stop during his absence. It couldn't."
I've spoken to numerous people familiar with the Sun operation over the years. All agree,
from what they know of Marion and the technical operation of the lathe, that not only could
Marion have operated it, she probably did. But none could recall ever seeing her do so. I tried to
contact her son, who she said was frequently in the studio with her, but was unable to get a
response from him. I've spoken to a number of people - though not a great number - who
made "personal" records in those years, and all of them recall Marion out front and Sam doing
the recording.
None of which proves anything.
Toward the end of Marion's life there was some talk of a compromise between the two
versions, and I've often felt that Marion was offering an olive branch by bringing Sam more
frequently into the studio at the conclusion of the session (upon his return from Miss Taylor's
restaurant). Sam has remained steadfast that he alone operated the lathe. Whatever version one
would like to choose, I don't think any proof is possible in the absence of a credible, impartial
witness, and I honestly don't think it makes any difference. I would like to think that this is
simply a dispute on a specific point of fact between two honorable people who simply have
remembered a scene, which could scarcely have had much significance to either one until long
after the event, in different ways. The reason that I have chosen the version that I have presented
is that it best fits Marion's "crowded room" scenario, while allowing both Sam and Marion
to fulfill the roles that were clearly theirs: Marion, as Elvis portrayed her, was the one who
listened, the one who responded to his need, and he was always grateful to her for this. Sam, as
Marion conceded in every word, gesture, and deed, and as Elvis himself conSistently indicated
over the years, was solely responsible for the music. Sam possessed the vision. That is the nub
of both Sam's and Marion's version. Who flicked the switch simply should not represent an
issue of earthshaking importance.
65 Miss Keisker was always very nice: The picture here of Elvis tentatively putting himself
in the way of discovery is based on Marion's impressionistic portrait, not a chronological sequence
that recalled him coming into the studio on specific occasions. It makes sense to me in
terms of the person that both she and Sam portrayed as well as the aspirations he possessed and
the skeletal chronology of events.
" W I T H O U T Y O U "
All quotes from Dixie Locke are from the author's interviews, unless otherwise noted.
67ff the Assembly of God Church at 1084 McLemore: Background information on the
First Assembly of God Church comes from James Blackwood; Dixie Locke; Vince Staten's The
N O T E S 4 9 9
Real Elvis: Good Old Boy; Bill E. Burk's Early Elvis: The Humes Years; Ronald Smith; and Bill E.
Burk.
74 One time there was a crisis at work: Interviews with Lillian Fortenberry, 1988, and
Dixie Locke, 1990.
7S the colored church at East Trigg: Background information on the East Trigg Baptist
Church and the remarkable Dr. William Herbert Brewster comes from "William Herbert
Brewster, Sr.," We'll Understand It Better By and By, edited by Bernice Reagon; The Gospel Sound:
Good News and Bad Times by Tony Heilbut; also Horace Boyer's 1979 interview with Dr. Brewster;
Bill E. Burk's interview with the Reverend James Hamill in Early Elvis, p. 117; and my own interviews
with Sam Phillips, James Blackwood,Jack Clement, George Klein, Lamar Fike, et al.
76 Charlie had put it on the jukebox: There are a number of different versions of this
story. Johnny Black remembered clearly hearing the record in Charlie's; Ronald Smith recalled
just as clearly Elvis bringing him to see it on the jukebox at the Pantaze Drug Store, opposite
Ellis Auditorium; and Elvis' aunt Lillian Fortenberry placed it in a drugstore near Sun.
77 "They told me I couldn't sing": Elaine Dundy, Elvis and Gladys, pp. 175-176.
77 "Elvis, why don't you give it up?": Jimmy Hamill quoted by his father in Burk, Early
Elvis, p. 118.
78 Pastor Hamill wouldn't approve: Ibid.
79 Sometimes while Bob was doing the commercials: Interview with James Blackwood,
1988.
80 ("If you can't drink it, freeze it"): Dewey's pitch adapted from Randy Haspel's version
in "Tell 'Em Phillips Sencha," Memphis, June 1978.
