Difference between revisions of "Sam Phillips" - New World Encyclopedia
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Risking his meager fortune, Phillips opened the Memphis Recording Service on January 1, 1950. Recording poor, itinerant blues singers didn’t always pay the bills, however; so Phillips supplemented his service with weddings, funerals, bar mitzvahs, political speeches—“anything—anywhere—any time,” according to the business card. During these first years Phillips recorded masters by little-known blues artists such as B.B. King and Howlin' Wolf, and “Doctor” Isaiah Ross (specialist in the “Boogie Disease”), which he would lease to other independent labels with major marketing operations, such as Chess and RPM. In 1951 Phillips recorded Jackie Brenston's “Rocket 88” (with Ike Turner on piano), often cited by music historians as the first rock and roll record. | Risking his meager fortune, Phillips opened the Memphis Recording Service on January 1, 1950. Recording poor, itinerant blues singers didn’t always pay the bills, however; so Phillips supplemented his service with weddings, funerals, bar mitzvahs, political speeches—“anything—anywhere—any time,” according to the business card. During these first years Phillips recorded masters by little-known blues artists such as B.B. King and Howlin' Wolf, and “Doctor” Isaiah Ross (specialist in the “Boogie Disease”), which he would lease to other independent labels with major marketing operations, such as Chess and RPM. In 1951 Phillips recorded Jackie Brenston's “Rocket 88” (with Ike Turner on piano), often cited by music historians as the first rock and roll record. | ||
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| + | == Sun Records== | ||
In 1952, frustrated with leasing arrangement, Phillips launched his own label, calling it Sun Records. Sun got its first national R&B hit in 1953 with Rufus Thomas' “Bear Cat,” a transparent cover of “Hound Dog,” a hit recorded just earlier by the blues singer “Big Mamma” Thornton and later, with phenomenal success, by Elvis Presley. Other electrified blues artists, like James Cotton, Little Milton, and Junior Parker, recorded for Sun, with some commercial success. | In 1952, frustrated with leasing arrangement, Phillips launched his own label, calling it Sun Records. Sun got its first national R&B hit in 1953 with Rufus Thomas' “Bear Cat,” a transparent cover of “Hound Dog,” a hit recorded just earlier by the blues singer “Big Mamma” Thornton and later, with phenomenal success, by Elvis Presley. Other electrified blues artists, like James Cotton, Little Milton, and Junior Parker, recorded for Sun, with some commercial success. | ||
| − | Phillips’ role in these records was far more than technician. He had an unusual rapport with | + | Phillips’ role in these records was far more than technician. He had an unusual rapport with the performers, most of whom had never seen the inside of a recording studio, and told them, “I don’t care about making a hit record; I only care about making a good record.” He also had an intuitive sense of the crossover appeal of blues and was willing to record electric guitars and harmonica at high volume with fuzzy and distorted textures. |
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| − | + | In the summer of 1953, a shy young singer arrived at Sun Studio with the stated purpose of recording a couple of sentimental songs for his mother. Phillips made a note of the eighteen-year-old with the strange appearance and even stranger name, Elvis Presley. A year later, on July 5, 1954, Phillips called Presley back and arranged for a session with guitarist Scotty Moore and bass player Bill Black. During a break after lackluster renditions of a number of ballads, Presley playfully began to improvise around a country blues song, “That’s Alright Mama,” by Arthur “Big Boy” Cruddup.” | |
| − | + | “This anonymous moment with the microphone turned off could so easily have signified nothing,” says Eric Olsen in a 2001 profile of Phillips. Instead, it became an iconic moment in American musical history, as Phillips flipped on the microphone and launched a career that would come to dominate American popular music. In 1954 and 1955 Presley made a series now-classic recordings for Sun Records, a sui generis synthesis of blues, country, gospel, and pop that were mostly covers of recent country and rhythm and blues recordings. | |
| − | Phillips | + | Phillips recorded looking for a feel, not technical perfection. He told Presley that the worst thing he could go for was perfection. Phillips was always seeking what he called the perfect/imperfect cut. This meant that it was not technically perfect, but perfectly conveyed the feeling and emotion of the song to the listener and gave the song a living personality, partially due to it being technically imperfect. |
| − | + | Most recordings at the time gave substantially more volume to the vocals. Phillips pulled back the Elvis vocals, blending it more with the instrumental performances. Phillips also used tape delay to get an echo into the Elvis recordings by running the tape through a second recorder head. RCA, not knowing the method that Phillips had used was unable to recreate the Elvis echo when recording "[[Heartbreak Hotel]]." In an attempt to duplicate the Sun Records sound, RCA used a large empty hallway at the studio to create an echo, but it sounded nothing like the echo that Phillips had created at Sun Records. | |
