1 	Money Honey 	2:37
2 	Have Mercy Baby 	2:15
3 	Rock Me All Night Long 	2:25
4 	Daddy Daddy 	2:38
5 	The House Of Blue Lights 	2:52
6 	5-10-15 Hours 	2:31
7 	Teardrops From My Eyes 	2:55
8 	How Can You Leave A Man Like This 	2:45
9 	Lovey Dovey 	2:43
10 	Get Off It And Go 	2:20
11 	Okie Boogie 	2:14
12 	False Hearted Girl 	2:15
13 	Greyhound 	2:20
14 	Jump Back Honey 	2:05
15 	A Little Further Down The Road A Piece 	2:28
16 	Bouncin' Ball 	2:29
17 	Big Mamou 	2:23
18 	Forty Cups Of Coffee 	2:51
19 	Give A Little Time To Your Lover 	2:05
20 	The Blacksmith Blues 	3:01
21 	Won't You Listen To Me Baby 	2:06
22 	Okie Boogie 	2:28
23 	Smack Dab In The Middle 	2:33
24 	Yes, Yes I Do 	2:18
25 	Razzle Dazzle 	2:45
26 	Ain't That A Shame 	2:23
27 	Piddily Patter Patter 	2:08
28 	Seventeen 	2:19
29 	When Boy Kiss Girl 	1:59
30 	Give Me Love 	2:23
31 	Rockin' And Rollin' 	2:23
32 	Rock And Roll Wedding 	2:32
33 	Cow-Cow Boogie 	3:13
34 	Mr. Anthony's Blues 	2:33

Don Anderson 	Trumpet
William Anthens 	Trombone
Harry Babasin 	Bass
Robert "Bob" Bain 	Guitar
Danny Bank 	Sax (Baritone)
Les Baxter 	Leader
Victor Bay 	Violin
Henry J. "Heinie" Beau 	Sax (Alto)
Walter Benson 	Trombone
Milton Berngart 	Trombone
Gus Bivona 	Sax (Alto)
Ivy J. "Jimmy" Bryant 	Guitar 
Charles O. Butler 	Sax (Tenor)
George Sylvester "Red" Callender 	Bass
Walter P. "Pete" Candoli 	Trumpet
Frank Carlson 	Drums
Bennett Carter 	Sax (Alto)
Dave Cavanaugh 	Leader, Sax (Tenor)
Buddy Clark 	Saxophone
Mahlon Clark 	Clarinet
Buddy Cole 	Leader, Piano
Joseph G. Joe Comfort 	Bass
Morty Corb 	Bass
John Cyr 	Drums
Harold Diner 	Trombone
William V. Douglas 	Drums
Henry Evans 	Sax (Tenor)
Nick Fatool 	Drums
Tennessee Ernie Ford 	Duet, Vocals
Morton B. "Morty" Friedman 	Sax (Tenor)
Chuck Gentry 	Sax (Baritone)
Louis Gonzales 	Guitar
Bob Goodrich 	Trumpet
Conrad Gozzo 	Trumpet
Henry Gruen 	Sax (Alto)
David Grupp 	Xylophone
Chico Guerrero 	Percussion
Joe Guerrero 	Bongos
John Hamilton 	Saxophone
Al Harding 	Sax (Alto), Saxophone
Stanley Harris 	Viola
Bert Harry 	Trumpet
Roy Harte 	Drums
Alton R. "Al" Hendrickson 	Guitar
Francis L. Howard 	Trombone
Clyde L. Hurley Jr. 	Trumpet
Jules Jacob 	Sax (Tenor)
John Kee 	Trumpet
Barney Kessel 	Guitar
Harry Klee 	Flute, Sax (Alto)
Emanuel "Mannie" Klein 	Trumpet
Joe Knechtel 	Sax (Alto)
Joseph J. Koch 	Sax (Baritone)
Edward "Eddie Kusby" Kuczborski 	Trombone
Robert Lawson 	Sax (Baritone)
William Edward "Billy" Liebert 	Piano
Ray S. Linn Jr. 	Trumpet
Joe Lippman 	Leader
Jim Lynch 	Bass
Vito N. "Micky" Mangano 	Trumpet
J.W. Marshall 	Guitar
Jack W. Marshall 	Guitar
William Martinez 	Saxophone
Murray McEachern 	Trombone
Johnny Mercer 	Duet, Vocals
Hubert Meyers "Bumps" 	Sax (Tenor)
Ella Mae Morse 	Duet, Vocals
Ted Nash 	Sax (Tenor)
Richard L. Noel 	Trombone
T. "Tom" Pederson 	Trombone
Milton W. Raskin 	Piano
Alvino Rey 	Guitar
Nelson Riddle 	Leader
Paul Robyn 	Viola
Ted Romersa 	Sax (Tenor)
Edward Rosa 	Sax (Tenor)
James Rowles 	Piano
Meyer Rubin 	Bass
Joe Rushton 	Sax (Baritone)
Mischa Russell 	Violin
Babe Russin 	Sax (Tenor)
John Ryan 	Bass
Ray Sherman 	Piano
Shorty Sherock 	Trumpet
Abe Siegel 	Bass
Raymond "Ray" Sims 	Trombone
Lou Singer 	Drums, Xylophone
Charles Singleton 	Composer
Freddie Slack 	Leader, Piano
Eleanor Slatkin 	Cello
Felix Slatkin 	Violin
Paul T. Smith 	Piano
Vernon "Geechie" Smith 	Trumpet
Marshall Sosson 	Violin
Bruce Squires 	Trombone
Phil Stevens 	Bass
Alvin Stoller 	Drums
Cliffie Stone 	Bass, Leader, Producer
Billy Strange 	Guitar
Paul Tanner 	Trombone
George Van Eps 	Guitar
Paul Weirick 	Leader
George Wendt 	Trumpet
Speedy West 	Guitar (Steel)
Fred Whiting 	Bass
Gerald Wiggins 	Piano
Leonidas Raymond "Lee" Young 	Drums
Simon H. "Si" Zenthner 	Trombone 

The first high-profile single-disc compilation of the great Ella Mae Morse since 1992’s Capitol Collectors Series -- which itself was the first time her recordings were reissued in years -- Bear Family's 2010 disc Rocks trumps its predecessor by a country mile, offering 34 tracks cut between 1942 and 1957. This is a far greater time span than Capitol Collectors Series, which sampled her ahead-of-their time sides of the ‘40s, and it has a distinct focus on her rocking sides, trimming away numbers that might wind up sounding a bit too much like standard big-band fare. Ironically, the sides she cut during rock & roll’s ‘50s heyday sound closer to big band than the wild jump blues she cut in the ’40s, but ultimately, such distinctions are little more than talking points because what’s here is dynamite, and some of the rockingist blues and jumpingist rock you’ll ever hear. ---Stephen Thomas Erlewine, AllMusic Review

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A1 	Rock Me All Night Long 	
A2 	Money Honey 	
A3 	I Love You, Yes I Do 	
A4 	Daddy, Daddy 	
B1 	Teardrops From My Eyes 	
B2 	5-10-15 Hours 	
B3 	Have Mercy Baby 	
B4 	How Can You Leave A Man Like This

Ella Mae Morse - vocals
Big Dave And His Orchestra

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. ---Greg Adams, AllMusic Review

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