for his album Nashville Skyline. He met Perkins when he appeared on The Johnny Cash Show on June 7.[62] Dylan had written one verse of the song but was stuck. Perkins worked out a loping rhythm and improvised a verse-ending lyric, and Dylan said to him, "Your song. Take it. Finish it."[63] The co-authored song was included on Perkins's 1969 album On Top.[64][65] Perkins was also united in 1969 by Columbia's Murray Krugman with a rockabilly group based in New York's Hudson Valley, the New Rhythm and Blues Quartet. Perkins and NRBQ recorded Boppin' the Blues, which featured the group backing him on songs including his staples "Turn Around" and "Boppin' the Blues" and included songs recorded separately by Perkins and NRBQ.[66] One of his TV appearances with Cash was on the popular country series Hee Haw, on February 16, 1974. Tommy Cash (brother of Johnny Cash) had a Top Ten country gospel hit in 1970 with a recording of the song "Rise and Shine", written by Perkins. It reached number 9 on the Billboard country chart and number 8 on the Canadian country chart. Arlene Harden had a Top 40 country hit in 1971 with the Perkins composition "True Love Is Greater Than Friendship", from the film Little Fauss and Big Halsy (1971), which reached number 22 on the Billboard country chart and number 33 on the Billboard Adult Contemporary chart for Al Martino that same year. After a long legal struggle with Sam Phillips over royalties, Perkins gained ownership of his songs in the 1970s.[67] Later yearsIn 1981 Perkins recorded the song "Get It" with Paul McCartney, providing vocals and playing guitar with the former Beatle. This recording was included on the chart-topping album Tug of War, released in 1982.[68] This track was also the B-side of the title track single in a slightly edited form. One source states that Perkins "wrote the song with Paul McCartney".[69] The song ends with a fade-out of Perkins's impromptu laughter. The rockabilly revival of the 1980s helped bring Perkins back into the limelight. During 1985, he re-recorded "Blue Suede Shoes" with Lee Rocker and Slim Jim Phantom of the Stray Cats, as part of the soundtrack for the film Porky's Revenge. In October 1985, George Harrison, Eric Clapton, Dave Edmunds, Lee Rocker, Rosanne Cash and Ringo Starr appeared with him on stage for a television special, Blue Suede Shoes: A Rockabilly Session, which was taped live at the Limehouse Studios in London. The show was shown on Channel 4 on January 1, 1986. Perkins performed 16 songs, with two encores, in an extraordinary performance. He and his friends ended the session by singing his most famous song, 30 years after its writing, which brought Perkins to tears. The concert special was a highlight of his later career and has been praised by fans for the spirited performances delivered by Perkins and his guests. The concert was released for DVD by Snapper Music in 2006.[70] Perkins was inducted into the Nashville Songwriters Hall of Fame in 1985. Wider recognition of his contribution to music came with his induction into the Rock and Roll Hall of Fame in 1987. "Blue Suede Shoes" was chosen as one of the Rock and Roll Hall of Fame's “500 Songs That Shaped Rock and Roll”. The song also received a Grammy Hall of Fame Award. Perkins was inducted into the Rockabilly Hall of Fame in recognition of his pioneering contribution to the genre. Perkins's only notable film performance as an actor was in John Landis's 1985 film Into the Night, a cameo-laden film that includes a scene in which characters played by Perkins and David Bowie die at each other's hand.[71] Perkins returned to the Sun Studio in Memphis in 1986, joining Cash, Jerry Lee Lewis and Roy Orbison on the album Class of '55. The record was a tribute to their early years at Sun and, specifically, the Million Dollar Quartet jam session involving Perkins, Presley, Cash, and Lewis in 1956. In 1989, Perkins co-wrote and played guitar on the Judds' number 1 country hit, "Let Me Tell You About Love". Also in that year, he signed a record deal with Platinum Records for the album Friends, Family, and Legends, featuring performances by Chet Atkins, Travis Tritt, Steve Wariner, Joan Jett and Charlie Daniels, along with Paul Shaffer and Will Lee. During the production of this album, Perkins developed throat cancer. He again returned to Sun Studio to record with Scotty Moore, Presley's first guitar player, for the album 706 ReUNION, released by Belle Meade Records, which also featured D.J. Fontana, Marcus Van Storey and the Jordanaires. In 1993, Perkins performed with the Kentucky Headhunters in a music video remake of his song "Dixie Fried", filmed in Glasgow, Kentucky, In 1994, he teamed up with Duane Eddy and the Mavericks to contribute "Matchbox" to the AIDS benefit album Red Hot + Country, produced by the Red Hot Organization. His last album, Go Cat Go!, released by the independent label Dinosaur Records in 1996, features Perkins singing duets with Bono, Johnny Cash, John Fogerty, George Harrison, Paul McCartney, Willie Nelson, Tom Petty, Paul Simon, and Ringo Starr.