Charlie Feathers Get With It 3LP Clear Vinyl NEWSEALED

	£		23
	$		30

Get With It Essential Recordings (1954-69) - Charlie Feathers

3 LP's, 42 tracks including rare and unissued songs and early home recordings with the likes of Junior Kimbrough, by legendary performer of primeval rockabilly and hillbilly country.

No other performer scaled such heights in both primeval rockabilly and keening hillbilly country. Presley? Nary a hillbilly wail in sight; Feathers' adenoidal whine could strip paint off walls. Here are all his Sun, Flip, King, Meteor, Kay, Walmay and Holiday Inn sides plus rare, unissued tracks including Sun demos, alternate takes and early home recordings with the likes of Junior Kimbrough. 3 LPs, 42 tracks, and a large format photo-packed book with notes by Jim Dickinson, Colin Escott, Peter Guralnick and Nick Tosches.

Fantastic 3LP set.  Clear vinyl.  Like everything on the Revenant label the sound quality and packaging is amazing.  Includes inner sleeves  and great large format booklet jam packed with photo’s essays and detailed sleeve notes.  BRAND NEW MINT SEALED.  Essential for all fans of Sun Rockabilly, Elvis Presley, The Cramps, Hank Williams, Jon Spencer etc. 

Highly Recommended!

"Nothing short of amazing." - Billboard

"Revelatory, making a persuasive case for his unjustly obscure genius." - Entertainment Weekly

"Charlie Feathers is the main reason there is and was Sun Records. I will always be a Charlie Feathers fan." - Johnny Cash

"He was a damn talent. He could have been the George Jones of his day--a superb stylist." - Sam Phillips

"Something about Memphis in the '50s allowed for the unexpected marriage of country and blues, bluegrass and R&B, and the spirit of that time and place is captured in Feathers' music as powerfully as anywhere else." - The Onion

"Some tough goddamn stuff, baby. Damn sure is!" - Charlie Feathers

Track Listing as follows:

1. I've Been Deceived
2. Peepin' Eyes
3. Someday You Will Pay
4. Defrost Your Heart
5. Wedding Gown of White
6. Get With It
7. Tongue Tied Jill
8. One Hand Loose
9. Can't Hardly Stand It
10. Bottle to the Baby
11. Everybody's Lovin' My Baby
12. Too Much Alike
13. When You Come Around
14. When You Decide
15. Nobody's Woman
16. Jungle Fever
17. Why Don't You
18. Dinky John
19. South of Chicago
20. Nobody's Darlin'
21. Deep Elm Blues
22. Runnin' Around
23. So Ashamed
24. Honky Tonk Kind
25. Frankie & Johnny
26. Corrinne, Corrina
27. We're Getting Close to Being Apart
28. The Man in Love
29. Johnny Come Listen
30. Talkin 'Bout Lovin'
31. Early in the Morning
32. Don't Let Me Cross Over
33. Where's She At Tonight
34. Don't You Know
35. Wild Side of Life
36. Release Me
37. Feel Good Again
38. Defrost Your Heart
39. I've Been Deceived
40. Bottle to the Baby
41. Bottle to the Baby
42. Bottle to the Baby

 Album reviews:

“John Fahey and Richard K. Spottswood's Revenant label has done some pretty audacious things since it began issuing recordings. The label released everything from the earliest Dock Boggs material to primal material from the Stanley Brothers, a collection of (very) raw American pre-World War II gospel music, and even Cecil Taylor's Nefertiti, the Beautiful One Has Come. But nothing could have prepared the public for this deluxe triple LP issue of the work of rockabilly legend and music biz phantom Charlie Feathers. Feathers was an enigma, a man who claimed to have shown Jerry Lee Lewis how to play his "pumping" style of piano and arranged Elvis' Sun material. He co-wrote Elvis' first number one hit, "I Forgot to Remember to Forget," and spouted off about why music sucks and the secrets of the Sun sound ad nauseum for close to four decades. But in this collection, none of that matters -- it does not prove or disprove his claims, but certainly testifies that it is possible that what he boasted was true, because the truth is in the grooves. The package is deluxe as hell: long essays by Peter Guralnick, Jim Dickinson, and Colin Escott accompany 3 LPs broken down into issued and unissued material. The released material features all the masters of his singles for Sun, Meteor, King, Kay, Walmay, and Holiday Inn. There are a couple of missing sides, such as the Memphis label single "Wild, Wild Party," covered by Link Wray in the 1980s, and a Philwood single of Feathers' cover of "Tear It Up." There is something in the grain of Feathers' voice on his issued singles that is off-kilter or off the rails. It stutters, sputters, spits, and stings, while slipping and blurring and rolling through lyrics as if they are dialogue from outer space being dictated to him on the spot. From "I've Been Deceived"; "Defrost Your Heart," with its ghostly, voodoo lyrics; to the King "Can't Hardly Stand It," with its sidewinder guitar; to Meteor's "Get With It" and RCA's "When You Decide," the effect is the same. This is a cat who knows just what he's about, even if nobody else does. And he doesn't try too hard to get it across, he just lets it all happen, like a flood on a suburban street -- the sewer blocks up and all sorts of crazy sh*t pours out into the gutter. Disc two is where the revelation and science-fiction show really happens, though. All of it is unissued demos. Feathers accompanies himself on a guitar, or someone else helps him out and remains uncredited; his son plays lead. Feathers changes words mid-sentence, figures out a new bridge as the tape is rolling and the song is unfolding from the confines of his spooked-out mind -- and then there are the recordings Feathers did in Mississippi with Junior Kimbrough. Feathers celebrated Kimbrough as the greatest musician alive long before the late Bob Palmer ever heard of him. These 21 tracks (including three takes of "Bottle to the Baby") offer a view of an artist whose time never came, whose dreams simply will not give way to reality, and whose amazing merit as a creative force will not let him rest. It's too much and not nearly enough; it's full of questions with only ciphers for answers. For any fan of primitive, pure American roots music, Get With It is indispensable.”~ Thom Jurek, All Music Guide

“ull title: Get With It: Essential Recordings (1954-1969).Includes liner notes by Jim Dickinson, Colin Escott, Peter Guralnick and Nick Tosches.In official rock archives, Charlie Feathers is a Sun Records-era footnote--co-writer of Elvis' first C&W number one, "I Forgot to Remember to Forget," rockabilly master with a handful of 45s on tiny labels like Sun, Meteor and King. GET WITH IT doesn't so much reassess his story as gather its deliciously greasy contents (one disc of singles, one of unissued tracks) in one pot. It's a Memphis soul stew whose ingredients all rock and roll fans know by heart, but whose taste is rarer than that of a Jerry Lee or Elvis.While the gathered singles wave the rocker flag, the unissued selections pay credence to the possibility that Feathers really did teach Elvis everything the King knew (a claim he's long made). His revved-up 1956 take on the blues standard "Frankie & Johnny" and the demos he made with his friend, electric boogie Buddha Junior Kimbrough, are revelations of modern Delta fusion, uniting in spirit as well as form. GET WITH IT is the kind of collection that doesn't just make you reassess Charlie Feathers, but also the validity of the rock archivists who'd buried him.”

“A retrospective collection of the often underrated, and totally amazing rockabilly, country great Charlie Feathers. Charlie grew up tending his parents farm. He sang in church and listened to the Grand Ole Opry. A local sharecropper named Junior Kimbrough taught him how to play guitar. He reminds me at times of Hank Williams, Eddie Arnold, and even Hasil Adkins. Feathers wrote "Can't Hardly Stand It" which was later covered by the Cramps. He has the talent of mixing the best elements of blues, country, bluegrass and rockabilly in an original and inventive way. Some songs are slow lazy sad country, and then some are rockin' and tough. As this collection proves he was hard working and eclectic in the mid '50s, but it was during the '70s resurgence of rockabilly in Europe that he was revered and appreciated. Many country and rock n rollers credit Feathers for inspiration (Johnny Cash for one). Dispite horrible health problems he persevered till the end recording and touring, mostly in Europe. Charlie Feathers died August 29, 1998 of complications following a stroke; he was 66. Here are all his Sun, Flip, King, Meteor, Kay, WalMay and Holiday Inn sides, plus rare, unissued tracks including Sun demos, alternate takes and early home recordings with the likes of Junior Kimbrough. Massive batch of super informative liner notes!”

Biography:

Charlie Feathers 
(b. Charles Arthur Feathers, 12 June 1932, Holly Springs, Mississippi). 