80--81 Toward the end of April, Elvis got a new job: Background information on Crown
Electric and James and Gladys Tipler comes from Elston Leonard's "Elvis Presley: The New
Singing Rage," Tiger, c. 1956; Elvis by Jerry Hopkins; Jerry Hopkins' interviews with the Tiplers
(MVC/MSU); the 1987 BBC television documentary Presley: "I Don 't Sing Like Nobody"; and
"Elvis Presley Part 2: The Folks He Left Behind Him," TV Guide, September 22-28, 1956.
81 Dorsey told him about one night: Interviews with Scotty Moore, 1990, and Bobbie
Moore, 1992; Ian Wallis interview with Paul Burlison, 1989.
81 Dorsey and Paul invited Elvis: This is an imagined conversation, but it is based on interview
material -with Ronald Smith, Paul Burlison, Jimmy Denson, and Barbara Pittman, as
well as a 1963 New Musical Express interview with Johnny Burnette - that makes it clear that he
played places like the Home and the Girls' Club, the basement rec room of St. Mary's across the
street from the Courts, on an increasingly regular basis. In addition, both Dixie Locke and
Ronald Smith felt certain that he did not, and would not, play "joints" at this time. He even
made this distaste clear to Sam Phillips and Bob Neal when he was embarking upon his professional
career.
81 his parents were getting older: Jerry Hopkins interview with Bob Neal (MVC /MSU), in
addition to interview with Dixie Locke.
82 (a Lodge banquet at the Columbia Mutual Towers): Interview with Ronald Smith,
1993; Buzzy Forbess, too, spoke in a 1991 interview of Elvis playing guitar at a number of dances
put on at the Columbia Mutual Towers building by the Junior Order of the Oddfellows Lodge,
to which Buzzy belonged.
82-83 The featured performer, Eddie Bond: The experience with Eddie Bond was described
by Dixie Locke and Ronald Smith in separate interviews, while Elvis' recollection of the
event in later years comes from an interview with George Klein. Eddie Bond's take on the incident
is described somewhat differently in "Eddie Bond: A Reluctant Rockabilly Rocker Remembers"
by Charles Raiteri, Goldmine, August I, 1986.
5 0 0 N O T E S
As a final foomote, the Hi Hat was, evidently, a "higher class ofj oint," and the reason for
the tryout in the first place, according to Ronald Smith, was that the owners, Tom and Mary, an
older couple who had formerly been Arthur Murray dance instructors, wanted to institute a
classier policy of entertainment, featuring waltzes and popular music. Since Eddie Bond by his
own admission was strictly a country singer, and Elvis at this stage was strictly a pop singer, it
seemed to be a perfect fit. Ron put the dismissal down to jealousy to some degree, but Eddie
told Charles Raiteri in the Goldmine interview, "The big shots that run this place... sat at the
front table like they was runnin' the Peabody and just stared at us.... I called ' em the 'Board of
Directors.' [That] night... [the] old lady says, 'I'll tell you what you gone do. You gone get rid
of that snaky-lookin' fella. If you don't, I'm gone fire all of you.' " Bond thought it was something
of a matter of personal hygiene as well. "Elvis wasn't the cleanest guy you'd find, I'll guarantee
you," he told Raiteri, further explaining the owners' distaste.
83 "We came very close": Elvis, too, spoke of how close the couple came to marriage. "I
got out of school, and I was driving a truck. I was dating a girl and waiting for her to get out of
school so we could get married," he said in a 1972 interview, only one of many times he referred
to Dixie in similar fashion in subsequent years.
84 "I was in doubt": March 26, 1956, interview.
84 "She said, 'Can you be here?' ": 1972 interview.
84-85 Sam had picked up an acetate: This account is based primarily on interviews with
Sam Phillips in 1979 and 1990. In the 1990 interview Sam told me that Wortham had an uncle
who was a guard at the prison, and the uncle steered Wortham toward another prisoner, a
short-termer, perhaps white, who recorded the acetate.
The role that this one-sided acetate has been assigned in history is quite different than the
actual song will bear. Marion, I'm sure putting together two different stories, and knowing
Sam's evolving thinking nearly as well as Sam himself, always said that this was the moment at
which Sam realized his vision: "If I could find a white man who had the Negro sound and the
Negro feel, I could make a billion dollars," she quoted Sam correctly, though, as she always
said, the quote was missing Sam's underlying vision and irony ("Sam could not have cared less
about the money") when it subsequently appeared in print. Par more misleading, however, is
the context in which the quotation has generally been placed. All it takes is one listen to the
acetate (which is in the possession of Dr. John Bakke at Memphis State and which was heard in
part in the BBC documentary Presley: "I Don't Sing Like Nobody") to realize that there could
have been nothing less overtly African-American-sounding than this particular acetate or this
particular song. Moreover, Elvis had given no one, least of all Sam Phillips, reason to think that
he was drawn to black music in particular at this point.
