A decent man
By Paul Rigg
Carl Perkins found fame writing Blue Suede Shoes and taking it to the very top of the charts;
played alongside Elvis Presley, Chuck Berry, Jerry Lee Lewis, Johnny Cash, Bob Dylan and the Beatles;
and was named as one of Rolling Stone’s top 100 guitarists of all time, but his
roots were as humble as can be imagined, and he carried them with him all of
his life.
Almost
incredibly, Carl Lee Perkins (9 April 1932 – 19 January 1998) grew up
picking cotton in America’s deep south because he was part of the only white
family working on the plantation near Tiptonville, Tennessee, just a few miles
from the Mississippi River.
Friendships
with black people were strongly discouraged but that did not stop Perkins
having a black best friend by the name of Charlie, even though they had to
catch different buses to go to school and sit separately whenever they had the
chance to see a show.
At six
Perkins would pick cotton for up to 14 hours a day and listen to his fellow
pickers singing in the fields. “There would sometimes be 40 or 50 people strung
out across the cotton rows and I would hear an old black man who I loved so
much, John Westbrook, start humming
[hums a deep bluesy sound], and about eight or 10 rows down sister Juanita
would sing ‘ooohhh, yeh’ [sings a high blues lament]”, he says. “Little chill-bumps
would start up on this little boy’s arm and I said [to myself]: ‘oooo-hee,
they’re gonna sing!’”
Religion
was always important to Perkins. The music he heard sung in the fields was
complemented by the southern gospel sung by white folk in his local church.
“God put me in that situation for a reason and […] that was for me to dig deep
in my soul and create my music,” he says. His father would constantly play
country music on their old battery radio – because there was no electricity in
their shack – but, for Perkins, “it was the environment in which I was raised
that made my country music just a little bit different.” That ‘little bit of
difference’ was to later become known as ‘Rockabilly’, which Perkins described
as “not music you just sit and listen to; if you don’t move then something is
gonna break”.
Perkins loved the guitar from an early age, but at
that time workers would earn just 50 cents a day, and so his father made him one from a cigar box and a broomstick. Although hardly anyone believed in him,
Perkins felt that the guitar could be his ticket out
of the cotton fields, and when he listened to the radio he could “picture
rhinestones, cadillacs and big houses, and those dreams filled my little soul.”
Shortly afterwards a neighbour on hard
times offered to sell the family a beaten up Gene Autry model guitar with spent strings.
Perkins’ father bought it for Carl for a couple of dollars [plus a chicken, according to one of Perkins’ interviews], and it was
his old cotton picking colleague, ‘Uncle Westbrook’, who became prominent in
his life once again to teach him how to play: "Get down close to it,” the
old man said. “You can feel it travel down the strangs, come through your head
and down to your soul where you live. You can feel it. Let it vibrate."
Perkins’ mother wanted him to play in
church but he never earned anything there and he desperately wanted some money
to renew his strings, which he literally had to tie back together each time one
broke.
Those were tough
times, but Perkins never regretted any of it, because he had what he believed
was most important: “When I look back I had a mum and a dad and two brothers
that loved me,” he says in his interview with Tom Snyder.
In fact, Perkins’ brothers were key in
his life in many ways. At around 13 he and his brother Jay,
who was two years older, and Clayton,
who was two years younger, formed a band and started to play honky tonk. “People
would come to listen to our music that other country bands were doing, but we
were doing it in another gear,” he recalled years later.
The brothers first earnt money from
customers’ tips playing once a week at the Cotton
Boll Tavern on Highway 45, near Jackson, in 1946. As drinks were also part
of the deal, it was here that Perkins first got a taste for alcohol that was to
take him to the brink of destruction years later. Bar fights also featured
regularly and it was not unusual for a night to end with one of the brothers
throwing himself into the audience to ‘sort things out’; though Perkins later
said that he always preferred to try to calm things by simply cranking the
volume up on his guitar.
Perkins taught his older brother chords
so that he could play lead, and encouraged his younger brother to play bass to
round off the sound. As the 1940s ended, the Perkins brothers had become an
established act in the area.
At this time Perkins penned a song
called Let Me Take You to the Movie, Magg,
celebrating a girl he met in Lake County, which later helped him get his first recording
contract with Sun Records in
Memphis. Perkins explains that in 1954 he heard a
DJ called Bob Neil on the radio say
‘I’ve got a brand new boy here by the name of Elvis Presley singing Blue Moon of Kentucky’, when he had been
playing the same song for at least three years. “In my soul it was pretty close kin to what I had been struggling with,
and I set my sights on Memphis and went down, saw Elvis, and pleaded for an
audition.” Movie Magg was
recorded shortly afterwards and in February 1955 Perkins heard himself on the
radio for the first time.
