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Charlie Feathers Charlie Feathers - Rocks (CD)

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1-CD Digipak (6-plated) with 36-page booklet, 31 tracks. Total playing time approx. 79 min.... more

Charlie Feathers: Charlie Feathers - Rocks (CD)

1-CD Digipak (6-plated) with 36-page booklet, 31 tracks. Total playing time approx. 79 min.

  • Charlie Feathers Rocks – and here’s the ultimate 31 track Bear Family Records® CD to prove it!
  • The first label and decade spanning compilation covering the 1950s to 1990s.
  • Perfect complement to the Bear Family Records® CD 'Rock-a-Billy' BCD16309!
  • Rockin’ music from 1956-1991, including classics like Get With It, One Hand Loose and Tear It Up plus supreme tracks from later years, incl. That Certain Female a later Rollin’ Rock recording which became comet-like popular worldwide by Quentin Tarantino’s blockbuster ‘Kill Bill’!
  • Recordings made for Sun, Flip, Meteor, King – plus sides he made after his rediscovery in late ‘60s and early ‘70s rockabilly revival, a.o. some recordings for the label Barrelhouse Records.
  • As a bonus, there is the very rare track Adamsville by Bill Privett, with Charlie Feathers on guitar about a spectacular bank robbery in Adamsville (the hometown of Sheriff Buford Pusser), Tennessee.
  • Detailed liner notes by Martin Hawkins, roots music expert and of the book 'Sun Records - The Brief History of the Legendary Record Label'.
  • Carefully re-mastered for the best possible sound quality.
  • The long overdue tribute to a legendary uncompromising artist in our 'Rocks' series!

The rocking music here is mostly from the 1950s and '60s (classics such as Get With It, One Hand Loose, Tear It Up) but some later tracks remind us that Charlie Feathers was playing and recording his own version of rockabilly in Memphis for over 40 years.

Feathers was one of the very few artists who really did have a style all his own. His rock was not the same as anyone else's. It was more country, yet also more bluesy, and with a pulse all its own; more about rhythm than anything.

Charlie only had a short '50s career – but on iconic labels like Sun, Flip, Meteor, King – then was rediscovered in the '70s rockabilly revival and beyond. He never had anything approaching a hit record but he always made good small-combo Southern rock 'n' roll music – truly an uncompromising legend in his own time.

The CD booklet contains a new biography and unpublished memories of life with Charlie.

Video von Charlie Feathers - Charlie Feathers - Rocks (CD)

Article properties: Charlie Feathers: Charlie Feathers - Rocks (CD)

  • Interpret: Charlie Feathers

  • Album titlle: Charlie Feathers - Rocks (CD)

  • Genre Rock

  • Label Bear Family Records

  • Preiscode AR
  • Edition 2 Deluxe Edition
  • Artikelart CD

  • EAN: 4000127176882

  • weight in Kg 0.115
Feathers, Charlie - Charlie Feathers - Rocks (CD) CD 1
01 Jungle Fever Charlie Feathers
02 That Certain Female Charlie Feathers
03 Stutterin' Cindy Charlie Feathers
04 Tear It Up Charlie Feathers
05 Tongue-Tied Jill Charlie Feathers
06 Gone, Gone, Gone Charlie Feathers
07 Rain Charlie Feathers
08 Frankie And Johnnie (take 2) Charlie Feathers
09 Too Much Alike Charlie Feathers
10 Bottle To The Baby Charlie Feathers
11 Everybody's Lovin' My Baby Charlie Feathers
12 One Hand Loose Charlie Feathers
13 When You Come Around Charlie Feathers
14 Tongue-Tied Jill Charlie Feathers
15 Nobody's Woman Charlie Feathers
16 Can't Hardly Stand It Charlie Feathers
17 Get With It Charlie Feathers
18 Blue Suede Shoes Charlie Feathers
19 Wild River Charlie Feathers
20 Wild Side Of Life Charlie Feathers
21 Cootzie Coo Charlie Feathers
22 Bottle To The Baby (take 1) Charlie Feathers
23 One Good Gal Charlie Feathers
24 Wild Wild Party Charlie Feathers
25 When You Decide Charlie Feathers
26 Why Don't You Charlie Feathers
27 Love Never Treated Me Right Charlie Feathers
28 Dig Myself A Hole Charlie Feathers
29 Rain Keeps On Fallin' Charlie Feathers
30 Oklahoma Hills Charlie Feathers
31 Adamsville Bill Privett
CHARLIE FEATHERS First released by Zu-Zazz Records in 1990, 'Rock-a-Billy' is the... more
"Charlie Feathers"


