Okay, let's see where Elvis Presley liked to do his work. He actually, literally spent every minute just about of his time when he was in here on every session. He is, there was something, just a little circumference around here that Elvis didn't like to get out of at all even when he wasn't actually recording or taking a take. And he loved to glance at me. He would see Scotty Moore playing the guitar and Bill Black playing the bass. Now, everybody had their little place they liked to get because we had to have them in certain places to mike them, depending on what they did, whether they played an instrument and song or what. Then, Jerry Lee Lewis liked his piano right here. He loved to have it pointing right in this direction and looking at me. And he had, ah, Roland Janes would always stand about the middle of the room with his guitar. Then for some reason the other, we liked to have the drums with J.M. Van Eaton back about where they are right now if you saw them in the picture a while ago. Somehow or another it was very important that we make sure that these different acoustic sounds were just absolutely a part of the way it was set up and no bigger than the studio is you can see that that could be a problem on things to change the sounds. But it, a lot of time six inches maybe just a little bit off of the, the port of a, a guitar, the opening of the hole, would make all the difference in the world. A little further up on the neck of a guitar could make the difference in the acoustics. That's how we got the unusual sound, that's how, ah, that we've been credited for getting, you know, a little different sound. And that's, that's, that's what this business is all about, is get a sound, get attention. Now then, ah, we, ah, we had some of the black artists before Elvis and Jerry Lee and Roy Orbison and Johnny Cash and, and all of these. And Cash was always the man that liked to stand right here looking this a way. And, ah, he was a very, very unusual singer. He was a singer that had that acoustic type of sound to his voice even. It was just really, you may like him, you may not like Johnny Cash but you knew who it was when he opened his big mouth, you know. Now, ah, let's see we had probably, the "Rocket 88" thing with Jackie Brinston was one, it, it was the first super big record that I cut right in the studio here with Ike Turner and his band and Jackie Brinston playing a, a fantastic tenor sax and then doing the vocals on it. And it all took place right here with Jackie standing and just playing that sax and pulling it to the side and just singing with his eyeballs this big, you know. He had no idea he was going to be the vocalist that day, Ike turner was supposed to be the vocalist. But we hit upon this song "Rocket 88". And it came off, I mean it just came off fantastic. Now this was getting so bright for me around here, I'm going to put on my glasses for just a few minutes. And, and then I'll show you right over here in this corner was an unusual sound. It, it, it is made like this corner. This one is made horizontally if you'll notice that we got the, the V shaped walls and the V shaped ceiling. But we could get a certain unusual sound on acoustic instruments like a plane, what they call, flat top guitar. We would run them off every now and then over in that corner. When they had a little solo I'd take Jack Clement run him over there and he was just fantastic. I mean he loved to pick now, he didn't strum, he picked. Put him in the corner like that, I mean that corner. Put him over here, it wouldn't be the same. Now these are the things that fascinated me no end. I knew we were touching the elements that were different in music because I haven't hear the effects that we were getting with a simple little studio with just some very relatively inexpensive microphones, all of our equipment was relatively inexpensive, but believe me we had to know what to do with it or we would have nothing. And, and all of the young people - this is the thing that I'm proudest of I guess - that we had here in this studio, black and white. Believe me, take my word for it, unequivocally, the thing I'm proudest of, all of were just, we were just beginners, you know just beginners. And I, I can tell you without any hesitation whatsoever, this is a room that the world really could see because I can tell you and this is not for any aggrandizement of my part but this is the cradle right here of rock and roll. It started right here. It was heard around the world and it's being heard today.

Okay, okay, just trying to catch my red carpet there. Can you believe, look at that Sun label there, I mean that would be, look who's there. I mean, I mean these are such an , look at the old 78. What about that? Now, we're talking about CDs. Man, I'm telling you when you look at the walls here and you see the Howling Wolf, Chester Burnett, that was one of the greatest guys to record I have ever in my life recorded. And this is of course the million dollar quartet. Now that would be, now you would call it the billion dollar quarter, I mean that's how inflation has taken over. Then we have the places we go around here and we just look at the different pictures. And I'll have to say that you just got Gary some fantastic pictures. That's the first car that I bought Carl Perkins. I said, if "Blue Suede Shoes" sold a million I'd buy you a brand new blue swede Cadillac and that's what I did, I ordered it special for him. Was he glad to get it.

File past them, yeah, oh, they do make sense there, don't they? They make sense for this. Take an anagram. Alright boy, I'm walking. Yes indeed I'm a talking about you and me and a hoping that you come back to me, hey, hey. Well let's see, I'm tell you what. This…