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 Chanteuse Rockabillly US née le 6 Avril 1938 à Memphis (Tennessee). Barbara Pittman se présente à l'âge de 12 ans à la Sun Records de Memphis (Tennessee), sans succès. Persévérante, elle se perfectionne et en 1956, enregistre un premier single à la Sun. Barbara, vocaliste complète, pouvait chanter du Rock 'n' Roll, de la Country Music, du Jazz et des ballades avec une aisance stupéfiante. 
Elle est décédée le 29 Octobre 2005.
 Chanteuse Rockabillly US née le 6 Avril 1938 à Memphis (Tennessee). Barbara Pittman se présente à l'âge de 12 ans à la Sun Records de Memphis (Tennessee), sans succès. Persévérante, elle se perfectionne et en 1956, enregistre un premier single à la Sun. Barbara, vocaliste complète, pouvait chanter du Rock 'n' Roll, de la Country Music, du Jazz et des ballades avec une aisance stupéfiante. 
Elle est décédée le 29 Octobre 2005.
 Barbara 
Pittman's claim to fame is that she was the only female artist signed to Sam 
Phillips' Sun Records -- other women recorded for the label, but only Pittman 
was given a contract. That alone would secure her place as a footnote in music 
history, but Pittman also cut one exalted rockabilly classic during her Sun 
years: "I Need a Man." Pittman was one of 12 children born to a family in 
Memphis, TN, in 1943. Her mother was acquainted with Gladys Presley, and Pittman 
attended the same school as
Elvis. Pittman harbored musical ambitions from an early age, and approached 
Sun Records before she was even a teenager. When she was turned away because of 
her age, the dauntless Pittman found work with a local band (thanks to a 
recommendation by
Elvis, Pittman says) before touring with western star Lash Larou in 1955. 
Returning to Memphis in 1956, Pittman began singing with
Clyde Leoppard's Snearly Ranch Boys and found work as a demo singer for Stan 
Kesler, who hoped that her acquaintance with
Presley would give a boost to a song he had earmarked for the popular rock & 
roller. The resulting demo of "Playing for Keeps" convinced
Presley to record the song and brought Pittman to the attention of Sam 
Phillips. She cut the classic "I Need a Man" backed by members of
Leoppard's band. The record was unsuccessful, but Pittman appeared on Sun 
package tours and continued to make recordings for Sun, many of which were not 
released. When other labels expressed an interest in Pittman in 1957, Phillips 
retaliated by offering her a contract, making her the only female artist to be 
honored thusly. Phillips let her choose whether she wanted to record for Sun or 
his new Phillips International subsidiary, and Pittman selected the latter 
because she thought it had a more attractive label design. She recorded several 
sessions with Sun players like
Billy Lee Riley and
Bill Justis, but her recordings ranged from teen-oriented pop to bluesy 
balladry, with little of the rockabilly and rock & roll for which she later 
would be celebrated. A one-off single with the vocal group the Sunrays also 
failed, and Pittman released her final Phillips single in 1960. Several radio 
stations deemed the flip-side, "Eleventh Commandment," blasphemous and banned it 
from airplay, further crippling an already doomed record. Pittman left Phillips 
International for Del-Fi, but no recordings were issued. Throughout the '60s she 
performed on cruise ships and military bases, and sang on the soundtracks of 
motorcycle movies such as Wild Wheels and Wild Angels. In the '70s she married, 
and with the rockabilly revival her reputation grew as her Sun recordings were 
reissued on compilation albums. In 1983 she formed a band in Houston, TX, and 
played at European rockabilly festivals. Pittman's legacy is built upon three or 
four essential tracks, but the squandered opportunities surrounding this husky-voiced 
singer are nearly as fascinating as the records she made.
 Barbara 
Pittman's claim to fame is that she was the only female artist signed to Sam 
Phillips' Sun Records -- other women recorded for the label, but only Pittman 
was given a contract. That alone would secure her place as a footnote in music 
history, but Pittman also cut one exalted rockabilly classic during her Sun 
years: "I Need a Man." Pittman was one of 12 children born to a family in 
Memphis, TN, in 1943. Her mother was acquainted with Gladys Presley, and Pittman 
attended the same school as
Elvis. Pittman harbored musical ambitions from an early age, and approached 
Sun Records before she was even a teenager. When she was turned away because of 
her age, the dauntless Pittman found work with a local band (thanks to a 
recommendation by
Elvis, Pittman says) before touring with western star Lash Larou in 1955. 