The work of rockabilly legend Feathers becomes more elevated during 
each revival of interest in the genre. Feathers is now an enigmatic superstar, 
although in reality his influence totally overshadows his commercial success. 
His upbringing on a farm, being taught guitar by a cotton picking black  
bluesman and leaving home to work on an oil field gave Feathers a wealth 
of material for his compositions. In the early '50s, together with Jody Chastain 
and Jerry Huffman, he performed as the Musical Warriors. He was an early  
signing to Sam Phillips’ Sun Records. He recorded his first song Defrost Your 
Heart in 1955, and claimed to have co-written Elvis Presley's debut Blue Moon 
Of Kentucky. He did however co-write Presley's first hit I Forgot To Remember 
To Forget. Over the years he has continued to record for a number of labels,  
still unable to break through the barrier between ‘cult’ and ‘star’. But among  
his early rockabilly sides was One Hand Loose on King, regarded by many  
collectors as one of the finest examples of its kind. His highly applauded  
performance at London's famous Rainbow theatre in 1977 gave his career 
a significant boost and brought him a new audience; notably the fans who  
were following Dave Edmunds and his crusade for ‘rockabilly’. Feathers 
recent recordings have suffered from the problem of being helped out by  
younger musicians who are merely in awe of his work and his best material 
is from the '50s. Influential but spartan, full of whoops and growls but irresistible 
country/rock, Feathers ‘light comedy’ style has been an ‘invisible influence’ over 
many decades, from Big Bopper in the '50s to Hank Wangford in the '80s. His 
1991 release contained a reworked version of his classic I Forgot To Remember 
To Forget. He now performs with his son and daughter on guitar and vocals 
respectively. His best work will endure.  

Obituary:

Charlie Feathers, 66, a Rockabilly Original

By BEN RATLIFF

Charlie Feathers, one of the great original rockabilly singers, died Aug. 29 at St. Francis 
          Hospital in Memphis, Tenn. He was 66 and lived in Memphis.

The cause was complications from a stroke, his wife, Rosemary, said.

On his best records of the mid- and late 1950s, released on the Sun, Meteor and King labels, 
          Feathers' voice is completely original -- a trembling, high, humid plaint.

He sang classic songs that defined the meeting place of honky-tonk, bluegrass and rockabilly, 
          including "You're Right, I'm Left, She's Gone" (which Elvis Presley recorded for Sun), "Defrost Your 
          Heart," "One Hand Loose" and -- perhaps the most prized record of rockabilly enthusiasts -- 
          "Tongue Tied Jill."

That song -- about a "real gone chick" with a speech problem, which Feathers demonstrated in its 
          babbling chorus -- was born from his conversation with a stammering telephone operator.

But his records sold poorly, and historians of American music have recounted Feathers' career as a 
          question: Why didn't Feathers, with all his talent, attain any of the fame of Sun records label-mates 
          like Carl Perkins and Jerry Lee Lewis?

It could have been his voice, which was slightly too hiccupingly and shriekingly radical for mass 
          consumption.

It could have been his rudimentary education; he was barely literate.

Some thought it was his character, often described as brash and aggressive.

Feathers always insisted, contrary to other accounts, that he was intimately involved in many of 
          Presley's early songs, as arranger and sometimes as writer. His only writing credit for a Presley song 
          was a shared one, on "I Forgot to Remember to Forget.

There was no question, however, of his talent.

"In the blues feeling that he put into a hillbilly song," Sam Phillips, the head of Sun records, has said, 
          "Charlie should have been just a superb top country artist. He could have been the George Jones of 
          his day -- a superb stylist."

Feathers was born near Holly Springs, Miss., and grew up in a family of tenant farmers. He took 
          guitar lessons from Junior Kimbrough, the blues singer, who lived on a nearby farm.

Having left school by the age of 10, he worked on oil pipelines with his father in Illinois and Texas.

He settled in Memphis in 1950, and his first recording, on the Flip label, was "I've Been Deceived," 
          in 1955. By 1960, after about a dozen singles, his career was lagging.

He persevered, and eventually European rockabilly fans discovered him. After the broadcast of a 
          British television documentary, he did a concert at the Rainbow Theater in London in 1977 that was 
          recorded by EMI; this raised his stock considerably, but by then he was classified as an oldies 
          performer.

In later years, Feathers played locally around Memphis, often in a band with his son and daughter. 
          His final album, self-titled, was recorded in 1991 for Elektra/Nonesuch as part of the label's Explorer 
          series. "Get With It: Essential Recordings 1954-69," a reissue of his greatest moments, was just 
          released by Revenant.

In addition to his wife, Feathers is survived by his sons, Charles (Bubba) Jr., and Ricky , both of 
          Memphis; a daughter, Wanda Vanzant of Memphis; five brothers, Olton, of Memphis; V.A., of 
          Pottscamp, Miss.; Herbert, of Holly Spring, Miss.; Lawrence, of Olive Branch, Miss., and Darnell, 
          of South Haven, Miss, and three grandchildren.

Copyright 1998 The New York Times Company