As Perkins observed there were many country boys who were playing with a blues feel and working on the hybrid that later became known as rockabilly music. One of those who had in-dependently worked up a similar style of course was Elvis Presley. “The first time I heard Elvis was when my wife was in the kitchen,- recalled Perkins to Dave Booth,- and she said, Carl that sounds just like y'all. Hearing him do Blue Moon Of Kentucky set a flame afire in me and oddly enough I'd been doing that song too.
It did not take long before Perkins found out that the singer of Blue Moon Of Kentucky recorded for the Sun label. A few weeks later, the Perkins Brothers Band headed for Mem-phis. The office manager Marion Keisker, apparently told them to go away but they met Sam Phillips on the street outside the studio. Perkins was impressed by Phillips car and his matching suit and shirt. For his part, Phillips encountered someone whom he later described as “one of the greatest plough hands in the world.” There was no way Carl could hide that pure country in him. Although pure country, as Phillips noted can mean an awful lot of soul.
“Sam later said he felt sorry for me,- recalled Perkins.- He said I looked like I would have died if he hadn’t listened to me. And I might have. He said he liked 'Turn Around’ although he later said that he wasn’t I knocked out by any thing else I did.
Phillips remembers seeing more promise than fulfilment. He was a tremendous honky tonk picker. He had this feel for pushing a song along that very few people had. I knew that Carl could rock and in fact he told me right from the start that he had been playing that music before Elvis came out on record. But I was so im-pressed with the pain and feeling in his country singing though, that I wanted to see whether this wasn't someone who could revolutionise the country end of the business. That didn't mean we weren't going to rock with Carl. That was inevitable because he had such rhythm in his natural style.

It seems fairly certain that Perkins first ap-peared at Sun in October 1954. He recorded Honky Tonk Gal and Movie Magg with his trio before Phillips placed him in the hands of Bill Cantrell and Quinton Claunch to work upon a hillbilly single with a fuller instrumentation. The coupling of Turn Around with Movie Magg was issued in February 1955 on Phillips' new Flip subsidiary. The sincerity that Phillips responded to was plainly on view in Turn Around. It owed a measure of debt to Hank Williams in terms of both composition and ex-ecution but Phillips hopes for Perkins in the country market were not without foundation.
shortly after the Flip release hit the market Perkins began work with Crunch and Cantrell on a second single that would see him transferred to the Sun label. However, the formula of coupling a slow countrv ballad with an uptempo rhythm novelty would remain unchanged. The ghost of Hank Wiliams loomed large over Let The Jukebox Keep On Playing but the flip side, ‘Gone, Gone, Gone' owed an obvious debt to no one. The steel guitar and fiddle sat out the song leaving Perkins front and centre. It gave the first indication of Perkins amazing rapport with himself as he scatted a phrase vocally completing it on guitar.
Surpisingly W.S. Holland was barely audible on either of the two uptempo numbers Perkins had released to that point. He was playing with brushes and Phillips mixed him as far back as he could manage in the cramped studio. It seems as though Phillips shared the prevailing aversion to using drums on country records. Sam said: “What do you need em for?”- recalled Perkins to Dave Booth.- / said: “W.S. just plays, he don’t play loud”. Sam came to agree. He said: “He don t sound like drums, he sounds like clicking. Sounds good.”
Let the Jukebox Keep On Playing b/w Gone, Ginc, Gone was released on August 1, 1955, the same day as Elvis Presley’s last Sun single. By the time Perkins went back into the studio Presley had departed and Phillips had a little money to throw behind a new song that Perkins had written. You all know it.