Unquestionably, Sam Phillips heard something different in his voice, and there is equally
little question that Phillips was coming to recognize at this time both the limitations of the
"race" market and the unlimited possibilities, and untapped potential, in the popular appetite
for African-American culture. One other side note of contention: Marion always said that Sam
wanted to put out the demo as it was but couldn't find the singer. Sam has consistently denied
that. You couldn't put out a record in that form, he has said, and the singer was secondary to
the song in this case anyway. Listening to the demo tends to confirm Sam's view, though who
knows - Sam Phillips prized originaliry above all else, and he may have heard something sufficiently
different here to tempt him to put it on the market.
85 "I guess I must have sat there": Robert Johnson, Elvis Presley Speaks!, p. ro.
86-87 On the evening of Wednesday, June 30: In addition to interviews with Dixie Locke,
James Blackwood, and Jake Hess on the crash and their own (and Elvis') reaction to it, I have
relied on the accounts in the Memphis Press-Scimitar and Commercial Appeal, July 1-3, 1954.
N O T E S 5 0 1
All quotes from Sam Phillips, Marion Keisker, Scotty Moore, and Dixie Locke are from the author's
interviews, unless otherwise noted.
89 The group, which had existed in various configurations: Background on the Starlite
Wranglers from interviews with Scotty Moore, Bobbie Moore, and Evelyn Black, as well as
Colin Escott and Martin Hawkins' Good Rockin' Tonight: Sun Records and the Birth of Rock 'n' Roll.
89 how they "could get on MGM": The quotation is from "Scotty Moore: The Guitar
That Changed the World," interview by Robert Santelli, Goldmint, August 23, 1991.
91 Sometime around the middle of May: The dating, and the circumstances, are primarily
from interviews with Scotty Moore.
91 "I told him I was working": Jerry Hopkins interview with Scotty Moore (MVC /MSU).
92 After a few minutes: The repertoire is based on various interviews with Scotty Moore
over the years, the conversation on Scotty's description of Elvis' manner, with likely topics supplied
in interviews with Scotty, Bobbie Moore, Evelyn Black, and Johnny Black. The whole
question of whether Elvis knew Bill (he was certainly meeting Scotty for the first time) before
they got together on this occasion is a somewhat vexed one. By all logical standards he should
have known Bill, having lived across the street from Bill's mother for the past year or so and
having known Bill's brother Johnny for quite some time. There is no question that Bill's wife,
Evelyn, recognized Elvis, but neither Scotty nor Bobbie was aware of Bill's knowing Elvis, and
Elvis always denied any prior acquaintance in his early interviews. It certainly seems possible
that theirs was a nodding, but not a speaking, acquaintance. "[He] intended to use my brother
on the fiddle," Bill told Bob Johnson in 1956 (Elvis Presley Spea/cs!, p. 10), but whether this was the
literal truth or simply family politicS is impossible to say.
93 The next night everybody: This deSCription of the first night in the studio is based primarily
on extensive interviews with Scotty Moore and Sam Phillips. The actual order of recording
is impossible to determine, but Lee Cotten makes a good case for "Harbor Lights" coming
first in his All Shook Up: Elvis Day-by-Day, 1954-1977, and there is little question that "I Love You
Because" was recorded at the first session, prior to 'That's All Right." Interestingly, Elvis'
friend from the Courts, Buzzy Forbess, was under the impression that Elvis recorded "Blue
Moon of Kentucky" first, a piece of misinformation fostered by Elvis when the record came out
in what must have been a moment of embarrassment. "I never sang like [that] in my life," Elvis
toldJet magazine in 1957, "until I made that first record.... I remembered that song because I
heard Arthur (Big Boy Crudup) sing it and I thought I would like to tty it. That was it."
9S "This is where the soul of man never dies": Robert Palmer, Deep Blues, p. 233.
9S It was a slap beat: Colin Escott, liner notes to Bill Black Combo album.
96 "we couldn't believe it was us": Elvis Presley Spea/cs!, p. 10.
