ITEM: VINYL LP 33 1/3rpm|
TITLE: On Top
COUNTRY PRINTED: USA
CAT No: COLUMBIA, CS 9931
COVER: (Grade at EXCELLENT+) cnr cut bottom left
LABELS: (Grade at MINT)
VINYL: (Grade at NEAR MINT)
A2I'm Gonna Set My Foot Down 1:59
A3A Lion in the Jungle 2:25
A4Baby, What You Want Me to Do? 2:39
A5Soul Beat 2:13
B1Riverboat Annie 2:56
B2Champaign, Illinois 3:01
B3Power of My Soul 3:00
B4Brown-Eyed Handsome Man 2:48
B5C.C. Rider 3:05
Review by Bruce Eder
Carl Perkins' first attempt at an album of new material in a decade is surprisingly successful, and one of the better records to come out of the early days of the rock & roll revival. Cut during the summer of 1969, it sort of follows the lead of Elvis Presley's 1968 comeback special, presenting Perkins doing blues ("Baby, What You Want Me to Do"), rock & roll ("C.C. Rider," "Brown Eyed Handsome Man"), and a few originals such as "Soul Beat" which, if they weren't distinguished, also do no harm to his reputation. There were a few touches that the album might've done well without, like the organ that occasionally crops up on some of the arrangements, and a runaway performance on the wah-wah pedal during one song, but the bulk of this was some of the better LP work up to this point in the career of an artist who was otherwise not especially known for his strong LPs. Among the real highlights is the obscurity "Superfool," written by a friend of Perkins; "Champagne Illinois," a collaboration between Perkins and Bob Dylan that grew out of the sessions for the latter's Nashville Skyline; Ronnie Self's "A Lion in the Jungle"; Perkins' powerful and touching "Power of My Soul"; and Buddy Holly's "I'm Gonna Set My Foot Down." On Top was subsequently deleted and, with a new cover and the deletion of a couple of songs, reissued on the budget Harmony Records line under the title Brown Eyed Handsome Man.
Biography by Cub Koda
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 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 rockers 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 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 his 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 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 secondhand guitar, he went to a local sharecropper for lessons, learning firsthand 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 itself as the hottest band in the get-hot-or-go-home cutthroat Jackson, TN, honky tonk circuit. It was here that Carl started composing his first songs with an eye toward the future. Watching the dancefloor 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. Perkins 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 Perkins 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"/"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, Perkins 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 labelmate Johnny Cash inspired Perkins to approach Phillips 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, Perkins laid down three takes each of "Blue Suede Shoes" and another rocker, "Honey Don't." A month later, Phillips decides to shelve the two country sides and go with the rockers as Perkins' next single. Three months later, "Blue Suede Shoes," a tune that borrowed stylistically from pop, country, and R&B music, sat 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 en route 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. Perkins 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 Cash and Jerry Lee Lewis (who played piano on "Matchbox") were scoring hit after hit, Perkins was becoming disillusioned with his fate, fueled by his increasing dependence on alcohol and the death of his brother Jay to cancer. He kept plugging along, and when Cash left Sun to go to Columbia in 1958, Perkins followed him over. The royalty rate was better, and Perkins 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, Perkins 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 Perkins' 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 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 and 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.
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear.
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear.
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing.
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine.
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour.
RECORD: Still just playable & exhibits considerable surface noise.
COVER: Major tears, wearing, splits & stains.
RECORD: Will not play properly due to scratches etc.
COVER: Very badly damaged.
Slightly up or down in condition as appears in the comments above.
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