19-08-2020 > JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1966

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Paul Chambers

19-08-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1966 # Paul Chambers, The Joe Newman Quintet, The Curtis Fuller Sextette, Charlie Byrd Trio & Woodwinds. The Tubby Hayes Quartet, Herbie Mann, Louis Armstrong & Duke Ellington, Johnny Hartman, Jimmy Smith, Sonny Rollins, Dexter Gordon

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1959-1966

One of the top bassists of 1955-1965, Paul Chambers was among the first in jazz to take creative bowed solos (other than Slam Stewart, who hummed along with his bowing). He grew up in Detroit, where he was part of the fertile local jazz scene.
Paul Chambers
Melody (Yusef Lateef)
Retrogress (Yusef Lateef)
Blessed (Yusef Lateef)
from 1st Bassman 1961
As a lead instrument in jazz, the acoustic bass was in many ways liberated by Paul Chambers, and paved the way for many others to follow... 1st Bassman is anchored by rising stars from Detroit such as Yusef Lateef, Curtis Fuller, and adopted (from Pittsburgh) car city resident Chambers, with trumpeter Tommy Turrentine, pianist Wynton Kelly, and drummer Lex Humphries evenly balancing the session. Interestingly enough, it was recorded not in New York or the Motor City, but Chicago. Lateef wrote all of the material... The small horn inserts of "Melody" give sway to the big bass strut of Chambers, with solos from Turrentine's stoic trumpet, Lateef's advanced tenor, and Fuller's wanton but mushy trombone included... The slightly dour post-bopper "Retrogress" gives Kelly's piano his due diligence...  the ballad "Blessed" features the arco bowed bass of the leader in a mournful mood, brightened up by the effervescent and hopeful flute of the brilliant Lateef....

Joe Newman was a superb, exciting trumpeter whose style echoed the best of Harry Edison, Dizzy Gillespie, and Thad Jones, seasoned with his own flavoring. He was among a select corps who not only enjoyed playing, but communicated that joy and exuberance in every solo.
The Joe Newman Quintet
Wednesday's Blues (Joe Newman)
Jive at Five (Count Basie / Harry "Sweets" Edison)
Taps Miller (Count Basie / Luis Russell)
from Jive at Five 1960
Originally put out on the Swingville label, this CD reissue is very much in the Count Basie vein. That fact is not too surprising when one considers that the quintet includes three members of Basie's men: trumpeter Joe Newman, tenor saxophonist Frank Wess and bassist Eddie Jones. Joined by the complementary pianist Tommy Flanagan and drummer Oliver Jackson, Newman and his friends swing their way through four vintage standards and a couple of the leader's original blues in typical fashion.

05-07-2020 > PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959 (1h 53m)

Otis Rush

05-07-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Otis Rush, Herbie Mann, Tadd Dameron & John Coltrane, Elvis Presley, Amos Milburn, Benny Carter, Oscar Peterson, Paula Watson, Big Jay McNeely, The Dominos, Elmore James, Tony Bennett, Charlie Parker & Dizzy Gillespie<<

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before 1959

An architect of Chicago blues' West Side sound, whose style combined broodingly intense vocals and sweet, stinging guitar solos.
Otis Rush
I Can't Quit You Baby  (Willie Dixon)
Groaning the Blues (Willie Dixon)
Love That Woman (Lafayette Leake)
Double Trouble (Otis Rush)
from The Complete Classic Cobra Recordings 1956-1958
The title says it all. This is the essential Otis Rush, the singles recorded for Eli Toscano's Cobra label between 1956 and 1958. If Rush had never recorded another note, his legendary status would remain intact based solely on these recordings. Backed by players like Willie Dixon and Little Walter, it's Rush's impassioned vocals and stinging guitar lines that make "I Can't Quit You Baby," "All Your Love (I Miss Loving)," and "Double Trouble" the classics they are. In addition to the A- and B-sides of all eight singles released by Cobra, eight alternate takes are included, four more than the Paula edition of this material released in 1991. Along with a slightly better transfer from the original tapes, this is not only one of the best places to start for someone getting interested in the blues, but a vital part of any blues collection. Outstanding.