Returning to Memphis in 1956, Pittman began singing with
Clyde Leoppard's Snearly Ranch Boys and found work as a demo singer for Stan 
Kesler, who hoped that her acquaintance with
Presley would give a boost to a song he had earmarked for the popular rock & 
roller. The resulting demo of "Playing for Keeps" convinced
Presley to record the song and brought Pittman to the attention of Sam 
Phillips. She cut the classic "I Need a Man" backed by members of
Leoppard's band. The record was unsuccessful, but Pittman appeared on Sun 
package tours and continued to make recordings for Sun, many of which were not 
released. When other labels expressed an interest in Pittman in 1957, Phillips 
retaliated by offering her a contract, making her the only female artist to be 
honored thusly. Phillips let her choose whether she wanted to record for Sun or 
his new Phillips International subsidiary, and Pittman selected the latter 
because she thought it had a more attractive label design. She recorded several 
sessions with Sun players like
Billy Lee Riley and
Bill Justis, but her recordings ranged from teen-oriented pop to bluesy 
balladry, with little of the rockabilly and rock & roll for which she later 
would be celebrated. A one-off single with the vocal group the Sunrays also 
failed, and Pittman released her final Phillips single in 1960. Several radio 
stations deemed the flip-side, "Eleventh Commandment," blasphemous and banned it 
from airplay, further crippling an already doomed record. Pittman left Phillips 
International for Del-Fi, but no recordings were issued. Throughout the '60s she 
performed on cruise ships and military bases, and sang on the soundtracks of 
motorcycle movies such as Wild Wheels and Wild Angels. In the '70s she married, 
and with the rockabilly revival her reputation grew as her Sun recordings were 
reissued on compilation albums. In 1983 she formed a band in Houston, TX, and 
played at European rockabilly festivals. Pittman's legacy is built upon three or 
four essential tracks, but the squandered opportunities surrounding this husky-voiced 
singer are nearly as fascinating as the records she made.
https://en.wikipedia.org/wiki/Barbara_Pittman
Talents : Vocals
Style musical : Rockabilly, Rock 'n' Roll, Traditional Country
| I NEED 
	A MAN (1956)      
	
	No Matter Who's To Blame 
	(1956) 
	 
	Sentimental Fool
	(1956)
	 
	I'm Getting Better All The Time 
	(1957)
	 
	Everlasting Love 
	(1958)
	 | 
     | 
Years in activity :
| 1910 | 20 | 30 | 40 | 50 | 60 | 70 | 80 | 90 | 2000 | 10 | 20 | 
DISCOGRAPHY
Singles
| 10/1956 | SP SUN 253 (US) | Barbara PITMAN -
    I Need A Man  /  
	No Matter Who's To Blame  | 
| 11/1957 | SP PHILLIPS INTERNATIONAL 3518 (US) | I'm Getting Better All The Time  / 
	Two Young Fools
      In Love  | 
| 04/1958 | SP SUN 293 (US) | The SUN RAYS (feat. Barbara PITTMAN) - The Lonely Hours / Love Is A Stranger | 
| 07/1958 | SP PHILLIPS INTERNATIONAL 3527 (US) | Barbara PITTMAN with The Bill
JUSTIS Orchestra -
    Everlasting Love  / 
	Cold Cold Heart  | 
| 04/1960 | SP PHILLIPS INTERNATIONAL 3553 (US) | Barbara PITTMAN with Gene LOWERY SINGERS - Handsome Man / Eleventh Commandment | 
| 1966 | SP TOWER 268 (US) | The VISITORS (feat. Barbara PITTMAN) - Theme From The Wild Angels / Is It Them Or Me? | 
| 1967 | SP MANHATTAN 810 (US) | The 13TH COMMITTEE (feat. Barbara PITTMAN) - She La La / You Really Got A Hold On Me | 
| 197? | SP SUN GOLDEN SERIES #60 (US) | I'm Getting Better All The Time  /
	Two Young Fools
      In Love  | 
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Unissued Tracks
| 1956 | SUN unissued - (Charly CD 8319 (#18)) | No Matter Who's To Blame [alt. vers. 1] | 
| 1956 | SUN unissued - (Charly CD 8319 (#23)) | No Matter Who's To Blame [alt. vers. 2] | 