[72][73] His last major concert performance was the Music for Montserrat all-star charity concert at London's Royal Albert Hall on September 15, 1997. Perkins died four months later, on January 19, 1998, at the age of 65, at Jackson-Madison County Hospital in Jackson, Tennessee, from throat cancer. He had suffered several minor strokes the previous month. Among the mourners at his funeral at Lambuth University were George Harrison, Jerry Lee Lewis, Wynonna Judd, Garth Brooks, Nashville agent Jim Dallas Crouch, Johnny Cash and June Carter Cash. Perkins was interred at Ridgecrest Cemetery in Jackson. Personal lifeA strong advocate for the prevention of child abuse, Perkins worked with the Jackson Exchange Club to establish the first center for the prevention of child abuse in Tennessee and the fourth in the nation. Proceeds from a concert planned by Perkins were combined with a grant from the National Exchange Club to establish the Prevention of Child Abuse in October 1981. For years its annual Circle of Hope Telethon generated one quarter of the center's annual operating budget.[74] Perkins had one daughter, Debbie, and three sons, Stan, Greg, and Steve. Stan, his first-born son, is also a recording artist. In 2010, he joined forces with Jerry Naylor to record a duet tribute, "To Carl: Let it Vibrate". Stan has been inducted into the Rockabilly Hall of Fame. Perkins' widow, Valda deVere Perkins, died on November 15, 2005, in Jackson. Guitar styleAs a guitarist Perkins used finger picking, imitations of the pedal steel guitar, right-handed damping (muffling strings near the bridge with the palm), arpeggios, advantageous use of open strings, single and double string bending (pushing strings across the neck to raise their pitch), chromaticism (using notes outside of the scale), country and blues licks, and tritone and other tonality clashing licks (short phrases that include notes from other keys and move in logical, often symmetric patterns).[75] A rich vocabulary of chords including sixth and thirteenth chords, ninth and add nine chords, and suspensions, show up in rhythm parts and solos. Free use of syncopations, chord anticipations (arriving at a chord change before the other players, often by an eighth-note) and crosspicking (repeating a three eighth-note pattern so that an accent falls variously on the upbeat or downbeat) are also in his bag of tricks.[76] Legacy Historic marker commemorating Perkins alongside other famous peers Continuation of the historic placard in tribute to PerkinsPerkins wrote his autobiography, Go, Cat, Go, published in 1996, in collaboration with music writer David McGee in 1996. Plans for a biographical film were announced by Santa Monica-based production company Fastlane Entertainment.[77][78] was slated for release in 2009. In 2004, Rolling Stone ranked Perkins number 99 on its list of the 100 Greatest Artists of All Time.[79] Many of the Beatles' live shows were full of Rock 'N' Roll covers of Carl Perkins songs such as 'Everybody's Trying To Be My Baby', 'Matchbox' and 'Honey Don't'. His version of "Blue Suede Shoes" was included by the National Recording Preservation Board in the National Recording Registry of the Library of Congress in 2006.[80] The Perkins family still owns his songs.[67] Drive-By Truckers, on their album The Dirty South, recorded a song about him, "Carl Perkins' Cadillac". The Carl Perkins Arena in Jackson, Tennessee is named in his honor. George Thorogood and the Destroyers covered "Dixie Fried" on their 1985 album Maverick. The Kentucky Headhunters also covered the song, as did Keith de Groot on his 1968 album No Introduction Necessary, with Jimmy Page on lead guitar and John Paul Jones on bass.[81] Ricky Nelson covered Perkins's "Boppin' the Blues" and "Your True Love" on his 1957 debut album, Ricky. Perkins was portrayed by Johnny "Kid Memphis" Holiday in the 2005 Johnny Cash biopic Walk the Line. Perkins was honored with the "Lifetime Achievement" award during the Tennessee Music Awards event in 2018 at the University of Memphis Lambuth in Jackson, Tennessee. Awards[icon]This section needs expansion. You can help by adding to it. (August 2014)The following recording by Carl Perkins was inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old and that have "qualitative or historical significance". Carl Perkins: Grammy Hall of Fame Awards[82]Year ReleasedTitleGenreLabelYear InductedNotes1956"Blue Suede Shoes"Rock and Roll (single)Sun Records1986DiscographyStudio albumsDance Album (1957)Whole Lotta Shakin' (1958)Country Boy's Dream (1967)On Top (Columbia, 1969)My Kind of Country (Mercury, 1973)Ol' Blue Suede's Back (1978)Country Soul (1979)Disciple in Blue Suede Shoes (1984)Born to Rock (1989)Friends, Family & Legends (1992)Collaborative