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles.
Herbie Mann
Minor Groove
Blue Dip
Jumpin' With Symphony Sid (Lester Young)
from Just Wailin' 1958
This recording emphasizes (although does not stick exclusively to) the blues. The sextet has impressive players (flutist Herbie Mann, Charlie Rouse on tenor, guitarist Kenny Burrell, pianist Mal Waldron, bassist George Joyner and drummer Art Taylor) and the material (originals by Waldron, Burrell and Calvin Massey in addition to a brief "Jumpin' With Symphony Sid") is reasonably challenging but the musicians never really come together as a group. The straightahead jam session has its strong moments and, as long as one keeps their expectations low, the music will be enjoyable despite the lack of major sparks.

16-06-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Hal Singer

16-06-2020 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Hal Singer, Xavier Cugat & His Orchestra, Ruth Brown, Ellis 'Slow' Walsh, Guitar Slim, Tommy Ridgley, Pee Wee Crayton, Bull Moose Jackson, Lee Hazlewood, Tadd Dameron with John Coltrane, Mongo Santamaria, Otis Rush, Herbie Mann<<

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before 1959

Equally at home blowing scorching R&B or tasty jazz, Hal "Cornbread" Singer has played and recorded both over a career spanning more than half a century. 

Hal Singer
Swing Shift (Hal Singer)
Swanee River (Traditional)
Cornbread (Lee Morgan / Teddy Reig / Hal Singer)
from Hal Singer 1948-1951
Blues & Rhythm CLASSICS
Tenor sax player Hal "Cornbread" Singer spent his career moving with ease between jazz, R&B and early rock & roll, and his hard, muscular sax sound is unmistakable, practically defining the words "searing" and "scorching" on key instrumentals like "Cornbread" (his first big solo hit) and its follow-up, "Beef Stew." Both tracks are included here in this collection of his earliest solo sides for Savoy Records...

Remembered for his highly commercial approach to pop music, Xavier Cugat (born Francisco de Asis Javier Cugat Mingall de Cru y Deulofeo) made an even greater mark as one of the pioneers of Latin American dance music. During his eight-decade-long career, Cugat helped to popularize the tango, the cha-cha, the mambo, and the rhumba.
Xavier Cugat & His Orchestra
Maracaibo
Mambo No. 5
Anything Can Happen Mambo feat. Abbe Lane
from Maracaibo (Original Recordings 1950 -1952)
A native of Girona, Spain, Cugat emigrated with his family to Cuba in 1905. Trained as a classical violinist, he played with the Orchestra of the Teatro Nacional in Havana at the age of 12. Emigrating to the United States, sometime between 1915 and 1918, he quickly found work accompanying an opera singer. At the height of the tango craze, in 1918, Cugat joined a popular dance band, the Gigolos. His involvement with the group, however, was brief. As the popularity of the tango faded, he took a job as a cartoonist for The Los Angeles Times. Cugat returned to music in 1920, forming his own group, the Latin American Band....

Xavier Cugat & Abbe Lane

They called Atlantic Records "the house that Ruth built" during the 1950s, and they weren't referring to the Sultan of Swat. Ruth Brown's regal hitmaking reign from 1949 to the close of the '50s helped tremendously to establish the New York label's predominance in the R&B field.
Ruth Brown
Don't Cry
Shine On
Mend Your Ways (Lincoln Chase / Leroy Kirkland) 2:48
from Ruth Brown 1951-1953
Blues & Rhythm CLASSICS
Later, the business all but forgot her -- she was forced to toil as domestic help for a time -- but she returned to the top, her status as a postwar R&B pioneer (and tireless advocate for the rights and royalties of her peers) recognized worldwide.
Young Ruth Weston was inspired initially by jazz chanteuses Sarah Vaughan, Billie Holiday, and Dinah Washington. She ran away from her Portsmouth home in 1945 to hit the road with trumpeter Jimmy Brown, whom she soon married...

