(Jump Blues / Traditional Pop / Big Band) Ella Mae Morse - (6 CD) - 1995-1997, MP3 (tracks), 192-320 kbps

01. Oakie Boogie (2:29)
02. Organ Grinders Swing (2:28)
03. The Blacksmith Blues (3:06)
04. Tennessee Saturday Night (2:21)
05. A little Further Down the Road a Piece (2:30)
06. Get Off It And Go (2:22)
07. 5-10-15 Hours (2:32)
08. How Can You Leave A Man Like This (2:46)
09. It's You I Love (2:20)
10. Lovey Dovey (2:44)
11. Give A Little Time To Your Lover (2:07)
12. Bring Back My Baby (2:16)
13. Livin' Livin' Livin' (2:18)
14. Smack Dab In The Middle (2:35)
15. Heart Full Of Hope (2:19)
16. Yes, Yes I Do (2:20)
17. Razzle Dazzle (2:46)
18. Piddly Patter Patter (2:10)
19. Seventeen (2:20)
20. When Boy Kiss Girl (It's Love) (2:01)
21. Give Me Love (2:24)
22. Rockin' And Rollin' (2:24)
23. House Of Blue Lights (2:53)
24. Male Call (3:12)
25. Jump Back Honey (2:06)
26. T'aint Whatcha Do (2:54)
27. Forty Cups Of Coffee (2:54)
28. Have Mercy Baby (2:18)
29. Money Honey (2:38)
30. Rock Me All Night Long (2:25)

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One of the most talented and overlooked vocalists of the '40s, Ella Mae Morse blended jazz, country, pop, and R&B; at times she came remarkably close to what would be known as rock & roll. When she wasn't yet 14, Morse had her first taste of the big time, when Jimmy Dorsey's band came to Dallas for a stay at the Adolphus Hotel and she called for an audition. Unbeknownst to her, the band needed a new female vocalist. Believing that Morse was indeed 19, as she and her mother claimed, Dorsey hired her. When he received a letter from the school board declaring that he was responsible for The Morse's care, Dorsey fired her. Morse joined former Dorsey pianist Freddie Slack's band in 1942; she was only 17 when they cut "Cow Cow Boogie," which became Capitol Records' first gold single. The following year, Morse began recording solo. Although her recordings were consistently solid and sold fairly well (frequently charting better on the Black charts than on the pop charts), Morse never obtained a huge following. She retired from recording in 1957, and died of respiratory failure on October 16, 1999.

Ella Mae Morse would have objected to the title of this box set, appropriated from the name of a 1954 LP, since it was her contention that she never performed "Barrelhouse," but there is little else to fault with this extensive five-disc box set of her complete Capitol recordings from 1942-1957. Beginning with her collaborations with Freddie Slack (including her career-launching hit "Cow-Cow Boogie") and similar jazz and pop novelties, the set follows Morse through pop and jazz standards, her duets with Tennessee Ernie Ford, sessions with Les Baxter and Nelson Riddle, covers of R&B hits, and odd quasi-rock & roll experiments. Perhaps because of her Texas upbringing Morse was often saddled with hillbilly leaning material, although sometimes, as on her version of the Little Jimmy Dickens hit "A-Sleepin' at the Foot of the Bed" and her gender-reversed take on Hank Snow's "The Gal Who Invented Kissin'," the results are much closer to jazz than country. Because of her flirtations with hillbilly music Morse is not taken as seriously as Peggy Lee or Anita O'Day by jazz critics, which is not only a shame because of its marginalization of an obviously talented artist but because it starkly reveals the class and genre prejudices that continue to shape critical opinions of popular music. Cutting away the dross, Morse was a gifted and awesomely bluesy vocalist who was guided through an unusual and sometimes unbecoming musical terrain, and listening to her complete Capitol recordings offers a fascinating microcosm of the stresses and strains resulting from hybridization in popular music in the '40s and '50s.