albumsBoppin' the Blues (1970, with NRBQ)The Survivors (1982, with Jerry Lee Lewis, and Johnny Cash)Class of '55 (1986, with Roy Orbison, Jerry Lee Lewis, and Johnny Cash)The Million Dollar Quartet (1990, with Elvis Presley, Jerry Lee Lewis, and Johnny Cash)706 Re-Union (1990, with Scotty Moore)Carl Perkins & Sons (1993, with his sons Greg and Stan)Go Cat Go! (1996, with various guest stars)Live albumsThe Carl Perkins Show (1976)Live at Austin City Limits (1981)The Silver Eagle Cross Country: Carl Perkins Live (1997)Live at Gilley's (1999)Live (2000)Blue Suede Shoes: A Rockabilly Session (2006)Religious albumsRock 'N Gospel (1979)Cane Creek Glory Church (1979)Gospel (1984)Selected compilationsCarl Perkins' Greatest Hits (1969, re-recordings)Original Golden Hits (1969)Mr. Country Rock (Demand, 1977)That Rockin' Guitar Man (1981)Presenting Carl Perkins (Accord, 1982)Every Road (Joker, 1982)Goin' Back to Memphis (Joker, 1982)Boppin' the New Bleus (1982)Born to Boogie (1982)The Heart and Soul of Carl Perkins (1983)Carl Perkins (Dot, 1985)Original Sun Greatest Hits (1986)Up Through the Years 1954–57 (1986)Country Boy's Dream - The Dollie Masters (Bear Family, 1991)Back on Top - (Bear Family, 2000; 4 CDs, comprising 1968–1975)Guest appearancesJudds: Greatest Hits Volume II (1991)Philip Claypool: Perfect World (1999)Charted albumsYearAlbumPeak positionsLabelUS Country1969Carl Perkins' Greatest Hits (re-recordings)32ColumbiaOn Top42Original Golden Hits43Sun1973My Kind of Country48Mercury1982The Survivors Live(with Johnny Cash and Jerry Lee Lewis)21Columbia1986Class of '55(with Jerry Lee Lewis, Roy Orbison and Johnny Cash)15America/MercuryCharted singlesYearSinglePeak chart positionsAlbumUS CountryUSCAN Country1956"Blue Suede Shoes"12—Dance Album of ... Carl Perkins"Boppin' the Blues"770—"Dixie Fried"10——Original Golden Hits"I'm Sorry, I'm Not Sorry"flip——Blue Suede Shoes1957"Your True Love"1367—Dance Album of ... Carl Perkins1958"Pink Pedal Pushers"1791—The King of Rock1959"Pointed Toe Shoes"—93—1966"Country Boy's Dream"22——Country Boy's Dream1967"Shine, Shine, Shine"40——1969"Restless"20——Carl Perkins' Greatest Hits1971"Me Without You"65——The Man Behind Johnny Cash"Cotton Top"53——1972"High on Love"60——Single only1973"(Let's Get) Dixiefried" (1973 version)61——My Kind of Country1986"Birth of Rock and Roll"31—44Class of '551987"Class of '55"83——1989"Charlene"——74Born to Rock While some ill-informed revisionist writers of rock history would like to dismiss Carl Perkins as a rockabilly artist who became a one hit wonder at the dawn of rock & roll's early years, a deeper look at his music and career reveals much more. A quick look at his songwriting portfolio shows that he has composed "Daddy Sang Bass" for Johnny Cash, "I Was So Wrong" for Patsy Cline, and "Let Me Tell You About Love" for the Judds, big hits and classics all. His influence as the quintessential rockabilly artist has played a big part in the development of every generation of rocker to come down the pike since, from the Beatles' George Harrison to the Stray Cats' Brian Setzer to a myriad of others in the country field as well. His guitar style is the other twin peak -- along with that of Elvis' lead man Scotty Moore -- of rockabilly's instrumental center, so pervasive that modern day players automatically gravitate toward it when called upon to deliver the style, not even realizing that they're playing Carl Perkins licks, sometimes note for note. As a singer, his interpretation of country ballads is every bit as fine as his better known rockers. And within the framework of the best of his music is a strong sense of family and roots, all of which trace straight back to Carl's humble beginnings.He was born to sharecroppers Buck and Louise Perkins (misspelled on his birth certificate as 'Perkings') and was soon out in the fields picking cotton and living in a one country shack with his parents, older brother Jay and his younger brother Clayton. Working alongside Blacks in the field every day, it's not at all surprising that when Carl was gifted with a second hand guitar, he went to a local sharecropper for lessons, learning first hand the boogie rhythm that he would later build a career on. By his teens, Carl was playing electric guitar and had recruited his brothers Jay on rhythm guitar and Clayton on string bass to become his first band. The Perkins Brothers Band, featuring both Carl and Jay on lead vocals, quickly established themselves as the hottest band in the get hot or go home cutthroat Jackson, Tennessee honky tonk circuit. It was here that Carl started composing his first songs with an eye toward the future. Watching the dance floor at all times for a reaction, Perkins kept reshaping these loosely structured songs until he had a completed composition, which would then be finally put to paper. Carl was already sending demos to New York record companies, who kept rejecting him, sometimes