96 "It just sounded sort of raw": Trevor Cajiao interview with Scotty Moore for "We
Were the Only Band Directed by an Ass," Elvis: The Man and His Music 10, March 1991, p. 19.
96 "We thought it was exciting": Jerry Hopkins interview with Scotty Moore (MVCI
MSU).
96 "It got so you could sell a half million copies": Edwin Howard, "He's Made 52 Million
on Disks - Without a Desk," Memphis Press-Scimitar, April 29, 1959.
96-97 The next night everyone came to the studio: The exact chronology of these two
nights is guesswork to a certain extent. There are no written records. I have Elvis singing "Blue
Moon" (though he probably did not record an acceptable take of it until mid August), because
he was singing the song when he first met Scotty and Bill, and at this point they were casting
5 0 2 '" N O T E S
about, somewhat desperately, for a second side. We know that Dewey broke the record o n the
air at least by the Friday after it was first recorded, but which night exactly is somewhat open to
conjecture. I have tried to follow what seemed to me the most logical progression, based primarily
on the most persuasive of Sam Phillips' accounts of how, and why, he contacted Dewey.
98 "Dewey [was] completely unpredictable": Johnson's comments are constructed from
columns in the Press-Scimitar on August 22, 1956; October I, 1968; and June 20, 1972, all of which
cover much the same ground.
98 "Dewey loved to argue": Interview with Dickey Lee, 1988.
99-100 Dewey opened a Falstaff: This account of Dewey and Sam's meeting is based primarily
on interviews with Sam Phillips in 1988, 1989, and 1991.
100 "He fixed the radio": Elvis Presley, prepared by the editors of TV Radio Mirror, 1956,
p. 2I.
100 The response was instantaneous: Carlton Brown, "A Craze Called Elvis," Coronet,
September 1956. This seems the most considered account of the overwhelming reaction.
100-101 "hearing them say his name": Elaine Dundy, Elvis and Gladys, pp. 180-181.
1 0 1 "Mrs. Presley, you just get": Elston Leonard, "Elvis Presley: The New Singing Rage,"
Tiger, c. 1956, p. 13.
1 0 1 "I was scared to death": Elvis interviewed on Dewey's death in the Memphis Commercial
Appeal, September 29, 1968.
1 0 1 "Sit down, I'm gone interview": Stanley Booth, "A Hound Dog to the Manor Born,"
Esquire, February 1968.
1 0 1 It was Thursday, July 8: The story has been told many times, but this seems to me the
most logical date by the sequence of events described. Recording would appear to have definitely
taken place on Monday, July 5. Leaving some time for it all to settle in, one would imagine
that Sam's meeting with Dewey would logically wait until Wednesday, which would leave
Thursday for the actual making of an acetate before the Thursday-evening show. But obviously,
this is only informed conjecture, and likely to remain so.
101 "I told him I loved it": Larry Johnson, "Memories of Elvis Shared by Close Friend,"
Trenton Herald Gazette, August 17, 1978.
102 "Sometime during the evening": Bill E. Burk, Early Elvis: The Humes Years, p. 131.
102 Another classmate, George Klein: Interview with George Klein, 1989.
1 02-103 "We spent three or four nights": Jerry Hopkins interview with Scotty Moore
(MVC /MSU).
103 "All right, boys": Interview with Carl Perkins, 1979.
103 "That's fine now": This can be heard in conversation berween takes on the album,
The Complete Sun Sessions.
lOS "like a little kid at Christmas": Telephone interview with Ed Leek, 1988.
lOS Jack Clement, who was singing: Interviews with Jack Clement, 1978, 1989.
lOS On Saturday, July 17: This can be dated because it was Dewey and Dot Phillips' sixth
anniversary.
107 Dixie rode with him on his route: Various interviews with James and Gladys Tipler,
including Elvis by Jerry Hopkins; Jerry Hopkins' interviews with the Tiplers (MVC /MSU); the
1987 BBC television documentary Presley: "[ Don't Sing Like Nobody"; and "Elvis Presley: The
New Singing Rage" by Elston Leonard in Tiger, c. 1956.
108 She had hoped: Interview with Marion Keisker, 1981.
108 ''I'll never forget": Burk, Elvis: A 30-Year Chronicle, p. 7.
