Jazz and R&B merge on this bouncy number. When it’s Fats Domino, you know it will be good, and this does not disappoint.

I love the piano on this boogie groove. Everything about the track works really well, though. It’s a fun romp.

 The horns are wailing as accents and breaks here. This is a powerhouse stomper that just oozes cool. It’s absolutely on fire with its vintage rocking vibes.

This is a classic tune, delivered in style. It is a smoking hot rocker. It still holds up exceptionally well today. I guess that's the magic of a great song.

I dig this rocking little groove. The hooks and vibe on this are so potent.

This rocking blues romp is classy. It has a real down-home vibe to it.

Classic blues is on the menu here. It has a great driving sound to it, and also features some harmonica (or should I say “blues harp?”). At its core, it’s a basic 12-bar blues, but the magic is in the passion.

Blues and R&B merge with some vintage rock and roll here. This is strong, but it is a little bit of a step-down from the last tune. I do like the guitar solo a lot. 

I really love the lead vocal performance on this. The backing vocals don’t work for me, though. This has more of a jazz vibe than anything else. Still, it has some blues and even some hints of the pop music of the era. The guitar soloing on this is classy. The saxophone brings some magic, too.

Jazz is a big feature of this bouncy number. It’s another standout that really works well. The instrumental break is positively jamming, and the whole tune has a great R&B meets blues vibe to it.

This rocker has a lot of charm. I am not crazy about the doo wop backing vocals, but the rest of this really works well. Both the piano and the saxophone get the chance to show off.

There is plenty of style built into this. The rock and roll and R&B groove works. It just doesn’t really stand out for me, and the backing vocals don’t work for my tastes.

This is a sheer classic. This energetic romp is so much fun.

This rocking number is fun. I really dig the saxophone solo a lot,

I love the vocal arrangement and rhythmic groove to this cut. It has a bit of a jazzy angle to the arrangement.

The guitar solo on this is great. So is the entire vintage rock and roll instrumental arrangement. I’m not completely sold on the vocals, though. Then again, I’m not a fan or doo-wop.

I’ve always loved this classic Berry number. It’s bouncy and just plain cool.

Starting acapella, this number rocks and grooves as it moves out from there.

This romp is absolutely stomping. It’s an instrumental, and it features some great soloing on various instruments. It’s definitely one of my favorites here.

The hooks and general vibe on this are both great. I’m not sold on the backing vocals, but everything else about this works great.

This is a stomper that’s one of the standouts of the set. It really works well.

I love the mix of jazz, blues and rock and roll on this romp. It’s another that lands on the more impressive and effective end of the spectrum.

There is plenty of jazz in the mix on this number. It has some great hooks and vibes, too. It’s a fun piece of music. 

I can’t believe they got by with that title in the day. And, yes, I looked it up, and that term has meant the same thing since the 1920s, so it certainly did when this was released in 1963. The song tries to sell that it means something else, but it’s pretty obvious that they did that to be able to get the song out there. The bouncy, jazzy rock and roll romp works okay, but it’s really one that doesn’t do a lot for me. The instrumental break with the screaming sax is cool, though.

I really dig the horn work on this. The number has good energy. The vocals don’t work that well for m, though. The whole thing has a bit of vintage pop sound that feels over the top to me.

Jazz and R&B merge on this classy cut. It is actually one of the stronger tunes here. It just grooves so well, and the hooks are great.

I think Screamin' Jay Hawkins is probably best known for “I Put a Spell on You.” This tune doesn’t feel much like that, but I dig this bluesy jam a lot. It’s another that stands tall on this set.

I am pretty sure most people are familiar with this tune as done by George Thorogood. Don’t come here expecting that. This is more of a stripped back bluesy tune. Thorogood’s version has the title rearranged. It’s also based on the John Lee Hooker version of the tune, but Thorogood adds in another Hooker tune, turning it into a medley. This is much simpler and a lot more stripped back. It’s a good tune, but not at the same level as Hooker’s rendition of Thorogood’s.

There are some good hooks and a classy groove built into this. I wouldn’t call it a highlight, but it’s cool.