First released by Zu-Zazz Records in 1990, 'Rock-a-Billy' is the definitive collection of Charlie Feathers at his greatest. Here are recordings from the legendary Sun studio, such as Corrine Corrina, Bottle To The Baby, Frankie & Johnny, and Honky Tonk Kind. Here are King rehearsal tapes, plus fabulously rare singles that first appeared on small labels like Wal-May and Kay, and previously unissued Sixties rockabilly recordings from the Sun and Select-o-Hit studios.

Charlie's ever-broadening reputation before and after his death has given a wide audience a chance to know what the few have always known: Charlie Feathers was a giant of American music. This is the definitive edition of his early work, culled from Sun and non-Sun masters cut between 1954 and 1974. Here are the original versions of One Hand Loose, South Of Chicago, Wedding Gown Of White, Dinky John. Peter Guralnick wrote the liner notes.

All are in first generation sound quality! When Charlie Feathers died on August 29, 1998, American music lost a true original. 


It is a typical Saturday night at every Hilltop Lounge on the not-too-respectable out-skirts of any town. Beaten-down men and women cling to each other; factory girls in tight white hiphuggers do the bump; skinny bald-headed old men in overalls jitterbug decorously with stout middle-aged women in sequined glasses; strangers huddle to-gether against the cold. In this particular Hilltop Lounge on Memphis's Lamar Avenue — not far from the old Eagle's Nest, where Elvis Presley first started out — the featured performer takes it all in with a mixture of good humor and genial contempt.

Although he doesn't sing much, he is constantly involved in the performance, jumping up, grab-bing for a mike, fiddling with the dials of the Peavey PA system, throwing in a bass harmony from the rickety table where he sits beside the darkened bandstand, ceaselessly expounding upon his theories of music, his plans for the future, his un-ending quest for the breakthrough hit record. He wears an open-necked white shirt, houndstooth coat, and his white hair is slicked back in an impeccable DA. Once in a while he will strap on his guitar and do a song or two himself, and then it is as if the room is transformed with his energy, carried away by the irrepressible squeals, in-spired asides, and manic enthusiasm of the singer. Everyone is having a good time, and only the the featured performer with his restless commentary, abrupt shifts of mood, and feverish memories of the past, seems to be thinking of anything but a Tennessee Saturday night. The featured performer is Charlie Feathers, sometime ambulance driver, stock car racer, semi-pro ballplayer, shuffleboard hustler, and rockabilly legend.

Charlie Feathers never achieved celebrity or fame, and his role at Sun remains somewhat unclear, but everyone agrees that he was present from the beginning, and that he made several of the most influential, if not popular, early rockabilly recordings. According to Charlie, he also taught Elvis his style, gave Jerry Lee Lewis the idea for his 'pumping piano', and was generally Sam Phillips's right-hand man in the development of the whole rockabilly sound. All of which sounds distinctly improbable, except that throughout our conversa-tion Charlie Feathers constantly reinforces his points with musical illustrations, de-tailed stylistic references, and specific examples from a tape library which he says even includes a session he cut on Elvis at a West Helena radio station in 1955. "Some tough goddamn stuff, baby," he says matter-of-factly with a certain glumness that seems at odds with the brash nature of his claims.

That's the way it is with Charlie Feathers, though, a proud, suspicious, stubborn, and single-minded man who becomes passionate only when he is talking about music. On that subject he is gener-ous in his enthusiasms, passionate in his likes and dislikes, and fatalistic about his chances of ever setting the record straight.