05-20-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1959-1962

05-20-2020  FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1959-1962  >>Herbie Mann, THE BEATLES, Chuck Berry, James Brown, Joe Meek & the Blue Men, Eddie Lockjaw Davis, Bo Diddley, Lorez Alexandria, Chuck Berry, Elvis Presley, Fats Domino, John Lee Hooker<<

  M U S I C

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1959-1962

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles. Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.

Herbie Mann 

Old Honkie Tonk Piano Roll Blues 4:45
Minor Groove 7:36

from The Complete Recordings: 1958-1962

Starting his career as a practitioner of cool jazz and bop, Herbie Mann was one of the first musicians to embrace world influences into his sound. Incorporating the rhythms and melodies of Cuba, Africa, and South America, as well as the Middle and Far East, into his work, Mann was also known for his high-profile collaborations, appearing alongside the likes of Art Blakey, Chet Baker, Sarah Vaughan and numerous others...

...Hamburg was the Beatles' baptism by fire. Playing grueling sessions for hours on end in one of the most notorious red-light districts in the world, the group was forced to expand its repertoire, tighten up its chops, and invest its show with enough manic energy to keep the rowdy crowds satisfied. When they returned to Liverpool at the end of 1960, the band -- formerly also-rans on the exploding Liverpudlian "beat" scene -- were suddenly the most exciting act on the local circuit. They consolidated their following in 1961 with constant gigging in the Merseyside area, most often at the legendary Cavern Club, the incubator of the Merseybeat sound...

The Beatles

Ain't She Sweet [U.S. Version] 2:15

Cry for a Shadow (George Harrison / John Lennon) 2:23

from The Beatles with Tony Sheridan: First Recordings

The Beatles entered a recording studio for the first time 50 years ago, in 1961. It wasn’t actually the group’s gig, since they were essentially the backing band for singer Tony Sheridan, but the way recording was done at the session and at a second session in 1962, with instrumental parts laid down first and vocals added later, it’s possible to catch a faint, nascent glimpse of the international pop phenomenon the Beatles would become a couple years down the road. Orchestral big-band leader Bert Kaempfert had discovered the group playing in a German nightclub, signed them to a recording contract, paired them with Sheridan in the studio, and then released the songs through Polydor Records in Germany in 1961 and 1962. These early tracks have been released multiple times over the years in both mono and stereo mixes (with reverb added), and this set from Time Life Music includes both versions. Everything’s here, really, kind of frozen in time, since the original tapes were lost in a fire at Kaempfert's warehouse in the early '70s. Sheridan handles almost all of the vocals, and there are only two tracks without him, a version of John Lennon singing “Ain’t She Sweet” and an early George Harrison instrumental called “Cry for a Shadow,” both of which are featured here in mono, stereo, and medley versions.... Everything has a beginning. This two-disc set collects the earliest recordings of perhaps the most important recording act in pop music history. That’s the story, and the rest is history.

Rock & roll's prime innovator, thanks to his detailed songwriting, dazzling lyrics, and clear, economical guitar licks.

Chuck Berry 

I'm Talking About You (Chuck Berry) 1:48

Thirteen Question Method (Chuck Berry) 2:13

from New Juke Box Hits 1961

Chuck Berry's fifth Chess Records album, New Juke Box Hits, was recorded and released in the midst of the legal difficulties that would put him in jail the following year. That distraction seems to have kept him from composing top-flight material, while the attendant publicity adversely affected his record sales, such that the album contained no hits. The included single was "I'm Talking About You," later successfully recorded by the Rolling Stones, and the album also contained "The Thirteen Question Method" and "Don't You Lie to Me," worthy minor entries in the Berry canon. Elsewhere, Berry filled out the record covering others' hits -- Nat "King" Cole's "Route 66," B.B. King's "Sweet Sixteen," Little Richard's "Rip It Up." The result is a good rock & roll set, but not in the same league with Berry's earlier albums.