It was the start of a close collaboration and
friendship with Presley. “I think God
sent him as a messenger, he came with a new type of music and way of moving,”
Perkins says. “He didn’t know what he was
doing at first: I heard him say he was very nervous and his legs would start
shaking and he didn’t want the audience to know, so he’d throw them out – he’s
history; he gave America what it needed at the time.”
And Perkins gave Presley what he needed with the song Blue Suede Shoes – but not before
Perkins had had a hit with it first. The inspiration came from Perkins watching
a boy and girl jitterbug near the stage during one of his shows. They caught
his attention because they were dancing so well and, as the song ended, “he
said to her in a good style tone ‘don’t step on my suedes!’ and she said ‘Oh, I’m
sorry’. Coincidentally Johnny Cash had already suggested to Perkins that Blue Suede Shoes might make a good title
for a song, and in that moment something sparked in his mind. “I couldn’t sleep
that night,” he says, “I went down the concrete steps and started writing.” The
noise he made woke his wife who came down the stairs to complain that he was
going to wake the children up.
In fact
Perkins was about to wake the whole world up, as soon his song sold over a
million and rocketed to the top of the US Billboard charts. Presley’s advisers
encouraged him to immediately record and release the song himself, but the man
from Memphis did not want to spoil his friend’s moment and so he waited until
Perkins’ song, which he recorded on a 1955 Les Paul Gold Top, was on the way down the charts before he released his own famous version.
Even the B side, Honey
Don’t, was later to be covered by the Beatles.
At this
moment Perkins star was nearing its peak, and he was scheduled to sing his
biggest hit on Perry Como's famous TV programme, and on Ed Sullivan’s show shortly after. However, on his way to Como’s
studio the car he was travelling in was involved in a terrible accident,
killing a driver, and leaving Perkins and his brother close to death. He was
about to be the first Rockabilly artist ever to appear on network televison;
but it was not to be.
As Perkins
lay in hospital, doubts flooded his brain: “I talked to the Lord and said ‘you
gave it to me, are you now going to take it away? Is this it? Am I gonna die? Is
my brother gonna die? Am I going back where I started?”
While
Perkins convalesced, Presley became a household name. When Perkins was finally
able to record the song on the Perry Como show, it was possible to see on the
recording how badly the accident had affected the band. Clayton had not been so
injured but his brothers both look gaunt, and Jay in particular looks
incredibly stiff because he is still wearing a barely disguised neck brace. “I knew he wasn’t well,” says Perkins, “even
when we did the Perry Como show with him in his brace and his twisted smile you
would never know that he was in so much pain. But he wanted his brother Carl to
sound like he did on the record, and that is a love you cannot buy [tears
stream down Perkins’ face]. I lost a jewel of a brother when Jay [died in 1958].”
In the same
year as his brother’s death, Carl Perkins left Sun Studios because he was
‘feeling overlooked’ but it was a decision he lived to regret. “I shouldn’t
have ever left Sun…” he says in one interview, “I got mixed up in big studios
with people who didn’t understand Rockabilly.” Often producers wouldn’t even
let him play guitar on his own records and his despair, along with his dependence
on the bottle, grew.
However,
even through the dark years, Perkins status always remained high among
musicians.
In May 1964, although
initially reluctant because
he feared his star had faded, Perkins successfully toured the UK with Chuck Berry.
In 1968, Perkins then toured with Johnny Cash;
however it was during this time that he returned to rock bottom. During a
show in California he saw
"four or five of me in the mirror" during a four-day drinking binge.
Later he fell to his knees on the beach and said "Lord, ... I'm gonna
throw this bottle. I'm gonna show you that I believe in you.” Cash, who had
experienced similar problems, supported him on his quest.
Before Bob
Dylan became famous he recorded Perkins’ Rockabilly
classic Matchbox, on which Perkins had
shone with his Gibson ES-5 Switchmaster. Dylan later went to the studio in New York City
where Perkins was rehearsing in 1968 and they played guitar together. In one
example of the affection that they had for each other, Dylan had written the
song Champaign, Illinois, but didn’t
know how to finish it; so Perkins did it for him and Dylan gave it to him for
his album, On Top.
In
1981 Perkins recorded Get It with Paul McCartney, which appeared on the album Tug of War, and later the Beatle showed his enormous
admiration for the Rockabilly legend on a video documentary about his life. A
further highlight at the end of his career was a TV special shot in London with
Eric Clapton, Ringo Starr, Dave Edmunds, and George Harrison. Perkins was inducted into the Rock and Roll Hall of Fame in 1987.
Perkins last big concert in 1997 was for
charity, and one of his final great benevolent acts was to establish the Carl Perkins Child
Abuse Centre in Tennesssee.
Married to
the same women for over 45 years, he came to accept ‘his level’. “It’s not what
you lose in life but what you are left with [that’s important],” he says. “If I
had had another Blue Suede Shoes it might
have made me not care about people, but I do, and that makes me happy.” In one
of his last interviews, he reflected on what was most important to him: “I’d just
like the world to know that I tried to be a decent man,” he says.