Carl Perkins, "Hollywood City" c/w "The Fool I Used To Be," Columbia 4-42405 (rel. 4/1962)
Carl Perkins moved from Sun Records to Columbia alongside Johnny Cash. The latter became an iconic American performer, while Perkins never bettered his 1956 all-market smash "Blue Suede Shoes," which became a defining anthem of rockabilly music and teen culture. Covered by Elvis on his first RCA-Victor LP, the song is the one Carl Perkins composition known to most people.
Cash adapted to the Nashville world well; he had a long string of hits prior to the change, and continued with success to his last days. Perkins seemed lost in the hustle and bustle of the Nashville system. Surrounded by session musicians and backup vocalists, and with his inspiration stalled by the stress of change, Perkins penned little of his own material for Columbia, who saw in him another potential country and pop success. Carl was the square peg in Music City's round holes, and his insecurity was exacerbated by the loss of his hairline and a fondness for alcohol to fill in the cracks of his psyche.
Perkins' Columbia singles are a strong run of records; there may be one too many Nashville-made ballads here and there, and the productions often overwhelm his humble approach. The label didn't value him as a songwriter; his 1959 LP is all cover versions of other artists' hits. It seems an insult more than a slight. His fans were surely crestfallen, if they'd bought and enjoyed his Sun LP, which isn't all originals but has a good survey of his singles for the label plus some album-only tracks.
In 1962, Perkins was gifted a pair of songs penned by Otis Blackwell and Winfield Scott. "Hollywood City" is a gleeful, if deluded, first-person account of a guy who's sure his arrival in LA will mean instant success and acclaim. With a lusty chorus in tow, and Charlie McCoy's superb harmonica for good measure, Carl feels sure to make it big.
Cash adapted to the Nashville world well; he had a long string of hits prior to the change, and continued with success to his last days. Perkins seemed lost in the hustle and bustle of the Nashville system. Surrounded by session musicians and backup vocalists, and with his inspiration stalled by the stress of change, Perkins penned little of his own material for Columbia, who saw in him another potential country and pop success. Carl was the square peg in Music City's round holes, and his insecurity was exacerbated by the loss of his hairline and a fondness for alcohol to fill in the cracks of his psyche.
Perkins' Columbia singles are a strong run of records; there may be one too many Nashville-made ballads here and there, and the productions often overwhelm his humble approach. The label didn't value him as a songwriter; his 1959 LP is all cover versions of other artists' hits. It seems an insult more than a slight. His fans were surely crestfallen, if they'd bought and enjoyed his Sun LP, which isn't all originals but has a good survey of his singles for the label plus some album-only tracks.
In 1962, Perkins was gifted a pair of songs penned by Otis Blackwell and Winfield Scott. "Hollywood City" is a gleeful, if deluded, first-person account of a guy who's sure his arrival in LA will mean instant success and acclaim. With a lusty chorus in tow, and Charlie McCoy's superb harmonica for good measure, Carl feels sure to make it big.
ash Box sometimes suffer from having the first few leftmost letters of hit reviews
ut off. This makes for difficult reading, but from that survives of this write-up, they
iked both sides and thought they stood a chance on the pop charts.
"The Fool I Used To Be," co-written by Kent Westbury and Wayne Gray, is Brenda Lee/Patsy Cline-style country pop. McCoy's wistful harmonica drifts over a series of moody chords as Carl ponders the fate of his ex's new love.
It feels like a song written for a woman to sing and the resulting ambiguity makes for a compelling performance. Tremolo guitar adds depth to this downcast Nashville blues. Perkins sells this song as though he's lived through every moment; here, his more intimate side transforms a standard song into something that approaches the feeling of Nick Lowe's later work.
It feels like a song written for a woman to sing and the resulting ambiguity makes for a compelling performance. Tremolo guitar adds depth to this downcast Nashville blues. Perkins sells this song as though he's lived through every moment; here, his more intimate side transforms a standard song into something that approaches the feeling of Nick Lowe's later work.
Perkins' first two Columbia singles just got into the bottom of the Hot 100; no others charted until 1966's "Country Boy's Dream," which only hit on the country lists. Despite constant acclaim from the next generation of rockers--The Beatles recorded some of his material--he never had another pop hit.
Tomorrow: Carl two years earlier, with one of his own songs and a country ballad penned by Marijohn Wilkin.
Tomorrow: Carl two years earlier, with one of his own songs and a country ballad penned by Marijohn Wilkin.
Fantastic performance by Perkins on "The Fool I Used To Be." I find it very touching.
ReplyDeleteTwo well-written songs and vocal performances. Neither fell into the second-verse-same-as the-first and they are the better for it.
ReplyDelete