Of all the post-Fathers & Sons attempts at updating Muddy's sound in collaboration with younger white musicians, this album worked best because they let Muddy be himself, producing music that compared favorably to his concerts of the period, which were wonderful. His final album for Chess (recorded at Levon Helm's Woodstock studio, not in Chicago), with Helm and fellow Band-member Garth Hudson teaming up with Muddy's touring band, it was a rocking (in the bluesy sense) soulful swansong to the label where he got his start. Muddy covers some songs he knew back when (including Louis Jordan's "Caldonia" and "Let The Good Times Roll"), plays some slide, and generally has a great time on this Grammy-winning album. This record got lost in the shuffle between the collapse of Chess Records and the revival of Muddy's career under the auspices of Johnny Winter, and was forgotten until 1995. The CD contains one previously unreleased number, "Fox Squirrel".
Elvis Presley, Chuck Berry, Fats Domino, Johnny Cash, Chris Montez, Roy Orbison, The Platters, The Clovers and many others.
Sam Phillips didn't record anybody else the way he recorded Jerry Lee Lewis. With other artists, he pushed and prodded, taking his time to discover the qualities that made them uniquely human, but with Jerry Lee, he just turned the tape on and let the Killer rip. There was no need to sculpt because Lewis arrived at Sun Studios fully formed, ready to lean back and play anything that crossed his mind. Over the course of seven years, that's more or less how things were run at Sun: Lewis would sit at the piano and play, singing songs that were brought to him and songs that crossed his mind, and Sam never stopped rolling the tape.
Here are 10CDs of the very best Rock n Roll tunes ever made from ’Rock Around The Clock’ to ’Johnny B Goode’ and everything else in between. Includes original performances from legendary artists like Chuck Berry, Bill Haley, Little Richard, Jerry Lee Lewis, Gene Vincent, Roy Orbison and many, many more…
In revisiting the strength and depth of Johnny Vincent’s original Ace imprint, and its subsidiaries Rex and Vin, what’s immediately obvious is the quality of the often freewheeling studio musicians who recorded for the label. With rampant saxes and rolling pianos, more than likely anchored by Earl Palmer’s tight drumming, the Ace ensembles hit the button every time with their rocky, earthy tracks.
The rating of this six-CD set is no joke - yes, Bill Haley was supposed to be an irrelevant artist during the 1960s, but he did, in fact, generate well over 100 good and far-better-than-decent sides that are contained in this set. No, there's nothing remotely as earth-shattering or important as his best work for Decca from 1954-1955, and even most hardcore fans of that material may find the cost of this set difficult to justify; but take it from someone who shelled out for this box, it's worth a LOT more than you'd ever guess without hearing it - Haley and his band still knew how to work a song, as demonstrated several dozen times on this set. The title is actually a bit misleading, since the sides that Haley recorded for Warner Bros. Records amount to less than a third of the contents of this box…