03-04-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1964-1960

Bob Dylan

03-04-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1964-1960  >>Bob Dylan, Muddy Waters, Jimmy Smith, The Ventures, Johnny Cash, Lou Rawls & Les McCann Ltd., Herbie Mann, THE BEATLES, Chuck Berry, James Brown, Joe Meek & the Blue Men<<

M U S I C

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1964-1960

Iconic singer/songwriter and musical wanderer who rose to prominence during the '60s folk revival and changed the world of music.
Bob Dylan
Motorpsycho Nitemare  (Bob Dylan) 4:33
All I Really Want To Do  (Bob Dylan) 4:05
Spanish Harlem Incident  (Bob Dylan) 2:25
from Another Side of Bob Dylan 1964
The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one -- anything that wasn't featured on the staunchly folky, protest-heavy Times They Are a-Changin', really. Because of this, Another Side of Bob Dylan is a more varied record and it's more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike... The result is one of his very best records, a lovely intimate affair.

The giant of postwar blues, who eloquently defined Chicago's swaggering, Delta-rooted sound with his declamatory vocals and piercing slide guitar.
Muddy Waters
My Home Is in the Delta (McKinley Morganfield) 4:00
My Captain (Willie Dixon) 5:12
from Folk Singer 1964
Muddy's "unplugged" album was cut in September of 1963 and still sounds fresh and vital today. It was Muddy simply returning to his original style on a plain acoustic guitar in a well-tuned room with Willie Dixon on string bass, Clifton James on drums, and Buddy Guy on second acoustic guitar. The nine tracks are divvied up between full rhythm section treatments with Buddy and Muddy as a duo...

A pioneer of soul-jazz who revolutionized the Hammond organ, turning it into one of the most incisive, dynamic jazz instruments of its time.
Jimmy Smith
Prayer Meeting (Jimmy Smith) 5:44
Stone Cold Dead in the Market (Wilmoth Houdini) 3:43
Red Top (Gene Ammons) 7:36
from Prayer Meetin' 1963
Playing piano-style single-note lines on his Hammond B-3 organ, Jimmy Smith revolutionized the use of the instrument in a jazz combo setting in the mid-'50s and early '60s, and arguably his best albums for Blue Note during this period were the ones he did with tenor sax player Stanley Turrentine. Recorded on February 8, 1963, at Van Gelder Studio in New Jersey, and featuring Quentin Warren on guitar and Donald Bailey on drums in addition to Smith and Turrentine, Prayer Meetin' is a delight from start to finish. Forming a perfect closure to Smith's trio of albums with Turrentine (Midnight Special and Back at the Chicken Shack were both released in 1960), Prayer Meetin' was the last of four albums Smith recorded in a week to finish off his Blue Note contract before leaving for Verve...

11-03-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

11-03-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Herbie Mann, Gene Vincent, Red Norvo, Duane Eddy, Dicky Wells, Rebetika songs of protest Recordings, Mighty Panther, Macbeth the Great, Calypso, Elvis Presley, Junior Wells, Django Reinhardt<<

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before 1959

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles. Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann
Yardbird Suite (Charlie Parker) 5:57
One for Tubby (Phil Woods) 6:10
Who Knew 7:17
from Yardbird Suite 1957
Recorded in the great year of music and especially jazz -- 1957 -- Herbie Mann at the time was gaining momentum as a premier flute player, but was a very competent tenor saxophonist. Teamed here with the great alto saxophonist Phil Woods and criminally underrated vibraphonist Eddie Costa, Mann has found partners whose immense abilities and urbane mannerisms heighten his flights of fancy by leaps and bounds. Add to the mix the quite literate and intuitive guitarist Joe Puma, and you have the makings of an emotive, thoroughly professional ensemble. The legendary bass player Wilbur Ware, who in 1957 was shaking things up with the piano-less trio of Sonny Rollins and the group of Thelonious Monk, further enhances this grouping of virtuosos on the first two selections...