| − | + | Following Presley into Sun Studio were some of rock and roll’s greatest names—Jerry Lee Lewis, Johnny Cash, Carl Perkins, Roy Orbison. Like Presley, each came from impoverished background and drew on rich veins of vernacular music, amd fashioned into what came to be termed rockabilly by the sound engineer, Sam Phillips. | |
| − | + | Despite popular regional acclaim, by mid 1955 Sam Phillips' studio experienced financial difficulties, and he sold Presley's contract in November of that year; [[RCA Records]]' offer of $35,000 beat out [[Atlantic Records]]' offer of $25,000. Through the sale of Presley's contract, he was able to boost the distribution of Perkins' song '[[Blue Suede Shoes]]', and it became Sun Records' first national hit, later recorded (twice) by Presley and the Beatles, and sometimes called "the national anthem of rock and roll." | |
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==WHER== | ==WHER== | ||
Revision as of 20:07, 13 September 2007
Sam Phillips, born Samuel Cornelius Phillips (January 5, 1923 – June 30, 2003), was a record producer and founder of Sun Records in Memphis, best remembered for discovering and first recording Elvis Presley, Johnny Cash, Jerry Lee Lewis, Roy Orbison, and other early pioneers of rock and roll. Often referred to as the "father of rock and roll," Phillips was committed to providing opportunities for gifted performers regardless of their race or economic background. Phillips' respect for the artistry of southern black musicians led him to record many major blues artists, including B. B. King, Howlin' Wolf, James Cotton, and Bobby "Blue" Bland.
The now classic Sun recordings by Presley, Cash, Lewis, Orbison, and Carl Perkins synthesized the blues, southern gospel, and country music into a distinctively American musical idiom that would capture the imagination of America's youth. Despite the often-overt eroticism of rock and roll, which caused consternation in the culturally conservative fifties, the music exerted far-reaching influence on the integration of African Americans into the artistic, economic, and cultural mainstream of the United States. Significantly, Phillips was the first non-performer inducted into the Rock and Roll Hall of Fame in its inaugural elections in 1986.
Biography
Sam Phillips, the future “father of rock and roll,” was born in Florence, Alabama, the city where W. C. Handy, the “father of the blues, was born in fifty years earlier. The son of poor tenant farmers, Phillips worked with black field laborers as a child and “a day didn’t go by when I didn’t hear black folks singing in the cotton fields,” he said in a 2001 interview. “Did I feel sorry for them? In a way I did. But they could do things I couldn’t do. They could out pick me. They could sing on pitch. That made a big impression on me.”
Like Handy before him, Phillips was drawn to the musical magnet of Memphis, the legendary nexus of Beale Street where itinerant blues musicians from throughout the South came to live out their dreams. Phillips first arrived on Beale Street in 1939 on a trip to Dallas, but returned to Alabama to work as a radio announcer and engineer in Decatur throughout the forties.
Phillips’ chance to move to Memphis came in 1949 with a job at WREC radio at the famed Peabody Hotel just one block from Beale Street. Although Memphis was famed for its music, surprisingly there was no recording studio when Phillips arrived. Not looking to capitalize on the opportunity, Phillips was still obsessed with launching a recording studio—“for one reason: I wanted to record black people, those folks who never had the opportunity to record. My unconscious mind was just saying I should do it.”
Risking his meager fortune, Phillips opened the Memphis Recording Service on January 1, 1950. Recording poor, itinerant blues singers didn’t always pay the bills, however; so Phillips supplemented his service with weddings, funerals, bar mitzvahs, political speeches—“anything—anywhere—any time,” according to the business card. During these first years Phillips recorded masters by little-known blues artists such as B.B. King and Howlin' Wolf, and “Doctor” Isaiah Ross (specialist in the “Boogie Disease”), which he would lease to other independent labels with major marketing operations, such as Chess and RPM. In 1951 Phillips recorded Jackie Brenston's “Rocket 88” (with Ike Turner on piano), often cited by music historians as the first rock and roll record.
Sun Records
In 1952, frustrated with leasing arrangement, Phillips launched his own label, calling it Sun Records. Sun got its first national R&B hit in 1953 with Rufus Thomas' “Bear Cat,” a transparent cover of “Hound Dog,” a hit recorded just earlier by the blues singer “Big Mamma” Thornton and later, with phenomenal success, by Elvis Presley. Other electrified blues artists, like James Cotton, Little Milton, and Junior Parker, recorded for Sun, with some commercial success.