explaining that this strange new hybrid of country with a Black rhythm fit no current commercial trend. But once Perkins heard Elvis on the radio, he not only knew what to call it, but knew that there was a record company person who finally understood it and was also willing to gamble in promoting it. That man was Sam Phillips and the record company was Sun Records, and that's exactly where Carl headed in 1954 to get an audition. It was here at his first Sun audition that the structure of the Perkins Brothers Band changed forever. Phillips didn't show the least bit of interest in Jay's Ernest Tubb-styled vocals, but flipped over Carl's singing and guitar playing. A scant four months later, he had issued the first Carl Perkins record, "Movie Magg" and "Turn Around," both sides written by the artist. By his second session, he had added W.S. Holland -- a friend of Clayton's -- to the band playing drums, a relatively new innovation to country music at the time. Phillips was still channeling Perkins in a strictly hillbilly vein, feeling that two artists doing the same type of music (in this case, Elvis and rockabilly) would cancel each other out. But after selling Elvis' contract to RCA Victor in December, Carl was encouraged to finally let his rocking soul come up for air at his next Sun session. And rock he did with a double whammy blast that proved to be his ticket to the bigs. The chance overhearing of a conversation at a dance one night between two teenagers coupled with a song idea suggestion from label mate Johnny Cash, inspired Perkins to approach Sam with a new song he had written called "Blue Suede Shoes." After cutting two sides that Phillips planned on releasing as a single by the Perkins Brothers Band, Carl laid down three takes each of "Blue Suede Shoes" and another rocker, "Honey Don't." A month later, Sam decides to shelve the two country sides and go with the rockers as Carl's next single. Three months later, "Blue Suede Shoes," a tune that borrowed stylistically from pop, country and R&B music, is sitting at the top of all charts, the first record to accomplish such a feat while becoming Sun's first million seller in the bargain. Ready to cash in on a national basis, Carl and the boys headed up to New York for the first time to appear on the Perry Como Show. While enroute their car rammed the back of a poultry truck, putting Carl and his brother Jay in the hospital with a cracked skull and broken neck, respectively. While in traction, Perkins saw Presley performing his song on the Dorsey Brother Stage Show, his moment of fame and recognition snatched away from him. Carl shrugged his shoulders and went back to the road and the Sun studios, trying to pick up where he left off. The follow-ups to "Shoes" were, in many ways, superior to his initial hit, but each succeeding Sun single held diminishing sales and it wasn't until the British Invasion and the subsequent rockabilly revival of the early '70s that the general public got to truly savor classics like "Boppin' the Blues," "Matchbox," "Everybody's Trying to Be My Baby," "Your True Love," "Dixie Fried," "Put Your Cat Clothes On," and "All Mama's Children." While labelmates Johnny Cash and Jerry Lee Lewis (who played piano on "Matchbox") were scoring hit after hit, Carl was becoming disillusioned with his fate, fueled by his increasing dependence on alcohol and the death of brother Jay to cancer. He kept plugging along and when Johnny Cash left Sun to go to Columbia in 1958, Perkins followed him over. The royalty rate was better, and Carl had no shortage of great songs to record, but Columbia's Nashville watch the clock production methods killed any of the spontaneity that was the charm of the Sun records. By the early '60s, after being dropped by Columbia and moving over to Decca with little success, Carl was back playing the honky tonks and contemplating getting out of the business altogether. A call from a booking agent in 1964 offering a tour of England changed all of that. Temporarily swearing off the bottle, Perkins was greeted in Britain as a conquering hero, playing to sold out audiences and being particularly lauded by a young beat group on the top of the charts named the Beatles. George Harrison had cut his musical teeth on Carl's Sun recordings (as had most British guitarists) and the Fab Four ended up recording more tunes by him than any other artist except themselves. The British tour not only rejuvenated his outlook, but suddenly made him realize that he had gone -- through no maneuvering of his own -- from has been to legend in a country he had never played in before. Upon his return to the States, he hooked up with old friend and former labelmate Johnny Cash and was a regular fixture of his road show for the next ten years, bringing his battle with alcohol to an end. The '80s dawned with Perkins going on his own with a new band consisting of his sons backing him. His