Booklet includes list of tracks and points of interest.
- “Blue Suede Shoes” – Tribute to Carl Perkins: If Elvis is the father of Rockabilly, Carl Perkins is the Godfather! Carl’s unique writing talent, singing style, and unusual rhythmic guitar give him “one-of-a-kind” status. Truly, I believe there would not be Rockabilly music, as we know it today, without Carl Perkins. Carl set the pace for all of us who followed. Carl was as uniquely talented as he was explosive. Few people remember that Carl Perkins was the first Rockabilly act to sell one million records. “Blue Suede Shoes,” written by Carl Perkins, is his signature recording and the very first million-selling record to come out of the legendary Sam Phillips’ Sun Studio.
- “That’s All Right Mama” – Tribute to Elvis Presley: I was introduced to the greatness of Elvis when my foster father, Joe Treadway, booked him on his very first tour (Elvis, Scotty Moore, and Bill Black — no drummer) in January 1955. I knew, at that early age, I was seeing the future — and immediately my life was changed. I eagerly awaited the next “Pink Cadillac” tour later that year. What a difference a few months had made. For one thing, Joe Treadway had learned to spell the “King’s” name correctly — Elvis, not Alvis, as it was printed in the first newspaper advertising. Even more exciting, Elvis, Scotty Moore and Bill Black were riding in luxury in Presley’s brand new 1955 pink Cadillac Coupe de Ville, rather than the somewhat abused, “borrowed” 1951 Lincoln a few months earlier. Rockabilly crystallized into a recognizable style in 1954 with Elvis’s first release on Sun Records. Presley’s early appearances in West Texas, Arkansas, and Louisiana inspired hundreds of musicians to immediately join the Rockabilly movement. I was one of those many who was personally affected by the Elvis virus. This track is an obvious tribute to the birth of Rockabilly and its founder.
- “I Walk The Line” – Tribute to Johnny Cash: Johnny Cash arrived at Sam Phillips’ Sun Recording Studio wanting to record gospel records, but Sam wouldn’t let him. Phillips told Johnny to come back when he had written some songs like Elvis was recording. Cash returned to Memphis a few weeks later with this classic Rockabilly song and walked the line to superstardom with his first million-selling record. Johnny Cash and the Tennessee Two– Luther Perkins on guitar and Marshall Grant on bass — challenged us greatly with their artistic originality, which launched a long and legendary career for Johnny.
- “Ooby Dooby” – Tribute to Roy Orbison: Roy Orbison was one of the first people I met in nearby Wink, Texas, who could and did write his own style of music. While I was the lead singer of The Cavaliers in San Angelo, Roy was performing with his groups, the Wink Westerners and eventually the Teen Kings. Sure, he was influenced by Elvis, just as we all were in West Texas at that time, but Roy was Roy. His unique, individual talent–song writing, stylistic singing, and guitar artistry–broadened what had begun to be a whole new music trend. Roy recorded “Ooby Dooby” first in Dallas, Texas, then again at Norman Petty’s studio in Clovis, New Mexico, and for the third time with Sam Phillips at Sun Studio in Memphis, which is the version that charted nationally. This is classic Roy Orbison Rockabilly—a tribute to the first artist from West Texas to follow Carl Perkins and Elvis onto the national charts.
- “Think It Over” – Tribute to Buddy Holly/The Crickets: Buddy Holly was a master at writing just the right lyric and melody. He then created the perfect lead guitar and vocal performance to sell it. However, the ‘inside’ story on how Vi Petty became the lead instrumentalist, rather than Buddy, on the original hit version of “Think It Over” goes something like this: Vi Petty, Norman Petty’s wife, was working in her tomato garden when Norman, Buddy’s producer, asked her to come in and record a piano solo on Buddy’s recording. She refused several requests, opting to continue tending her tomatoes. Norman persisted. Finally, angered at being disturbed, Vi stormed into the studio and made the mud and tomato leaves fly as she pounded the keyboard, laying down her unique piano lead in one take. Out of respect for the late Vi Petty — and her garden — we decided to omit her piano instrumental lead on our Tribute version, and instead featured Jerry Matheney playing the way Buddy may have done on guitar. The Roses sang the original background vocals on this classic Buddy Holly/Crickets 1958 hit. I was honored to have The Roses (Robert Linville and David Bigham, with Kevin Bailey) in the studio with me to record this timeless tribute to the genius of Buddy Holly. Buddy touched us all!
- “Lonely Weekends” – Tribute to Charlie Rich: Many people forget that Charlie Rich, “The Silver Fox,” had very influential Rockabilly hit recordings with Sam Phillips in the late 1950s. Years later, in 1975, sitting on the piano bench beside Charlie in the production studio of my syndicated radio show, Continental Country, we discussed his early recording of “Lonely Weekends.” Charlie beamed as he recounted the details of those Sun sessions. Then he spread his hands across the keyboard of the piano and began, “Well, I make it all right, from Monday morning to Friday night, but ohhhhh those lonely weekends.” This was a once-in-a-lifetime experience. Moments later Charlie introduced his current hit, “Behind Closed Doors,” to the world, again singing live at my piano. Charlie Rich was a classy man, a great entertainer, and good friend. In 1959, “Lonely Weekends” opened the door to his success, and over a decade later the world got to know his true greatness.
