Behind the 8 Ball (1965). Behind the 8-Ball was Baby Face Willette's second album for Argo and - unfortunately - the last one he would record as a leader, for reasons that aren't well-documented. Compared to his past releases, Behind the 8-Ball is short on original compositions (only two of eight tracks), but the emphasis here is more on Willette's deep roots in gospel and R&B, two circuits he worked extensively during his pre-Blute Note dues-paying days. This perhaps accounts for the brevity of the album - only two cuts top the five-minute mark - but it also provides a chance to hear Willette at his most soulful, playing the music he grew up with…
“Qui c’est celui-là?” Many French asked themselves this question (“Who’s that guy?”) when the song bearing this title began to smash the hit parade in 1975. Some others already had parts of the answer: it’s the guy who sang “Amour amitié”! The guy who sang “La femme du sergent”! The guy who sang “Armand” in “Le Petit Conservatoire de Mireille”! To all those French, Vassiliu had always been reduced. Few were the real fans, who had explored all angles and taken the measure of the man.
There have been previous attempts to marshal a lot of British psychedelia into one compilation, but Real Life Permanent Dreams is a little different from those. This four-CD, 99-song box set isn't a best-of, but more like an attempt to assemble a very wide (though still representative) cross section of material, most of it pretty obscure to the average listener. For the most part, it succeeds in delivering a high-quality anthology that manages to offer a lot to both the collector and the less intense psychedelic fan, though it's by no means the cream of British psychedelia.
A really cool pairing of two relatively obscure and always overlooked early- to mid-'60s LPs by Jerry Lee Lewis that, respectively, capture him as a country crooner (and quite a good one) and a high-energy country-rocker with a bluesy edge. The original albums never sold any significant numbers to speak of, with the result that the material will essentially be new to all but the most hardcore fans. None of it is bad and a large portion of it is not only good but impressive, showing some sides to Lewis' talent that weren't always obvious amid the rippling ivories of the Sun Records hits.