election to the Rock & Roll Hall of Fame in the mid-'80s was no less than his due. After a long battle with throat cancer, Perkins died in early 1998, his place in the history books assured. -- Cub Koda, All Music Guide Another Look at Carl .... Carl Perkins was born in Tiptonville, Tennessee. He grew up on a farm there and the first song he recorded was one of the first he ever wrote. Carl first recorded for Sun Records in 1955 but he didn't get the big one till he recorded "Blue Suede Shoes" in 1956. After a fairly slow start, the song with the tremendous beat and novel words about the blue suede shoes started moving. And it went right to the top in country music, pop and rhythm and blues. Carl's father gave him his first real guitar after the boy succeeded in getting music out of one made of a cigar box and baling wire. He thought the boy deserved it after that accomplishment, and Carl has been strumming a real guitar ever since. When he carried his books to school in Madison County Tennessee, Carl also toted his guitar too, and when the other boys went outside to play ball during recess, he stayed in and sang a few tunes and plunked away at the guitar. Like so many of the new crop of singers, Carl practically grew up as an entertainer among the folks of his district. Whenever there was a get-to-gether or a show, it was as natural as falling off a log that he'd be called on to sing. At these local wind-dings, he developed a sixth sense which proved of great value after he moved into the big-time. This was the ability to sense what an audience wanted - in the profession they call it "audience awareness." Along with that awareness, Carl had the talent to deliver the goods. In the early days, there were just Carl and his guitar. Eventually he had a combo consisting of his two brothers, Clayton and J.B. - known as Buck and Jay plus a long-time friend, W.S. Holland. As a foursome, they won considerable local popularity in and around Jackson, Tennessee, playing show dates and night clubs. Their response on those dates was tremendous. Entire audiences rocked and rolled as the combo gave out the strong beat. They might have remained nothing more than local entertainers if an interested friend had not advised them to try for an audition with Sun Records. Carl and his boys put on a show for Sam Phillips, and he decided quickly they had the stuff. He took them under his wing, which meant months of coaching, rehearsal, bringing out their best qualities, polishing the rough edges, until they developed a style that would be accepted by the critics as professional and by the public as commercial.< Carl's first record for Sun, "Let the Juke Box Keep on Playing," and "Gone Gone Gone," was well received by record distributors who felt the singer and his group showed great promise. That promise was fulfilled with a wallop when they turned out "Blue Suede Shoes," backed by "Honey, Don't. "Blue Suede Shoes" won thousands of fans for Carl Perkins. Carl gained an affectionate nick name from this recording, "The Boy With The Blue Sude Shoes," and the record sold over a million and a half copies. He could not believe it at the time how his record "Blue Suede Shoes" earned him $20,000 the first month. And, he soon said good-bye to an old jalopy and took over a brand new Cadillac presented to him by Sam Phillips. The car was in appreciation of the fact that Carl had been the first star to ever have a record hit the top in all three categories listed by Billboard Magazine - popular, country and western, and rhythm and blues. Meanwhile, Carl did not sit back resting on his laurels, as he kept busy writing songs tailored to order for his own personality and that of his combo. And the dollars kept pouring into his bank account as he played more important engagements. No matter where Carl Perkins made his personal appearances, there was always a "Standing room Only" sign hung out. The reason for this was he had a way of putting over a rock 'em and sock 'em song in a real swingin' way - and then have the natural ability to pour out all his heart on a great ballad. Carl had many loves, but heading the list were his family, whom he loved deeply. His next and true love in line was Country & Western music. Yes, Carl came a long, long way in a short time - but it wasn't all "peaches and cream"; for he studied hard and played and sang Country and Western songs until he knew them backward and forward. In so doing, music became his true love. BLUE SUEDE SHOES: The Story Carl Perkins Album DiscographyDance Album of Carl Perkins (Sun, 1958) Teenbeat -- The Best of Carl Perkins (Sun,1958) Whole Lotta Shakin' (Columbia, 1958) Country Boy's Dream (Dollie, 1967) Carl Perkins' Greatest Hits (Columbia, 1969) Carl Perkins On Top (Columbia, 1969) Boppin' The Blues (Columbia, 1970) Carl Perkins (Harmony, 1970) Original Golden Hits (Sun, 1970) Blue Suede Shoes (Sun, 1970) Brown-Eyed Handsome