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.
Although the name may not be familiar to many, Big Boy Pete (aka Pete Miller) has been flogging around the music scene for nearly five decades. He first played in a rock & roll band called the Offbeats, who recorded an EP in 1958, and in 1961, he joined the beat group Peter Jay & the Jaywalkers. With the Jaywalkers, he recorded a number of singles, which were produced by Joe Meek, from whom Pete learned many new and innovative recording techniques. In 1965, he quit the band to concentrate on recording solo projects, and turned to session work to support his recording career. During this period, he became a part-time member of the legendary underground freakbeat band the News, while continuing to write songs for Britain's major publishing houses…
Features 24 bit remastering and comes with a mini-description. Although drummer Shelly Manne was closely associated with the Contemporary label for many years, he also recorded for other companies after Contemporary slowed down operations. This particular Koch CD reissues a set that was cut for Atlantic. The 1966 version of Shelly Manne's Men (altoist Frank Strozier, trumpeter Conte Candoli, pianist Russ Freeman, and bassist Monty Budwig) played in a similar style to his 1950s groups. Only Strozier hints (and only slightly in spots) at the avant-garde explorations then going on elsewhere. The quintet performs three group originals, an obscurity, "The Breeze and I," and "Margie" (which was arranged by Jimmy Rowles). Fine hard bop music.
Though John Barry achieved popular recognition for the swinging, loungey, noir-ish soundtracks he composed for the James Bond films, he moved to the front rank of film composers with his score for 1966's BORN FREE. Stylistically, the music of BORN FREE is miles removed from Barry's Bond soundtracks, though the composer's fondness for brass fanfares, stirring strings, and lush, intricate charts with stunning dynamic range is still intact. On the whole, however, the music to BORN FREE has a playful, innocent quality, evoking the nature of the wild animals at the film's center. As the movie is set in Africa, Barry employs a range of African percussion instruments, and sections of flute music (which often seem to echo the sounds of birds or other creatures). The arrangements are expansive and sweeping, giving rise to the sensation of open plains, and Barry's recurring musical themes parallel the film's action (the track titles indicate plot events). The score is, for the most part, surprisingly subdued, with occasional bursts of energy (mirroring tumultuous events onscreen) and its stirring title theme the exceptions. Barry won an Academy Award for the score in 1966.