Phillips’ role in these records was far more than technician. He had an unusual rapport with the performers, most of whom had never seen the inside of a recording studio, and told them, “I don’t care about making a hit record; I only care about making a good record.” He also had an intuitive sense of the crossover appeal of blues and was willing to record electric guitars and harmonica at high volume with fuzzy and distorted textures.
In the summer of 1953, a shy young singer arrived at Sun Studio with the stated purpose of recording a couple of sentimental songs for his mother. Phillips made a note of the eighteen-year-old with the strange appearance and even stranger name, Elvis Presley. A year later, on July 5, 1954, Phillips called Presley back and arranged for a session with guitarist Scotty Moore and bass player Bill Black. During a break after lackluster renditions of a number of ballads, Presley playfully began to improvise around a country blues song, “That’s Alright Mama,” by Arthur “Big Boy” Cruddup.”
“This anonymous moment with the microphone turned off could so easily have signified nothing,” says Eric Olsen in a 2001 profile of Phillips. Instead, it became an iconic moment in American musical history, as Phillips flipped on the microphone and launched a career that would come to dominate American popular music. In 1954 and 1955 Presley made a series now-classic recordings for Sun Records, a sui generis synthesis of blues, country, gospel, and pop that were mostly covers of recent country and rhythm and blues recordings.
Phillips recorded looking for a feel, not technical perfection. He told Presley that the worst thing he could go for was perfection. Phillips was always seeking what he called the perfect/imperfect cut. This meant that it was not technically perfect, but perfectly conveyed the feeling and emotion of the song to the listener and gave the song a living personality, partially due to it being technically imperfect.
Most recordings at the time gave substantially more volume to the vocals. Phillips pulled back the Elvis vocals, blending it more with the instrumental performances. Phillips also used tape delay to get an echo into the Elvis recordings by running the tape through a second recorder head. RCA, not knowing the method that Phillips had used was unable to recreate the Elvis echo when recording "Heartbreak Hotel." In an attempt to duplicate the Sun Records sound, RCA used a large empty hallway at the studio to create an echo, but it sounded nothing like the echo that Phillips had created at Sun Records.
Following Presley into Sun Studio were some of rock and roll’s greatest names—Jerry Lee Lewis, Johnny Cash, Carl Perkins, Roy Orbison. Like Presley, each came from impoverished background and drew on rich veins of vernacular music, amd fashioned into what came to be termed rockabilly by the sound engineer, Sam Phillips.
Despite popular regional acclaim, by mid 1955 Sam Phillips' studio experienced financial difficulties, and he sold Presley's contract in November of that year; RCA Records' offer of $35,000 beat out Atlantic Records' offer of $25,000. Through the sale of Presley's contract, he was able to boost the distribution of Perkins' song 'Blue Suede Shoes', and it became Sun Records' first national hit, later recorded (twice) by Presley and the Beatles, and sometimes called "the national anthem of rock and roll."
WHER
Phillips launched radio station WHER on October 29, 1955. Each of the young women who auditioned for the station assumed there would only be one female announcer position like other stations at that time. Only a few days before the first broadcast did they learn of the "All Girl Radio" format. Almost every position at the station was held by a woman.[1]
Other Business Interests
Through savvy investments, Phillips soon amassed a fortune. He was one of the first investors in Holiday Inn, a new motel chain that was about to go national. He would also create two different subsidiary recording labels—Phillips International and Holiday Inn Records. Neither would match the success or influence of Sun, which Phillips ultimately sold to Shelby Singleton in the 1960s.
Rock and Roll Hall of Fame
In 1986 Sam Phillips was part of the first group inducted into the Rock and Roll Hall of Fame and his pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame. In 1987, he was inducted into the Alabama Music Hall of Fame. He received a Grammy Trustees Award for his lifetime achievements in 1991. In 1998, he was inducted into the Blues Hall of Fame, and in October 2001 he was inducted into the Country Music Hall of Fame.
Phillips died of respiratory failure at St. Francis Hospital in Memphis, Tennessee on June 30, 2003, only one day before the original Sun Studio was designated a National Historic Landmark. He is interred in the Memorial Park Cemetery, Memphis.
He is portrayed by Charles Cyphers in the 1979 film Elvis, Trey Wilson in the 1989 film Great Balls of Fire and by Dallas Roberts in the 2005 film Walk the Line. He was portrayed by Gregory Itzin in a 1993 episode of Quantum Leap entitled "Memphis Melody."
Notes
Reference
- Guterman, Jimmy. (1998). "Sam Phillips." In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. p. 414.
External links
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