Man (Harmony, 1972) Greatest Hits (Columbia, 1973) Carl Perkins (Columbia, 1973) Greatest Hits (Columbia, 1973) My Kind Of Country (Mercury, 1973) The Carl Perkins Show (Suede, 1976) The Best Of Carl Perkins (Trip, 1976) Matchbox (Pickwick, 1977) Carl Perkins: The Sun Story (GRT, 1977) Ol'Blue Suede's Back (Jet, 1978) Rock N' Gospel (Koala Aw, 1979) Sing A Song With Me (Koala Aw, 1979) Country Soul (Koala Aw, 1979) Cane Creek Glory Church (Koala Koa, 1979) Best Of Carl Perkins (Koala Koa, 1979) Carl Perkins Live At Austin City Limits (Suede, 1981) Carl Perkins -- Mr. Blue Suede Shoes (Realm IV, 1981) That Rockin' Guitar Man -- Today (Soh Ag, 1981)Country Soul (Charvan, 1981) Presenting Carl Perkins (Accord, 1982) Boppin' The Blues (Accord, 1982) Born To Boogie (O'Hara, 1982) The Survivors (With Johnny Cash, Kerry Lee Lewis) (Columbia, 1982) The Heart And Soul Of Carl Perkins (Allegiance, 1983) Gospel (Sagittarius, 1984) Carl Perkins (Dot, 1985) Up Through The Years 1954-1957 (Bear Family, 1986) Class of 55 (With Johnny Cash, Roy Orbison, Jerry Lee Lewis) (America, 1986) Class of 55 (Picture Disk (Polygram, 1986) Interviews From The Class Of 55 Recording Sessions (America/Smash, 1986) Li'l Bit Of Gold (Rhino, 1988) 18 Super Hits (Laserlight, 1988) Honky Tonk Gal: Rare And Unissued Sun Masters (Rounder, 1989) Born To Rock (Universal, 1989) The Million Dollar Quartet (With Elvis Presley, Jerry Lee Lewis) (BMG, 1990) The Classic Carl Perkins (Bear Family, 1990) Jive After Five: The Best Of Carl Perkins (1958 - 1978) (Rhino, 1990) The Dollie Masters: Country Boy's Dream (Bear Family, 1991) Restless: The Columbia Recordings (Columbia, 1992) Friends, Family & Legends (Platinum, 1992) Introducing Carl Perkins (Fresh Sounds, 1992) Carl Perkins -- Memorial (Fresh Sounds, 1992)Re-Union (Belle Meade, 1992) Carl Perkins & Sons (BMG, 1993) Take Me Back (BMG, 1993) Disciple In Blue Suede Shoes (BMG, 1993) Best Of Carl Perkins (Curb, 1993) Go, Cat, Go (1996) KNOWN BOOTLEG ALBUMSCarl Perkins (Bopcat, 1978) The Rockin' Guitar Man (Bopcat, 1978) All My Friends From Jackson, Tennessee (Lake County, 1978) Mr. Country Rock (Demand, 1983) Carl Perkins (Picture Disc, 1983) Carl Lee Perkins -- British Tour 1964 (Doctor Kollector, 1984) CARL PERKINS PASSES ONJACKSON, Tenn. (AP) - Monday, January 19th, 10:30 EST - Carl Perkins, a rock 'n' roll pioneer whose song "Blue Suede Shoes" and lightning-quick guitar playing influenced performers including Elvis Presley and the Beatles, died today. He was 65. Perkins died at Jackson-Madison County General Hospital from complications related to three strokes suffered in November and December, family spokesman Albert Hall said. The tall, broad-shouldered Perkins was among the founders of "rockabilly," a cross of rhythm-and-blues and country music that came out of Sun Records in Memphis in the mid 1950s. He also wrote some of the top hit records in rock 'n' roll and country music. A near-fatal traffic accident in 1956, coupled with the rise of Presley, kept him from becoming a bigger solo star. Perkins wrote and recorded the 1956 smash "Blue Suede Shoes," which Presley later recorded. Perkins' version sold 2 million itself before Presley's rendition also became a hit. Perkins also wrote the rockabilly standard "Dixie Fried" and the songs "Honey Don't," "Matchbox" and "Everybody's Trying to Be My Baby," which were later covered by the Beatles. His relationship with the Beatles lasted long after their breakup in 1970. Perkins dueted with Paul McCartney on the country ballad "Get It," a song off McCartney's 1982 album, "Tug of War." On the same record, he played rhythm guitar on the McCartney-Stevie Wonder hit duet, "Ebony and Ivory." Beatles George Harrison and Ringo Starr appeared with him in a 1986 cable TV special in London, "Carl Perkins and Friends: A Rockabilly Session." He met the Beatles in 1964 during a British concert tour with another rock 'n' roll pioneer, Chuck Berry. About his influence on the Beatles, he said in a 1985 Associated Press interview, "They advanced it (guitar playing) so much. That rockabilly sound wasn't as simple as I thought it was." In another interview, he said the Beatles and Rolling Stones saved rockabilly in the mid-1960s when it was in danger of dying in the United States. "They put a nice suit on rockabilly," Perkins said. "They never really strayed from the simplicity of it, they just beautified it." In 1987, Perkins was inducted into the Rock and Roll Hall of Fame. Perkins grew up picking cotton in Lake County, Tenn., where he listened closely to music sung by blacks as they worked in the fields together. As a youngster, he used to retreat behind the family chicken house to pretend he was singing on Nashville's Grand Ole Opry. At the age of 7, he began playing a guitar that his father, a tenant farmer, had made from a cigar box, a broomstick and baling wire. He wrote `"Blue Suede Shoes" after