American rockabilly legend who defined the greasy-haired, leather-jacketed, hot rods 'n' babes spark of rock & roll. Gene Vincent only had one really big hit, "Be-Bop-a-Lula," which epitomized rockabilly at its prime in 1956 with its sharp guitar breaks, spare snare drums, fluttering echo, and Vincent's breathless, sexy vocals. Yet his place as one of the great early rock & roll singers is secure, backed up by a wealth of fine smaller hits and non-hits that rate among the best rockabilly of all time. The leather-clad, limping, greasy-haired singer was also one of rock's original bad boys, lionized by romanticists of past and present generations attracted to his primitive, sometimes savage style and indomitable spirit.
Gene Vincent
Red Blue Jeans and a Ponytail (Bill Davis / Jack Rhodes) 2:15
Unchained Melody (Alex North / Hy Zaret) 2:38
Cruisin'  (Bill Davis / Gene Vincent) 2:12
Blues Stay Away from Me (Alton Delmore / Rabon Delmore / Henry Glover / Wayne Raney) 2:16
from Gene Vincent and His Blue Caps 1957
Gene Vincent and His Blue Caps, cut in October 1956, only four months after its predecessor, came about under slightly less favorable circumstances than the Bluejean Bop album. Cliff Gallup, whose lead guitar had been so central to the group's original sound, and rhythm guitarist Willie Williams, who was only somewhat less important to their sound, had been gone from the band for nearly two months when producer Ken Nelson decided it was time to cut material for more singles and a second album...

Pioneering big-band and bebop xylophonist/vibraphonist who was active from the late 1920s through the early '90s. Red Norvo was an unusual star during the swing era, playing jazz xylophone. After he switched to vibes in 1943, Norvo had a quieter yet no-less fluent style than Lionel Hampton. Although no match for Hampton popularity-wise, Norvo and his wife, singer Mildred Bailey, did become known as "Mr. and Mrs. Swing."
Red Norvo
Britts's Blues (From The Kings Go Forth) 5:47
Shed No Tears 4:40
Sunrise Blues 8:47
from Red Plays the Blues 1958
Vibraphone – Red Norvo
Bass – Bob Carter, Lawrence Wooten, Drums – Bill Douglass, Mel Lewis, Guitar – James Wyble, Piano – Jimmy Rowles, saxophon – Chuck Gentry, Alto Saxophone – Willie Smith, Tenor Saxophone – Harold Land, Tenor Saxophone – Ben Webster, Trombone – Ray Sims, Trumpet – Don Fagerquist, Don Paladino, Harry Edison, Ray Linn

One of the '50s' most influential guitarists and one of the more distinct, he forged a sound based on minimalism with lots of twangy reverb. If Duane Eddy's instrumental hits from the late '50s can sound unduly basic and repetitive (especially when taken all at once), he was vastly influential. Perhaps the most successful instrumental rocker of his time, he may also have been the man most responsible (along with Chuck Berry) for popularizing the electric rock guitar. His distinctively low, twangy riffs could be heard on no less than 15 Top 40 hits between 1958 and 1963. He was also one of the first rock stars to successfully crack the LP market.
Duane Eddy
The Lonesome Road (Gene Austin / Nat Shilkret / Nathaniel Shilkret) 3:00
Rebel Rouser  (Duane Eddy / Lee Hazlewood) 2:22
Moovin' 'N' Groovin' (Duane Eddy / Lee Hazlewood) 2:06
from Have 'Twangy' Guitar Will Travel 1958
A pioneer in instrumental rock, Duane Eddy remains an anomaly in popular music. Eddy's distinctive "twangy" guitar style complemented the infectious dance beats of his band and drove the viewers of Dick Clark's American Bandstand television show wild, even without a vocalist. This brings up the notion that perhaps pop music fans don't always require the presence of a lead singer; maybe all they look for is musical charisma, and this Eddy supplied in spades..  A mix of early rock & roll, swing, country, and blues, Have "Twangy" Guitar, Will Travel is a great example of '50s instrumental pop.

05-02-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

05-02-2019 ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Sarah Vaughan, Sunnyland Slim, Les Paul, Elvis Presley, Clifford Brown, Max Roach, Elmore James, Herbie Mann, Sabu, Gene Vincent, Red Norvo, Duane Eddy<<

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before 1959

Bop's greatest diva, a highly influential jazz singer with extraordinary range and perfect intonation, ranging from soft and warm to harsh and throaty. Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future.