It seems incongruous somehow to be discussing so casually a past that is lit-tered with the promise of greatness, a past peopled with figures who have gone on to acquire the status of legend. With anyone else it might well sound like empty boasting, but Charlie carries it off with a tone more accepting than bitter, and even one's natural skepticism is to some extent overcome by his mastery of names, dates, technical details, and all the minute particulars of the tangled history of an era. Charlie Feathers was born in Holly Springs, Mississippi - actually in the country out from Holly Springs around Slayden and Hudsonville - on June 12, 1932. He grew up working the land his parents tenant-farmed, but his sharpest memories are of music. He sang in church, listened to the Grand Ole Opry, and snuck around to the Rossville Colored Picnic, out in the woods just across the road from his family's home. He learned guitar from a local black sharecropper named Junior Kimbrough, "the greatest blues singer in the world.

Chuck Berry had nothing on him. I had him teach my son how to play, and what little I learned I got from him, too. To be honest with you, I never did do a whole lot of country. And Bill Monroe, he used to come through Hudsonville, set up tents and all, man I thought it was the greatest thing I ever heard. Well, you see, I loved bluegrass all my life, but I never did know how to play it. There wasn't nobody around who could play that type of music, only colored artists thumping on their guitars. Oh man, there wasn't anything to beat it. Them colored get out there on the weekend, they get together anywhere there was a guitar, just tune that guitar way down and whomp on it. Sam, he always said I was a blues singer, but I was really singing bluegrass and rapping on the guitar like I heard them colored artists do. Bluegrass rock, that's what it really was. Bill Monroe music and colored artists' music is what caused rock 'n' roll." At sixteen or seventeen, he left home to work on an oil pipeline with his father. He worked around Cairo, Illinois, and then in Texas, taking his guitar with him and playing the saloons and joints at night.

After a couple of years he moved back to Memphis and got married, driving a truck, working in a box factory, always fascinat-ed by music. Charlie claims to have started hanging around Sam Phillips' studio almost from the moment it first opened in 1950, and remembers the great blues singers that Phillips was recording then as a nameless procession of colored artists who creat-ed a powerful, exciting music and received little or no pay for it. He also recalls Elvis Presley as a teenager hanging out at Suzore No. 2 movie theater. In his recollec-tion, Elvis was just a kid who started to drop by the Sun studio long after Charlie Feathers had established himself there. Charlie insists he did the arrangement on 'Blue Moon of Kentucky', working with Scotty Moore and Bill Black (a recollection not shared by Moore). He was ready to jump into the new style, but, he says, he never got the opportunity. "I was stuck doing country," says Charlie by way of explanation. After two singles on Sun and Flip, a Sun subsidiary, he came to Sam Phillips in 1956 with 'Tongue Tied Jill'. Phillips turned him down, and Charlie went to Les Bihari's Meteor label, where he had a fair-sized local hit with the song. "It would have been number one," he says, "if we'd cut it at Sun." It did serve to introduce him to a larger audience, though, and impressed the local representative of King from BCD16309
copyright Bear Family Records


Charlie Feathers Rock-A-Billy, Definitive Collection 1954-1973

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Copyright © Bear Family Records

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Customer evaluation for "Charlie Feathers - Rocks (CD)"
18 Aug 2023

Charlie Feathers is the greatest no-hit rockabilly of them all!

Real. Raw. Remastered. Rockabilly. The latest in German label Bear Family’s Rocks series, this one by Charlie Feathers, is 31 tracks in 79 minutes from the ‘50s to the ‘90s. Feathers is probably the greatest Memphis Sun Records rocker of them all who never had a hit. Not even close. But his sound was different. Pulsating. Proud. His vocal hiccups were the most pronounced of them all, combined with sneers, stutters and syncopation. His rhythmic variations were odd-angled and delicious. (Quentin Tarantino used “That Certain Female” in Kill Bill.) He slayed ‘em on the road as a young man in the 1950s before being rediscovered in the 1970s. This guy’s great! Born in 1932 Mississippi. Died in 1998 Tennessee from a stroke at 66. With fascinating liner notes by Martin Hawkins, this one’s a keeper.

(Mike Greenblatt , Aug 10, 2023 Goldmine Magazine)

16 May 2023

Klasssicher Rockabilly, der viele Kollegen beinflusste!