hearing someone telling his date at a high school prom not to step on his blue suede shoes. Perkins went home to his dark housing project in Jackson, Tenn., and wrote the song on a brown potato sack. Shortly after recording the song, Perkins was seriously hurt in a traffic accident in Wilmington, Del., and spent a year recovering and unable to capitalize on his mounting fame. During this time, Presley also recorded the song and earned much of the popularity that Perkins had been building. "I was bucking a good-looking cat called Elvis who had beautiful hair, wasn't married, and had all kinds of great moves," Perkins said in 1986. In tribute to the song, he usually wore blue suede shoes in public. He spent 15 years battling alcoholism, saying he overcame it by hurling his last whiskey bottle into the Pacific Ocean in 1967 near Encino, Calif. Perkins was a member of rock 'n' roll's fabled "Million Dollar Quartet." He, Presley, Cash and Jerry Lee Lewis met for an informal jam session in the 1950s that was later released as an album. In 1986, Perkins joined Cash, Jerry Lee Lewis and Roy Orbison on the album "Class of '55." Perkins also wrote "Daddy Sang Bass," which was a hit for Johnny Cash, and played in Cash's band from the mid-1960s to the mid-1970s. He said in the 1985 interview that his biggest thrill was getting a gold record for "Blue Suede Shoes." "After all those days in the cotton fields, the dreams came true on a gold record on a piece of wood. It's in my den where I can look at it every day. I wear it out lookin' at it." CARL'S FUNERALJACKSON, Tenn. (AP) 24, Jan. 1998 - George Harrison took acoustic guitar in hand and paid musical tribute to rock 'n' roll pioneer Carl Perkins, singing Perkins' early tune "Your True Love" at his funeral. Harrison was among fans and entertainers who packed a Lambuth University auditorium Friday to remember Perkins, a contemporary of Elvis Presley -- he wrote "Blue Suede Shoes" -- and a key influence on generations of rockers. "Carl was the coolest cat I know," Wynonna Judd said in her eulogy. "When I watched him, I realized I could only wish to be that cool." Among the hundreds of mourners at the funeral were entertainers Garth Brooks, Ricky Skaggs, Billy Ray Cyrus, Jerry Lee Lewis, Johnny Rivers and Judd. About 200 people watched on TV monitors in another building. Musical tributes came from Elton John and Eric Clapton; Paul McCartney sent a videotape in which he recounted the Beatles' fascination with Perkins' music while growing up in Liverpool, England. Bob Dylan sent a note, which Judd read. "He really stood for freedom. That whole sound stood for all the degrees of freedom. It would just jump right off the turntable. We wanted to go where that was happening," Dylan wrote. On the way out, Harrison gave a bear hug to Lewis, who was part of the Sun Records stable of artists at the same time as Perkins, Presley and Cash. On Wed, 21 Jan 1998, Russ Truell wrote: Thank you for your comments about Carl. He was one of the finest persons that I have ever known. The address for the Child Abuse Center is: 217 East College Street, Jackson, TN 38301. The phone number is: . The office hours are 8 am to 5 pm Central time. Incidentally, I am the City Clerk and in that capacity I received a call today at 11:00 from the Governor's office instructing that all flags be flown at half mast in Carl's honor. Elton John Saying he's not a "professional mourner," paid tribute yo Carl Perkins. John told a press conference in Miami last Thursday that he's not a going around the world being a professional mourner." John had paid tribute to yet another late celebrity, this time dedicating his song, "Don't Let Sun Go Down On Me," to rocker Carl Perkins during a 12-song concert at TV industry convention in New Orleans. TRIBUTES TO CARLBILLY SWAN: "Just heard about Carl Perkins. God bless him. He inspired so many of us. I'll always have a wounderful memory of the man, a real good guy. Will miss him!" OTHER LEGENDS WHO HAVE PAID TRIBUTE TO CARL thru contact received at the Rockabilly Hall of Fame office:Mac CurtisMarshall LytleSonny WestJerry Lee MerrittLarry CollinsGlen GlennDale HawkinsWillie JeffreyCharlie GracieAndy WidderDickie Harrell. . THANK YOU ALL! Del Villarrea, WCBN 88.3 FM - Chicago's WGN 720 all night talk shows hosts Steve & Johnnie were very genuine in their thoughts and respect for Mr. Perkins and I was only too happy to stay up a little later than usual to help them honor his memory in such a considerate way. They are good people and I know what radio station I'll be listening to the next time I'm in Chicago. Carl Perkins shared musical roots with Elvis, Roy Orbison, Jerry Lee Lewis. Edvins Beitiks OF THE EXAMINER STAFF Jan. 20, 1998 - Hearing that Carl Perkins had died, Dickie Harrell sighed into the phone and said, "Man, they lost a good one, tell you that. They gonna miss him bad." Harrell, the drummer for Gene