1 10 "I was scared stiff": Paul Wilder interview, August 6, 1956.
1 10 "It was really a wild sound": 1972 interview.
N O T E S <'61 5 03
1 10 "I came offstage": Paul Wilder interview.
When Elvis referred to "my manager," the interviewer asked him who his manager was at
the time. Momentarily flustered, Elvis stammered, "Bob... Bob Neal," who became his manager
several months later. It's hard to say for sure whether it was in fact Neal or Sam Phillips,
who clearly was there to provide reassurance and inspiration, who explained the crowd reaction
to him, but given the context, and the fact that Neal was the "manager" of the show, it
seems likely that it was Neal who, essentially, pushed him back out onstage.
1 10 Elvis sang "Blue Moon of Kenrucky" again: What he sang for his encore is purely supposition
at this point. Scotty said they could have sung "I Love You Because," because they had
rehearsed it - but he doubted that they did. In his recollection "That's All Right" and "Blue
Moon of Kenrucky" were not simply the only songs that they knew well enough to perform in
this kind of setting, they were the only songs that the audience would have wanted to hear. No
one else that I have interviewed to date, or whose interview I have read, has offered persuasive
testimony to the contrary, but there may well be someone out there who acrually knows!
1 16-1 1 1 "It was a real eye-opener": Jerry Hopkins interview with Bob Neal (MVC /MSU).
1 1 1-112 he had traveled between sixty-five thousand and seventy-five thousand miles:
Trevor Cajiao, "The Most Important Man in the World: Sam Phillips Talks to Now Dig This,..
pt. 2, Now Dig This 84, March 1990, p. 17.
1 12 "I remember talking": Escott and Hawkins, Good Roclein' Tonight, p. 67.
1 12 "He played my r&b records": Escott interview of Sam Phillips as quoted in ibid. and
Charles Raiteri liner notes to the Dewey Phillips air checks album, Red Hot &- Blue, on the Zu
Zazz label.
1 12 "Paul Berlin was the hottest": Now Dig This, p. 20.
1 13 "One night I left Houston": Ibid., edited down from a more discursive account, with
permission.
1 14 "The current greeting": Cowboy Songs, June 1955.
1 14-1 1S "I thought, Surely, no": Interview with Ronny Trout, 1991.
l l S Johnny Black was in Texas: Interview with Johnny Black, 1990.
1 1 S Ronnie Smith called up for Eddie Bond: Interview with Ronald Smith, 1993.
1 IS he brought the record out to the Rainbow skating rink: Vince Staten, The Real Elvis:
Good Old Boy, p. 92.
1 16 The Songfellows, Elvis told her: There are persistent rumors that Elvis tried out again
for the Songfellows at around this time. Neither Sam nor Scotty nor Dixie nor James Blackwood
recalled a specific tryout, but it would not be unlike Elvis to compartmentalize his activities
in such a way that they would not be aware of it.
Vernon Presley offered the most specific recollection. "Later, after he made a couple of
records professionally," Vernon declared in his January 1978 Good Housekeeping article with
Nancy Anderson, "Elvis came to me and said, 'Daddy, you know the Song Fellows? They want
me to join them now.' My answer to that was, 'To hell with the Song Fellows! You're doing
good with what you've got going, and I don't believe I would change.' "
1993·
1993·
1 16 "They taught him how to stand": Interview with Bobbie Moore and Evelyn Black,
1 1 6-117 "It was kind of like we adopted him": Interview with Bobbie Moore, 1992.
1 1 7 they played out at the Kennedy Veterans: Ibid.
1 17 "My mother brought a group out once a month": Interview with Monte Weiner,
1 19 "He wanted us to come out": Tiga.
1 19 According to Reggie Young: Interview with Reggie Young, 1989.
5 0 4 n.. N O T E S
1 19-120 "Sleepy EyedJohn was all into Ray Price's": Interview with Jack Clement, 1989.
1Z0 "he didn't play with bands": Elizabeth Kaye, "Sam Phillips: The Rolling StOfU! Interview,"
Rolling Stone 467, February 13, 1986, p. 56.
121 On the strength of these credentials: Jim Denny's role was detailed in interviews with
Sam Phillips in 1979, 1988, and 1990.