"Diese CD bringt seinen klassischen Klang, der Feathers für eine Fülle von Labels brachte. Das ist absolut klassischer Rockabilly und Rock 'n Roll von einem echte Original! hatte den Rock 'n Roll im Blut und das hört man hier über 77 Minuten lang!
Martin Reichold, Oldiemarkt Juni 2023

4 May 2023


Die „Bear Family“ setzt eine Hommage für Charlie Feathers, der in den Fünfzigerjahren eine kurze Karriere bei legendären Labels wie Sun, Flip, Meteor und King hinlegte. Sein Rock mit Country- und Blues-Anteilen ging auch als Südstaaten-Rock durch.

Die Musik der labelübergreifenden Compilation ´Rocks´ beinhaltet Songs aus den Jahren 1956 bis 1991, samt Klassiker wie ´Get With It´, ´One Hand Loose´ oder ´Tear It Up´, inklusive ´That Certain Female´, der durch Quentin Tarantinos „Kill Bill“ populär wurde, und den Songs seiner Revival Jahren der Sechziger- und Siebzigerjahre.

(Michael Haifl/Saitenkult

3 May 2023

Essential work!

Charlie Feathers’ name is likely to draw a blank even from many people who are old enough to have been listening to music during the 1950s when this rockabilly pioneer recorded the bulk of his best work. The artist, who died in 1998, never had a hit, but he has come to be recognized as an innovative and highly influential singer and songwriter. In The Man Who Invented Rock ’n’ Roll, his book about Sun Records founder Sam Phillips, music journalist Peter Guralnick calls Feathers “a masterly vocalist and incandescent spirit” and says Phillips “saw him as possessing almost unlimited potential, with all of the blues feeling he could put into a hillbilly song.”

You’ll understand why Guralnick and Phillips raved when you listen to Charlie Feathers Rocks, a 31-track anthology from the singer, who grew up listening to bluegrass and blues. Embracing material from multiple labels, it devotes the bulk of its program to 1950s and sixties recordings such as “Can’t Hardly Stand It,” “Jungle Fever,” and “That Certain Female,” all of which Feathers wrote or co-wrote, as well as covers of Carl Perkins’s “Gone, Gone, Gone” and the traditional “Frankie and Johnny.” Also here are several tracks from a subsequent rockabilly revival period, including robust versions of Arthur “Big Boy” Crudup’s “Dig Myself a Hole” and Perkins’s “Blue Suede Shoes.”
from THE AQUARIAN April 2023

19 Apr 2023

Charlie Feathers war einer der seltenen Künstler, die wirklich einen ganz eigenen Stil entwickelten.

Ein weiteres Album aus der Reihe "Rocks".
Hier geht es um den Musiker Charlie Feathers. Zum Künstler und dem Album schreibt das Label Bear Family Records unter anderem:
»[…] Die erste label- und dekadenübergreifende Zusammenstellung, welche die 1950er bis 1990er Jahre abdeckt. […] Rockige Musik aus den Jahren 1956-1991, darunter Klassiker wie Get With It, One Hand Loose und Tear It Up sowie erstklassige Titel aus späteren Jahren, inkl. That Certain Female einer späteren Rollin' Rock Einspielung, welche kometenhaft weltweit populär geworden ist durch Quentin Tarantino’s Blockbuster 'Kill Bill'! Aufnahmen für Sun, Flip, Meteor, King – plus Songs, die er nach seiner Wiederentdeckung durch das Rockabilly-Revival der späten 60er und frühen 70er Jahre u.a. für das Label Barrelhouse Records aufgenommen hat. Als Bonus gibt es noch den sehr seltenen Titel Adamsville von Bill Privett, mit Charlie Feathers an der Gitarre, über einen spektakulären Bankraub in Adamsville (der Heimatstadt von Sheriff Buford Pusser), Tennessee. Ausführliche Linernotes von Martin Hawkins, dem Roots Music Experten und Co.Autor des Buches 'Sun Records – The Brief History of the Legendary Record Label'. […]«

In frühen Jahren war Charlie Feathers' Karriere kurz, aber heftig. Später bekam er wieder berechtigte Aufmerksamkeit und Anerkennung. So beinhaltet die Tracklist zweimal den Song "Tongue-Tied Jill". Zunächst geht es um seine Version aus »[…] 1967/69 […]« und andererseits um die frühe Ausgabe aus 1956. Beide Nummern sind klasse. In beiden Liedern führt uns die akustische Gitarre durch den Track und die ältere Komposition ist dann doch einen Tick flotterer Rock’n’Roll.