Vincent and the Blue Caps - a band that burst on the rock scene at the same time as Perkins - said, "We played with Perkins when he first started, with him and his brother. Played the Midwest, New York, Texas, Pennsylvania. . . . Man, we had a good old time. It was all so new, new to all of us, but Carl never let it bother him. "He sort of reminded me of Roy Orbison, you know?" said Harrell, 57, in an interview from his home in Portsmouth, Va. "Down to earth. What you see is what you get." Harrell, who followed Perkins' month-to-month struggle through a series of strokes last year, said it was tough to hear the news on Monday that heart failure had killed Perkins at the age of 65. He died at Jackson-Madison Hospital in Nashville, on the other side of the state from his boyhood home of Tiptonville and 10 years removed from his induction into the Rock and Roll Hall of Fame. There's a straight line that runs from Perkins' rockabilly career to Ringo Starr's smoke-off-the-cig recording sessions for the Beatles - one of those hings in the world of rock music that makes absolutely no sense while making perfect sense at the same time. When Starr recorded "Honey Don't," "Matchbox" and "Everybody's Tryin' to be My Baby," it was part of a Beatles tribute that grew into Perkins playing guitar on Paul McCartney's "Get It" and "Ebony and Ivory." Perkins, who met the Beatles in 1964, had an open bar with that group ( "Your money's no good here" ) while he tried to put together the pieces of his on-again, off-again career. Perkins was there for Ringo, helped talk George Harrison out of retirement and did a cable special with Harrison, Starr and Eric Clapton in 1985 to mark the 30th anniversary of the release of "Blue Suede Shoes." When filming was over, Perkins said, "Nothing in the music business has even come close to this for me. At times I felt I was going to break down crying." The Beatles weren't the only ones who glommed onto Perkins' music. Bob Dylan wrote "Champaign, Illinois" with Perkins in 1970. The Band turned to his music during and after its stint with Ronnie Hawkins. Johnny Cash recorded Perkins' "Daddy Sang Bass" in 1968, Jimi Hendrix did "Blue Suede Shoes" in 1970 and Dolly Parton recorded his "Silver and Gold" in 1991. "Blue Suede Shoes" sold 2 million copies before Elvis Presley even got his hands on it, becoming the first record ever to hit the pop, country, and rhythm and blues charts at the same time - a song Perkins said he wrote after playing "a gut-bucket barroom" called the Roadside Inn. "One night I heard this boy tell the girl he was dancing with, "Watch out, don't step on my suedes.' It kind of stuck to me," said Perkins, who pulled out a paper sack the next morning and wrote on it, "Well, it's one for the money, two for the show... " "Blue Suede Shoes" is what Perkins is best remembered for, but he had other tunes - "Gone, Gone, Gone," "Boppin' the Blues," "Pink Pedal Pushers" - each one filled to the brim with the same kind of knife-in-the-back rockabilly beat turned out by the likes of Johnny Burnette, Dale Hawkins, Sonny Burgess, Billy Lee Riley, Jerry Lee Lewis, Orbison and Vincent. "Oh man, that was music," said Harrell. "And I tell you, Carl was a hard act to follow. That was tough, that was tough. He put everything he had into it." Harrell laughed, remembering the way Perkins could stir up a crowd, get it dancing backward and howling at the clapboard ceiling. And he talked about the all-night road tours that wound up in some tinpot motel or found the Blue Caps stumbling down a mountainside in front of Perkins' car in fog so thick they couldn't see 15 feet. Most rockabilly singers saw their share of heartbreak, and Perkins and Vincent were no different. Vincent was in the 1960 London car crash that killed Eddie Cochran. He had health problems before dying of bleeding ulcers in October of '71. Perkins was in a near-fatal accident that killed his brother in 1956 and was felled by a series of strokes at the end of his life. "Carl passing like this . . . ," said Harrell. "I know they're both up there having a good time. I know there's really some rock 'n' rolling going on." Neither Vincent nor Perkins repeated the success of their early days, butting their heads against the charts for years but never breaking through. Perkins' high-water mark came when he was part of the Million-Dollar Quartet at Sun Records with Presley and Cash and Jerry Lee, gathered around a piano for songs that never made it to the record stores. So many rockabilly stars have gone since then: Presley and Bill Haley and Burnette, Cochran and Vincent, Orbison and Bobby Helms and, now, Perkins. "It's hard to hear about his passing," said Harrell. "But you can't stay here forever. When they ring the bell, it's time to go." Country/Region of Manufacture: United States, Genre: Rock /COUNTRY, Artist: CARL PERKINS

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