| 1956 | SUN unissued - (AVI CD 5019 (#4) / Bear Family LP 15359 (#10) / Bear Family CD 16311 (#7) / Charly CD 36 (#9) / Charly CD 345 (#32) / Charly CD 8182 (#7) / Charly CD 8319 (#3) / Disky CD 03 (#22) / El Toro CD 1013 (#4) / Folkline CD 162 (#4) / J!mco CD 89194 (#14) / Rockhouse LP 8307 (#1) / Sun (England) CD 33 (#16) / Sun (England) LP 1021 (#2)) | Sentimental Fool  | 
| 1956 | SUN unissued - (Bear Family LP 15359 (#13) / Charly CD 8319 (#15)) | Sentimental Fool [alt. vers. 1] | 
| 1956 | SUN unissued - (Bear Family LP 15359 (#18) / Charly CD 8319 (#25) / Sun (England) LP 1023 (#6)) | Sentimental Fool [alt. vers. 2] | 
| 1956 | SUN unissued - (Bear Family LP 15359 (#11) / Charly CD 8182 (#20) / Charly CD 8319 (#4) / Sun (England) LP 1023 (#14)) | Voice Of A Fool | 
| 1957 | PHILLIPS INTERNATIONAL unissued - (Bear Family LP 15359 (#12) / Charly CD 8319 (#19)) | I'm Getting Better All The Time [alt. vers. 1] | 
| 1957 | PHILLIPS INTERNATIONAL unissued - (Bear Family LP 15359 (#16) / Charly CD 8319 (#22)) | I'm Getting Better All The Time [alt. vers. 2] | 
| 1957 | PHILLIPS INTERNATIONAL unissued - (Charly CD 8319 (#24)) | I'm Getting Better All The Time [alt. vers. 3] | 
| 1957 | PHILLIPS INTERNATIONAL unissued - (Charly CD 8319 (#27)) | I'm Getting Better All The Time [alt. vers. 4] | 
| 1957 | PHILLIPS INTERNATIONAL unissued - (Bear Family LP 15359 (#15) / Charly CD 8319 (#7)) | Take My Sympathy [vers. 1] | 
| 1957 | PHILLIPS INTERNATIONAL unissued - (Charly CD 8319 (#21)) | Two Young Fools In Love [alt. vers.] | 
| 195? | PHILLIPS INTERNATIONAL unissued - (SAAR CD 41008 (#21)) | Ain't Got A Thing | 
| 195? | PHILLIPS INTERNATIONAL unissued - (Charly CD 8319 (#16)) | Cold Cold Heart [alt. vers.] | 
| 195? | PHILLIPS INTERNATIONAL unissued - (Charly CD 8319 (#17)) | Everlasting Love [alt. vers.] | 
| 195? | PHILLIPS INTERNATIONAL unissued - (Bear Family LP 15359 (#9) / Charly CD 8182 (#21) / Charly CD 8319 (#12) / Rockhouse LP 8307 (#7)) | Just One Day | 
Need Information
| 19?? | Need info - (Bear Family LP 15359 (#17) / Charly CD 8319 (#26)) | I Forgot To Remember To Forget | 
| 19?? | Need info - (Bear Family LP 15359 (#19) / Magnum Force LP 056 (#12)) | I'll Never Let You Go | 
| 19?? | Need info - (Charly CD 8319 (#14)) | The Lonely Hours | 
| 19?? | Need info - (Bear Family LP 15359 (#14) / Charly CD 8319 (#13)) | Love Is A Stranger | 
| 19?? | Need info - (Charly CD 8319 (#20)) | Take My Sympathy [vers. 2] | 
Albums
| 1983 | LP 12" ROCKHOUSE LPM 8307 (NL) |  | THE ORIGINAL SUN SIDES - Sentimental Fool / I'm Getting Better All The Time / Handsome Man / I Need A Man / Everlasting Love / Cold Cold Heart / Just One Day / Two Young Fools In Love / 11th Commandment / No Matter Who's To Blame | ||
| 1987 | LP 12" MAGNUM FORCE MFLP 050 (UK) |  | TEXAS BOOGIE - RECORDED LIVE IN HOUSTON - Diggin' The Boogie / You're Undecided / Everlasting Love / I'm Getting Better All The Time / Money Honey / Right Behind You Baby / Honey Hush / Trying To Get To You / Big Boss Man / I Need A Man / Long Tall Sally (avec Sonny FISHER) / Rockin' Daddy (avec Sonny FISHER) | ||
| 1989 | LP 12" BEAR FAMILY BFX 15359 (GER) |  | I NEED A MAN - I Need A Man / No Matter Who's To Blame / I'm Getting Better All The Time / Two Young Fools In Love / Everlasting Love / Cold Cold Heart / Handsome Man / The Eleventh Commandment / Just One Day / Sentimental Fool / Voice Of A Fool / I'm Getting Better All The Time (alt.) / Sentimental Fool (alt.) / Love Is A Stranger (The SUNRAYS) / Take My Sympathy (prev. unissued) / I'm Getting Better All The Time (alt.) / I Forgot To Remember To Forget (prev. unissued) / Sentimental Fool (alt.) / I'll Never Let You Go (prev. unissued 1955 demo) | ||
| 02/1998 | CD CHARLY CPCD-8319 (UK) |  | 
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© Rocky Productions 11/02/2012