Customer Reviews

Get With It: Essential Recordings (1954-1969) [2-CD SET]

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Good Golly, Molly! This could be the soundtrack for a better world. Charlie Feathers had a primal country wail that must have peeled paint, curdled milk, and made the little girls go out of their heads. I stared at my speakers in astonishment as everything I love about Memphis, country, blues, rockabilly and space aliens came pouring out of them. I felt like I was sitting next to Carl, Elvis, and even Buddy when their ears popped, their jaws dropped, and they thought, "Hey! I wonder if I could do that?"

This is serious artistry on all counts, blending roots bluegrass, blues, and country with rockabilly slapback and demon soul. I thought a few of these cuts would have a shot even on today's synthetic radio, the way they pounce on you and hold you in their hungry, feral embrace. Feathers is better than I can say, and I'm appalled I'm only learning of him now. Even if he isn't the legitimate father of rock 'n roll, he sure sounds like it.

The first disc is composed of Feathers singles and some B-sides, and you'll wonder why he wasn't a king of the charts. But the second disc, made up of demos, home recordings, experiments, and other downtown fooling around may be even better. The man had so many strange and good ideas that this disc could be his White Album. Do yourself a favor. Find this record.

Fans of rock-a-billy or almost any genre will absolutely love this set! It's like opening a fabulous present when you thought everyone forgot your birthday. I've listened to it endlessly and never tire of it. It is really a shame that Charlie never got proper recognition as the genious he is. Do yourself a huge favor and get it!

Tarantino's Kill Bill introduced me to C. Feathers and there was a need for more. Not all what was expected but interesting and listenable if you like rock and country.

Anyone endowed with two ears, an appreciation for good rock music and a willingness to overlook Charlie's rants about "teaching Elvis and Cash everything they knew" will be richly rewarded for they will have discovered the missing link between Elvis' rock 'n roll and Hank Williams' honky-tonkin' and perhaps an early influence on Buddy Holly.

Check out "Defrost You Heart", "I've Been Deceived", "Peepin' Eyes", and "Someday You Will Pay" to hear Hank. Check out "Get With It", "Too Much Alike", "Tongue Tied Jill", and "When You Decide" to hear Elvis.

Also, if you know anything about Buddy Holly, especially his early career as a country troubadour, check out "When You Come Around" and "Why Don't You" and see if Charlie might not have had an influence on him all the way to and including hiccups. And just to prove that his influence is as strong as ever, check out The Cramps and Social Distortion.

Aside from proving himself the missing link between honky-tonk and rock 'n roll Feathers' should get some dues as a studio innovator. If it was his idea to apply reverb to the bass drum in "Why Don't You", then he certainly deserves the accolades; if not then he deserves credit for recording the song as such because it works damned well. And that really gets to the heart of the matter - Charlie Feathers just doesn't make many wrong moves. The link between honky-tonk and rock is a given. How deftly is accomplished is where the story's at.

The fact that Robert Christgau managed to fool himself into thinking Feathers' virtues limited is more of a testament to the "Dean of Rock's" self deluding abilities than Charlie Feathers' skills.

After listening to this 2 disc gem, I'm left wondering why it took so many years ( I'm 45 ) for Feathers to come to my attention. After paying homage to Elvis, Perkins, the Killer and Cash, if one forges deeper into the fertile milieu of Sun Records archives, they will eventually arrive at Charlie Feathers. As the magnificent 44 page booklet relates, Feathers remains little known today because he was too tempramental and uncomprimising. By never allowing Sam Phillips to have the final say on a take, many of Feather's best songs were never released by Sun where they would have garnered the most acclaim.
Still, Phillips and the star-studded cast at Sun all attest to the genius and uniqueness of Feathers.
The unadulterated country cuts like "I've Been Deceived" and "Runnin' Around" are smooth as silk. They are standard mid-fifties crooners in the Hank Williams mode. But bolstered by Feather's rich and calculating voice, these numbers rank among the best of that genre. "Peepin' Eyes", while performed in the same vein is a happy-go-lucky treatment of the perverse fact of peeping-toms, replete with beautiful vocal harmony.
The rockabilly fare in this collection is as good as it gets. Yet absent is the raucousness of Sonny Burgess, the humor of Carl Perkins or the egotism of Jerry Lee Lewis. What Feathers brings to the table is the conviction of country music. Listen to his rendering of the legendary "Frankie & Johnny" in which he holds a high note for an eternity ala Johnny Mathis. The listener is steered through this tale of tragedy by a bare-bones beat and simple, yet ominous acoustic picking. An electric guitar enters in the final moments as anti-climax before Feathers fades with multiple repetitions of the mournful phrase " Ya done, done, done me wrong". "One Hand Loose" is a livelier, cockier number that sounds more like his contemporaries. But the "tip-top daddy" in this song, although he sports a real nifty guitar riff, inevitably prefers to keep one hand tied. He just won't condone letting all hell break loose on his watch. Feathers displays the versatility of his voice again with a frenzy of hiccupping in " Bottle to the Baby ". This is a vocal gimmick he may have pioneered and which can be heard in numerous rock vocalists during the years immediately following. It is no longer a mystery to me where Cramp's lead singer Lux Interior got this affectation for their psychobilly act. In fact, the Cramps have borrowed much from Feathers. They cover his " Can't Hardly Stand It ", renaming it " All Tore Up " for the key lyrics.
This package also let's you follow the evolution of a song by providing four different takes of " Bottle to the Baby ". Not only the arrangement, but the lyrics are altered between takes. This album is a comprehensive presentation of a superb rockabilly purest and minimalist. Any listener with some grounding in and appreciation for that brief and fleeting period where the musical traditions of country and blues melded, will quickly recognize Charlie Feathers as a master and icon.

Not quite as good as Elvis's Sun recordings this is still essential in any rockabilly collection. The lachrymose country offerings tend to spoil what would otherwise be a fine Feathers' rockabilly collection. Unless you are a devoted and uncritical Feathers fan I would suggest that you try and find a collection of his pure rockabilly tunes. If you have never heard Charlie Feathers before do yourself a favour and at least give him a listen.

is that I am just not sad enough to listen to Charlie Feathers anymore. I mean this guy may be the saddest buster in the whole country lot. That whiney voice of his singing about how much that no good woman broke his heart- that's THE GOOD STUFF there. But now days I'm as chipper as a chipmonk, and I don't have the energy to listen to Charlie Feathers anymore. I just want to tell him to cheer up. Worse, all I've been listening to these days is sappy Motown crap. Much less cool. I know my CD player wishes me and the lady would break up. My CD player loves Charlie Feathers.