For those not in the know, the myriad of stars that aligned to create Jerry Phillips’ debut solo album, For The Universe, have been orbiting the rarified atmosphere of Memphis’ Sam Phillips Recording Service — the namesake studio that Jerry’s father built in the wake of his Sun Records success with Elvis Presley, Carl Perkins, Johnny Cash, and Jerry Lee Lewis — since its doors opened in 1960.

The fact that it took 64 years for those stars to fully align is more a testament to Jerry’s own unwavering path than it is being the son of the man who unleashed rock ’n’ roll on the world.

The final piece of the puzzle fell into place when the studio acquired the original Spectra Sonics console from Stax Studio B, which had captured soul classics like Rufus Thomas’ “The Funky Chicken” and much of the Isaac Hayes catalog.

Jerry said, “I want to be the first person to record on the Stax console at Phillips.” When it came time for the “shakedown session,” album Co-Producer Scott Bomar remembers, “we liked the results and that was the beginning of the record. Jerry’s recording method was a window into what it was probably like recording at Sun—very live, off-the-cuff, and unrehearsed. It all had a real spontaneous feel and spirit.”

Most importantly, Jerry’s method served the songs, a ten-track tour-de-force ranging from full-tilt rockers to slow-burning country soul, all rife with chord changes that bring the listener a smile of comfortable familiarity while simultaneously tugging at the heart strings.

The driving guitar and horn-blasting “Number One Girl” and its tender tremolo and organ-flavored follow-up “Treat Her Like She’s Mine” — both of which could have been bookends of a post-Sun Jerry Lee Lewis album — set the stage for a Memphis-to-Muscle Shoals musical road map with enough tributaries to take in the West Texas tumbleweed vibe of “Black Widow Eyes,” the smoldering Gulf Coast soul of “I Like Everything I See” and the harp-heavy blues rocker “24/6 Not 7,” co-written with Austin honky-tonker Dale Watson.

The Tennessee-to-Alabama highway is a road well-tred by Scott and Halley, whose production pedigrees reflect the respective locales. Similarly, the crack studio combo anchored by garage soul guitarist John Paul Keith proves perfectly comfortable dwelling on the edge of any musical cliff, as long as there’s feeling in it.

1. Number One Girl
2. Treat Her Like She Was Mine
3. She Let Me Slip Right Through Her Fingers
4. Black Widow Eyes
5. I Like Everything I See
6. That’s All Right
7. Good Side, Bad Side, Side Of Crazy Too
8. 24/6 Not 7
9. New Pair Of Everything
10. Specify

This brilliantly melodic new country-blues-rock collective opens on the rousing Number One Girl and the lonesome, blues ode Treat Her Like She Was Mine and then brings us the languishing ballad She Let Me Slip Right Through Her Fingers, a countrified twang that drives Black Widow Eyes and then comes the silky smooth balladry of I Like Everything I See.

Along next is the rambunctious That’s All Right and the low slung ballad Good Side, Bad Side, Side Of Crazy Too, and they are in turn followed by the free-wheeling country rocker 24/6 Not 7, rounding out on the dancefloor swirl and twirl of New Pair Of Everything, closing on the grooved blues of Specify.

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