In the mid-'50s Brown, like many other early R&B pioneers, was a bit lost at sea amid the rock & roll explosion. From 1956 to 1958, he recorded these 20 tracks for Imperial under the direction of legendary New Orleans R&B producer Dave Bartholomew. Brown and Bartholomew were attempting to update Brown's jump blues/R&B hybrid with a lot of Fats Domino-type Crescent City influence on these sides. The results weren't bad, but with Bartholomew co-writing most of the tunes and using local musicians like saxophonist Lee Allen, ...
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In the mid-'50s Brown, like many other early R&B pioneers, was a bit lost at sea amid the rock & roll explosion. From 1956 to 1958, he recorded these 20 tracks for Imperial under the direction of legendary New Orleans R&B producer Dave Bartholomew. Brown and Bartholomew were attempting to update Brown's jump blues/R&B hybrid with a lot of Fats Domino-type Crescent City influence on these sides. The results weren't bad, but with Bartholomew co-writing most of the tunes and using local musicians like saxophonist Lee Allen, Brown sounded more like a journeyman New Orleans R&B singer than an innovative, bluesy forefather of rock & roll. There were a couple of commercial successes; his cover of Buddy Knox's "Party Doll" made the R&B Top 20, and "Let the Four Winds Blow" actually made the pop Top 40, although Fats Domino would have much greater success with the same song when he covered it a few years later. Diluted by occasional pop and rock influences, as well as a substandard variation of "Good Rockin' Tonight," this compilation shouldn't be the first Brown on your shelf. But for those who want to go a little further, it's packaged very well, with thorough liner notes and seven previously unissued cuts. ~ Richie Unterberger, Rovi
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