Sarah Vaughan 

Black Coffee (Sonny Burke / Paul Francis Webster) 3:16

You Taught Me to Love Again (Richard Carpenter / Tommy Dorsey / William Henri Woode) 3:16

Summertime (George Gershwin / Ira Gershwin / DuBose Heyward) 3:15

from The Divine Sarah Vaughan: The Columbia Years 1949-1953

Twenty-eight of the 60 songs that Sarah Vaughan recorded for Columbia Records during her four years there. The early sides are arranged, with one exception (credited to Hugo Winterhalter), by Joe Lipman, while later sides have her working with a diverse group of arrangers and conductors, including Glenn Miller alumnus Norman Leyden and light music expert Paul Weston, and in a small group context, the latter credited to Vaughan's manager/husband George Treadwell. The sound is good within the context of the time the remasterings were done, and the distillation covers virtually all of Vaughan's best work from this period in her career.

A seminal figure in post-War Chicago blues, and pianist to many legends of the scene. Exhibiting truly amazing longevity that was commensurate with his powerful, imposing physical build, Sunnyland Slim's status as a beloved Chicago piano patriarch endured long after most of his peers had perished. For more than 50 years, the towering Slim had rumbled the ivories around the Windy City, playing with virtually every local luminary imaginable and backing the great majority in the studio at one time or another.
Sunnyland Slim
Back to Korea Blues (Albert Luandrew) 3:00
Hit the Road Again (Andrew Luandrew) 3:12
from Sunnyland Slim 1949-1951 R&B Classics
Mississippi native Albert Luandrew came to Chicago in 1942, and with a little help from Tampa Red began entertaining the public using the name Sunnyland Slim. This second volume in the Classics Sunnyland Slim chronology documents his steady if spotty recording career from April 1949 to early December 1951. During this time Sunnyland made records for Mercury, Apollo, J.O.B., Regal, and his own Sunny label. Working up the piano, singing and at times screaming in a voice only slightly lower than that of J.B. Lenoir, Sunnyland invariably chose the toughest available players to back him up...

A brilliantly gifted guitarist and studio pioneer who was arguably the most innovative musician of his generation. 

Les Paul 

Bye ye Blues 2:06

Vaya Con Dios 2:53

Deep In The Blues 2:32

from The Timeless Les Paul 1952-1954 Vol 3

Les Paul had such a staggeringly huge influence over the way American popular music sounds today that many tend to overlook his significant impact upon the jazz world. Before his attention was diverted toward recording multi-layered hits for the pop market, he made his name as a brilliant jazz guitarist whose exposure on coast-to-coast radio programs guaranteed a wide audience of susceptible young musicians.

A music and film icon whose natural blend of country, pop, and R&B sold millions and became the cornerstone of rock & roll. Elvis Presley may be the single most important figure in American 20th century popular music. Not necessarily the best, and certainly not the most consistent. But no one could argue with the fact that he was the musician most responsible for popularizing rock & roll on an international level. Viewed in cold sales figures, his impact was phenomenal. Dozens upon dozens of international smashes from the mid-'50s to the mid-'70s, as well as the steady sales of his catalog and reissues since his death in 1977, may make him the single highest-selling performer in history.

Elvis Presley 

My Happiness (Borney Bergantine / Betty Peterson) 2:33

That's All Right (Arthur "Big Boy" Crudup) 1:59

Blue Moon of Kentucky (Bill Monroe) 2:06

Mystery Train  (Junior Parker / Sam Phillips) 2:30

from A Boy From Tupelo: The Complete 1953-1955 Recordings

A Boy from Tupelo rounds up all the known existing Elvis Presley recordings from 1953 through 1955, a sum total of 53 studio takes and 32 live performances...  Still, those consumers in the market for the earliest Elvis will be satisfied by this, as it not only has everything in one convenient box but the addition of the live material does provide a nice coda to the familiar Sun sessions.