121-12Z Others were noticing: Mike Seeger interview with Carter Stanley, spring 1966, as
quoted in Bluegrass: A History by Neil V. Rosenberg, with additional material from Rosenberg;
also, "Joe Meadows: Mountain State Fiddler" by Ivan M. Tribe, Bluegrass Unlimited, October
1978.
1ZZ "All of our distributors": Interview with Chick Crumpacker, 1989.
122-123 "My bell-cow area": Interview with Brad McCuen, 1988.
124 "This was the first we could see": Jerry Hopkins interview with Scotty Moore (MVCI
MSU). ln addition I interviewed Scotty, Dixie Locke, George Klein, and a number of bystanders
about the performance.
124-12S In Florida, Lee Denson: Interview with Jimmy and Lee Denson, 1989.
G O O D R O C K I N ' T O N I G H T
All quotes from Sam Phillips, Marion Keisker, Scotty Moore, and Dixie Locke are from the author's
interviews, unless otherwise noted.
1 27 Jim Denny had finally succumbed: Sam first met Jim Denny in 1944 when he applied
for a job as an announcer at WSM, the Opry's mother station. When he didn't get the job, and
his future parmer, Jim Bulleit, did, Bulleit sent him down the street to WLAC, where Bulleit
had already won a job that he was now going to pass up.
1991.
1Z7-1Z8 In the meantime Sam had also heard: Interviews with Sam Phillips, 1979, 1990,
128 Twenty-one-year-old bass player Buddy Killen: Interview with Buddy Killen, 1989.
128 Marry Robbins saw evidence: Alanna Nash interview with Marry Robbins in her book
Behind Closed Doors: Talking with the Legends of Country Music, p. 443.
128 when Elvis spotted Chet Atkins: Interview with Chet Atkins, 1988.
128 Probably of all the Opry legends: Interview with Sam Phillips, 1988.
128-129 But when they met Monroe: Interviews with Sam Phillips and Bill Monroe, 1980.
Also Neil Rosenberg's Bluegrass: A History describes the meeting, as does Bluegrass 1950-1958: Bill
Monroe, the Charles Wolfe and Neil Rosenberg booklet that accompanies the Bear Family
boxed set of Monroe's music of the same name.
129 There were two additional surprises: Interviews with Marion Keisker, 1981, and with
Bobbie Moore and Evelyn Black, 1993.
1Z9-130 Before leaving, Sam conferred briefly: Interview with Sam Phillips, 1988.
This contradicts the well-known version that has Denny telling Elvis to go back to driving
a truck - but then so does the account of every eyewitness that I have interviewed. The almost
universal acceptance of the story by members of the music community who were not present
appears to be based on two factors: Denny's personal chilliness and somewhat autocratic manner,
and Elvis' genuine dislike of the man for that reason. But Denny, if anything, was giving
Elvis a break, not denying him one, and if it would not have been out of character for him, in
another well-known part of the story, to have referred slightingly to Elvis' music as "nigger
music," such attitudes were common, as Chet Atkins has frequently pointed out, in many segN
O T E S <-.. 5 0 5
ments of the country music community at that time. The story that Elvis cried all the way back
to Memphis is based on thirdhand testimony; as Marion Keisker said, "There was only Sam and
Elvis and me in the car. We were in good spirits. I'd like to see where that other person was
sitting."
1 30 They left not long afterward: Interview with Ernest Tubb, 1976; also interviews with
Justin Tubb, 1989, and Bobbie Moore, as well as the Ernest Tubb Discography (1936-1969) by
Norma Barthel. According to Tubb and his son, Justin, Elvis wrote a note to Ernest afterward,
thanking Tubb for his kindness and advice. It should perhaps be borne in mind that what Elvis
said to Ernest Tubb, a childhood idol, might have been more in the nature of politeness, an
unerring instinct for deference, or, as Marion said, never putting a foot wrong. It is not necessarily
a statement to be taken literally, though Ernest obviously did.
132 as good as it was "humanly possible": Jerry Hopkins interview with Marion Keisker
(MVC /MSU).
132 the Shelton Brothers had originally recorded: The Shelton Brothers were originally
the Attlesey brothers. The song is credited to the Attleseys and guitarist Leon Chapplear, but it
clearly goes back to an earlier blues and "minstrel" tradition. The Attlesey lineage is spelled out
in Billy Altman's liner notes to Are You from Dixie? Great Country Brother Teams of the 1930'S, on
RCA.
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