Charlie Feathers mischt seinen Rock’n’Roll/Rockabilly mit Country und Blues.
Nicht nur dadurch kommt es zu einer, sagen wir, ziemlich eigenwilligen Musik. Man könnte sie auch eigenständig nennen, denn Charlie Feathers betrachtet seine Stamm-Genres doch aus einem etwas anderen Blickwinkel.
Stellvertretend für die Country-Seite mag das Traditional "Frankie And Johnny [Take 2]" genannte werden.
Für den Blues im Rock’n’Roll soll das Stück "Can’t Hardly Stand It" gelistet werden. Hier atmet der Protagonist ganz am Ende der Nummer einmal kräftig durch.

Bezogen auf die Spielzeit (1:47 min) von "Rain" handelt es sich nur um einen musikalischen Schauer. Bezogen auf "Rain Keeps On Fallin'" könnte man bei 2:52 Minuten schon von Dauerregen sprechen. Bei dem treibenden Tempo von "Rain" sollte man den Regenschirm zur Hand nehmen, sonst fliegen einem die Tropfen hart ins Gesicht. Dazu passt das klasse Gitarren-Solo. "Rain Keeps On Fallin'" ist schon etwas sanfter, einem Regen, der einem bei warmen Temperaturen Abkühlung bringt.

Ja, "Wild Wild Party" ist eine wilde, allerdings auch mächtig cool-groovende Party. Charlie Feathers Gesang mit amüsant anmutenden Zwischentönen ist gelungen. Abermals akustische Gitarre. Beim etwas kuriosen Songtitel "Cootzie Coo" treibt der Frontmann seinen Gesang auf die Spitze. Zwischen Glucksen und hohen Tönen senkt Charlie Feathers ganz geschickt seine Stimme in untere Regionen. Apropos Stimme. "Dig Myself A Hole", ein relaxtes Lied, singt er abermals mit tiefer Stimme, die eine Art Voodoo-Atmosphäre erzeugt. Klasse!
Obwohl Mitte der Achtzigerjahre eingespielt, reflektiert "Bottle To The Baby (Take 1)" eine Stimmung längst vergangener Zeiten.
Toll sind auch die Stücke mit der Chorgruppe Johnny Bragg And The Marigolds, wie zum Beispiel "When You Decide". Johnny Bragg And The Marigolds sorgen durch Handclaps bei "Nobody’s Woman" für verschärfte Rhythmik.

Seine Rock’n’Roll-Kompetenz unterstreichen fast alle von ihm – oder mit einigen anderen Künstlern – komponierten Lieder.
Weil es als Fazit passt, ein weiteres Zitat: »[…] Feathers war einer der seltenen Künstler, die wirklich einen ganz eigenen Stil entwickelten. Sein Rock war nicht derselbe wie der der anderen. Er war mehr Country, aber auch bluesiger und hatte einen ganz eigenen Beat, bei dem es mehr um Rhythmus als um alles andere ging. […]«
Die vierunddreißig Seiten Booklet runden den sehr guten Eindruck von Charlie Feathers' "Rocks" ab.
Quelle Rocktimes

16 Feb 2023

Red Hot & Blue

Dewey 'Daddy-O' Phillips also came from Adamsville !

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Feathers, Charlie - Charlie Feathers - Rocks (CD) CD 1
01 Jungle Fever
02 That Certain Female
03 Stutterin' Cindy
04 Tear It Up
05 Tongue-Tied Jill
06 Gone, Gone, Gone
07 Rain
08 Frankie And Johnnie (take 2)
09 Too Much Alike
10 Bottle To The Baby
11 Everybody's Lovin' My Baby
12 One Hand Loose
13 When You Come Around
14 Tongue-Tied Jill
15 Nobody's Woman
16 Can't Hardly Stand It
17 Get With It
18 Blue Suede Shoes
19 Wild River
20 Wild Side Of Life
21 Cootzie Coo
22 Bottle To The Baby (take 1)
23 One Good Gal
24 Wild Wild Party
25 When You Decide
26 Why Don't You
27 Love Never Treated Me Right
28 Dig Myself A Hole
29 Rain Keeps On Fallin'
30 Oklahoma Hills
31 Adamsville