Kaikhosru Shapurji Sorabji (born Leon Dudley Sorabji; 14 August 1892 – 15 October 1988) was an English composer, music critic, pianist and writer. He was one of the 20th century's most prolific piano composers. As a composer and pianist, Sorabji was largely self-taught, and he distanced himself from the main currents of contemporary musical life early in his career. He developed a highly idiosyncratic musical language, with roots in composers as diverse as Busoni, Debussy and Szymanowski, and he dismissed large portions of the established and contemporary repertoire.
In May 1956, the Texan label Starday issued a wild rockabilly single by Thumper Jones. Its top side, the kinetic “Rock It”, was primal, uncontrolled and wild. The flip, “How Come It”, was less frenzied but still driving and infectious. Original pressings of the two-sided pounder in either its 45 or 78 form now fetch at least Ј200. This is not your usual rockabilly rarity though. The record’s label credited the songs to a Geo. Jones. Thumper Jones was a pseudonymous George Jones (1931–2013), who was cashing in a hip style: the only time he did so with rockabilly.
Before Bob Marley came on the scene, many in Britain dismissed reggae as either the stuff of one-hit wonders or skinhead dance music. Now it is recognized as an influential style, which has not only sold millions of records worldwide but had a major effect on the mainstream. Eric Clapton, the Police and the Clash are just three artists touched by reggae's magic and Marley's majesty. Few of his fans realise the man's recording career was as lengthy as it was: though he died aged just 36 in 1981, he'd been active in the studio since 1962 onwards. This collection can only scratch the surface of Bob Marley's genius.
The boastful title is no exaggeration; this is a welcome return for the classic Chicago blues sideman, who, primarily because of the misfortune of his music being exploited by other musicians, took a self-imposed retirement for nearly 30 years. It's especially rewarding since Williams – whose work you hear on early Howlin' Wolf, Otis Spann, Bo Diddley, Billy Boy Arnold (who guests here) sides – hadn't played a lick during that time, keeping his guitar stashed under his bed. He sounds like he never put the instrument away on this album, the first cohesive disc under his own name ever. Aided by comparative youngsters Tinsley Ellis, Ronnie Baker Brooks, and Rusty Zinn, along with a 21-year-old Sean Costello, Williams holds the spotlight like the pro his is. Though well into his sixties when this was recorded in 2001, he sounds remarkably vibrant, completely confident, and totally in his element.