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The history of the birth of rock and roll is one of conflict and convergence, of a white mainstream co-opting and retooling the sound of black musicians.
“Sun Records” attempts to handle some of these heavier issues with occasional success.
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(The show’s sincere but often superficial treatment of race, especially — both in and out of the recording booth — struggles to find new territory.) RELATED: Hear more of the latest TV news from this week In the four episodes so far available to critics, Sun Records shows intriguing reach and initiative for a network whose ratings highs currently include the likes of Party Down South and Redneck Island.
As Sun founder Sam Phillips, Chad Michael Murray is all Southern charm and steely core, and the show — based on the well-received Broadway musical Million Dollar Quartet — has fun stacking its cast of future legends (Johnny finds the gee-tar! But in the gently-paced opening episodes, its storylines thread together only in the loosest sense, a series of vignettes in no immediate hurry to connect: We’re shown that Phillips is a genuine music fan and devoted family man who also happens to have a tenuous grasp on mental health, a growing flirtation with Dexedrine, and a serious thing on the side with his studio assistant (Margaret Anne Florence).