- “Walking The Floor Over You” – Tribute to Ernest Tubb: “Walking The Floor Over You” is very important to me, and to this anthology, not only because the 1941 recording was Ernest’s first Hillbilly record to feature an electric guitar, but also because his earthy Hillbilly style of writing, singing, and recording heavily influenced Rockabilly music. Listen closely to “Walking The Floor Over You,” and you will hear all the elements and roots of Rockabilly–the Jimmy Rogers rhythm guitar, the magic “Smitty” Smith electric lead, the slap bass, just enough drum, and haunting sounds none of us can ever explain. I have greatly enjoyed performing this song on stage, and now I am especially proud to revive ET’s 1941 classic for this project.
- “Party Doll” – Tribute to Buddy Knox: West Texas was the proving ground for Rockabilly music, and Buddy Knox was a major contributor. Our friendship was long and very special. He was a gentle man, and I am proud to be able to call him “friend.” He honored me by recording some of our co-written songs, and inspired me with his early creations. “Party Doll” is the best to be launched from this West Texan, and the brilliance of this classic Rockabilly track continues its universal orbit almost five decades later. In 1998, Sid Holmes surprised me with a long-lost tape recording of a 1956 live radio performance of “Party Doll” that I sang on KPEP Radio as lead singer with The Cavaliers. The echoes of my friend, Buddy Knox, are always near.
- “Yesterday’s Teardrops” – Tribute to Glen Campbell and a long-lost song: Glen Campbell and I wrote this song in 1959, recording the demo at KLOS Radio in Albuquerque, New Mexico. The demo was lost for several decades and never recorded professionally until this album. We wrote the song for Elvis (at least that’s what we excitedly told each other the day we made the demo). For 41years the song sat quietly in its black, water-damaged tape box, until it was finally recovered and recorded for the tribute. Elvis would have loved “Yesterday’s Teardrops” and would have set it on fire! Thanks, Glen, for your special friendship and creative genius.
- “Without Warning” – Tribute to Southern Gospel Music: “Without Warning” is a southern gospel song inspired by the biblical story of Saul’s remarkable conversion on the road to Damascus (Acts 9). My dear friend and co-writer, Rick Miller, played the opening chord on the piano and sang out loudly, “Without Warning.” Immediately I knew we were on our way to the perfect song to exemplify the southern gospel music I had grown up with in the small rural churches of West Texas. Suddenly we were the instruments of this message, and the lyric just flowed. This old-but-new gospel song — and its satin B.B. King arrangement — perfectly exemplifies the influence gospel music had on Rockabilly. It is lovingly dedicated to the memory of my dear mother, who changed my “reasons” inside out when I was very young.
- “Honey Bee” – Tribute to Muddy Waters: One of the great disappointments of my life is that I never met Muddy Waters. I have been a fan of his music since I was a teenager. It was the Muddy Waters influence I gained first-hand from my friend, Robert T. Smith, in 1954 and 1955, as he took me in as the only white member of his small blues group. During those very formative years, Robert T. gave me the powerful experience of Delta blues by allowing me to perform with him and his group at various black rhythm and blues clubs in and around San Angelo, Texas. There were no racial barriers, no recognition of racial difference. Together we loved and lived the blues, and Robert T. Smith and His Men of Blues baptized me in the sacred waters of this wonderful music. “Honey Bee” is classic Mississippi Delta blues, and coincidentally, my wife Pamela’s favorite song. This is a special tribute to Robert T., and of course, to McKinley Morganfield, a/k/a Muddy Waters, “Honey Bee’s” originator. The raw sound of the guitars and bass bring you directly into the Rockabilly era. This performance is an experience I will always cherish.
- “Born to Rock” – Tribute to Carl Perkins and the Jordanaires: This Carl Perkins gospel rocker, produced by Cowboy Jack Clement late in Carl’s career, gives us the perfect finale for our Rockabilly Tribute. Truly, all of us who were there in 1954, were born to rock. This treasure was one of Carl’s last recordings, and he proves why he was truly the “Godfather of Rockabilly Music.” His amazing vocal performance, backed by the Jordanaires and pushed along by his signature rhythm-lead guitar, drives like a forceful freight train. On our recording, the Kevin Bailey vocal group pays tribute to the Jordanaires, performing four-part gospel backup harmonies. Carl Perkins is the whole package. He gave us great songs and powerful performances for over forty years. The classic lyrics written by Carl Perkins and his sons, Stan and Greg — along with my ad-libs to Arin, Jack, and Emma–say the rest! YEP! I was born to rock!