Good Rockin' Tonight: The Legacy Of Sun Records

Track list

Disc 1

1. That's All Right Mama

   Written by Arthur Crudup

   3:13 • Studio version • B

   Paul McCartney : Bass, Vocals Scotty Moore : Guitar D.J. Fontana : Drums Frank Filipetti : Recording engineer Ahmet Ertegun : Producer

   Session Recording: Mar 09, 2000 • Studio Sear Sound Studio, New York City

2. Mystery Train

   3:49 • Studio version

3. My Bucket's Got A Hole In It

   2:10 • Studio version

4. Blue Suede Shoes

   2:08 • Studio version

5. Whole Lotta Shakin' Going On

   3:01 • Studio version

6. Blue Moon Of Kentucky

   1:57 • Studio version

7. Sittin' On Top Of The World

   3:18 • Studio version

8. Don't Be Cruel

   2:01 • Studio version

9. Red Cadillac And A Black Moustache

   2:32 • Studio version

10. Just Walkin' In The Rain

    3:25 • Studio version

11. Lonely Weekend

    3:48 • Studio version

12. Who Will The Next Fool Be?

    3:49 • Studio version

13. It Wouldn't Be The Same Without You

    2:50 • Studio version

14. I Walk The Line

    3:08 • Studio version

15. Drinkin' Wine Spo-Dee-O-Dee

    3:32 • Studio version

16. You Win Again

    4:00 • Studio version

From brianmay.com:

How’s this for a line-up …

Bryan Ferry, matchbox twenty, Page and Plant, Paul McCartney, Elton John, Van Morrison, Bob Dylan, Chrissie Hynde, Jeff Beck, Eric Clapton, Third Eye Blind, Live, Sheryl Crow and Kid Rock.

The occasion is a tribute to Sun Studio’s in Memphis, the birthplace of Elvis, Johnny Cash, Jerry Lee Lewis and Carl Perkins.

The line-up has teamed to record the album ‘Good Rockin’ Tonight’ and a TV special to air in October. Paul McCartney does Elvis’ “That’s Alright Mama” and Live tackle the Johnny Cash classic “I Walk The Line”. Elton covers Jerry Lee Lewis’ “Whole Lotta Shakin’ Going On” while Jeff Beck and Chrissie Hynde do “Mystery Train”. How about Brit-crooner Bryan Ferry doing “Don’t Be Cruel,” Van Morrison collaborating with Carl Perkins on “Sitting on Top of the World,” or Bob Dylan’s version of “Red Cadillac and a Black Moustache”?

The Sun sound began when Sam Phillips launched his record company in 1952, converting an old radiator shop into a recording studio. He named the label Sun Records as a sign of optimism, a new day, a new beginning. Sun Records provided a non-critical environment that invited spontaneity and creativity. And in this environment sprouted a vision that still “rocks” modern music. The Sun sound lives on today and probably will forever.

“Good Rockin’ Tonight (The Legacy of Sun Records)” will be released on London-Sire Records on Oct. 16, 2001, followed by the film “Good Rockin’ Tonight,” which will air on PBS worldwide on Nov. 28, 2001.

From All Music Review:

If you know anything about rock & roll, you know that Sun Records looms large over the history and mythos of the music — enough so that it does deserve its own full-fledged tribute (what else could suit the home of Elvis, Johnny Cash, Carl Perkins, Charlie Rich, and the Killer, as well as cult icons like Warren Smith, Sonny Burgess, Billy Lee Riley, and the Collins Kids). Still, given the history of tribute records, it’s easy to be suspicious about the star-studded 2001 affair Good Rockin’ Tonight: The Legacy of Sun Records, since this equation often equals less than the sum of the parts. However, there is a crucial difference with Sun Records — if you’re truly in love with the label, it’s hard not to try to explain your love, which is a decidedly different thing than paying respect. After all, respect implies a certain sense of reserve, and while that’s true with some of the cuts here (Chris Isaak’s “It Wouldn’t Be the Same Without You,” for instance), most of this record is joyous, loose, and fun. It is possible to tell the difference between artists who were kids when they fell in love with Sun, since they’re looser with the material, capturing the very feel of the records, where the newer artists — the Howlin’ Diablos and Kid Rock’s “Drinkin’ Wine Spo-Dee-O-Dee” should by all rights should have been a barnstormer, but the hip-hop affectations lead to a slower tempo and lazy production compared to any of Jerry Lee’s breakneck, relentless versions — seem obsessed with making these songs fit their sound. With the veterans, there is a bit of a tendency to be overly faithful, but it doesn’t sink the tribute because the songs are tremendous and most of the artists have giddy love for this stuff. And this really does separate the boys from the men (girls from the women, too), since the real artists can hold their own even when they’re caged by fan worship — look at how Tom Petty apes Elvis on “Blue Moon of Kentucky,” yet still winds up with a lively, vigorous performance. Some of the featured artists don’t really make sense — no disrespect meant, but who ever thought Matchbox Twenty could do Charlie Rich, especially how they slow “Lonely Weekends” down and turn it all hambone serious (although it does take a certain talent to prove that even Charlie Rich can sound post-grunge in the right hands) or that Live works for Johnny Cash — but most of Good Rockin’ Tonight is nothing but fine, fine, fine. Tribute albums usually are too slavish to their source or blatantly flaunting how they’re deviating from tradition, but this is one of the rare cases where the tribute usually captures the spirit of its subject, and it’s a whole lotta fun because of it.

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