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Jerry Lee Lewis – The Golden Hits Of Jerry Lee Lewis
Label: Smash Records – MGS 27040
Format: Vinyl, LP, Album, Mono
Country: US
Released: 1964
Genre: Rock
Style: Country Rock, Rock & Roll

Tracklist
A1 Whole Lotta Shakin' Goin' On
Written-By – Curlie Williams*, S. David*
2:35
A2 Fools Like Me
Written-By – Jack Clement, M. Maddux*
2:37
A3 Great Balls Of Fire
Written-By – Jack Hammer, Otis Blackwell
1:45
A4 I'll Make It All Up To You
Written-By – Charlie Rich
2:40
A5 Down The Line
Written-By – Roy Orbison
1:52
A6 End Of The Road
Written-By – Jerry Lee Lewis
1:48
B1 Breathless
Written-By – Otis Blackwell
2:36
B2 Crazy Arms
Written-By – Charles Seals*, R. Mooney*
2:25
B3 You Win Again
Written-By – Hank Williams
2:57
B4 High School Confidential
Written-By – Jerry Lee Lewis, Ron Hargrove*
2:17
B5 Break-Up
Written-By – Charlie Rich
2:20
B6 Your Cheating Heart
Written-By – Hank Williams
2:27

Recorded At – Sun Studios
Engineer [Assisted By] – John Hester, Ray Butts
Engineer [Recording] – Billy Sherrill
Liner Notes – Eddie Kilroy
Producer [Recording Director] – Shelby Singleton*

This album was recorded monaurally and stereophonically at Philips Recording Studio, Nashville, Tennessee. Instruments and mikes used were as follows: Piano (Telefunken U-48); Guitars (Telefunken U-48, & RCA 77-D); Drums (Telefunken U-47, Sony, and E/V 600); Vocal Group (Telefunken U-47); Horns (Telefunken U-47); Horns (Telefunken U-48); Violins (Telefunken U-48); Solo Voice (Telefunken U-48); Organ (Direct to console). The session was recorded on Ampex tape recorders at a speed of 15 inches per second.

Recorded 1963
Matrix / Runout (Side 1 - Stamped): MG 27040A S1
Matrix / Runout (Side 2 - Stamped): MG 27040B S1


SOUND TESTED - BUYER APPROVED
RECORD PLAYS VG > VG+
COVER IS G+ > VG
INLAY IS EX
https://www.youtube.com/watch?v=5l1aHOllPOg
https://www.youtube.com/watch?v=_0cudFSoNSI
https://www.youtube.com/watch?v=kwFCZLroB8I
https://www.youtube.com/watch?v=Dw0wwVOcIiw
(EXAMPLE NOT ACTUAL)




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FYI



Jerry Lee Lewis (born September 29, 1935), also known by the nickname The Killer, is an American rock and roll and country music singer, songwriter, and pianist. An early pioneer of rock and roll music, Lewis was inducted into the Rock and Roll Hall of Fame in 1986 and his pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame. In 2004, Rolling Stone Magazine ranked him #24 on their list of the 100 Greatest Artists of All Time. In 2003, they listed his box set All Killer, No Filler: The Anthology #242 on their list of "500 greatest albums of all time".

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In music, a single or record single is a type of release, typically a recording of fewer tracks than an LP or a CD. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular songs from albums that are released separately for promotional uses such as commercial radio airplay, and in other cases a recording released as a single does not appear on an album. 45 rpm records are played on a record player or turntable. They can be played one at a time, with the records changed manually after they finish, or a stacking spindle could be used to play up to six in succession without manually changing them. The use of the spindle led to the coined "Stack O Wax" term in the 1950s.

History
The basic parameters of the music single were established in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12?/30 cm). By around 1910, however, the 10-inch (25 cm) 78 rpm shellac disc had become the most commonly used format.

The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The relatively crude disc cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, and a high rotation speed was necessary to achieve acceptable recording and playback fidelity. 78 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm.

These factors, combined with the 10-inch songwriters and performers increasingly tailored their output to fit the new medium. The 3-minute single remained the standard into the 1960s when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recordings. In 1968 songwriter Jimmy Webb shattered the standard 3 minute format with "MacArthur Park" which exceeds 7 minutes length. Although Webb had written million-selling songs and was a multiple Grammy winner, the song had been rejected by several labels as simply too long for the marketplace to bear. The Beatles' also challenged deliberately the long-standing 3-minute standard for pop singles with their 1968 7 minute 20 second single "Hey Jude" which according to some was extended in length in order to exceed "MacArthur Park"

Singles have been issued in various formats, including 7-inch (18 cm), 10-inch (25 cm) and 12-inch (30 cm) vinyl discs (usually playing at 45 rpm); 10-inch (25-cm) shellac discs (playing at 78 rpm); cassette, 8 and 12 cm (3- and 5-inch) CD singles and 7-inch (18 cm) plastic flexi discs. Other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc (5?/12 cm, 8?/20 cm, etc.).

The most common form of the vinyl single is the 45 or 7 inch, the names are derived from its play speed, 45 rpm and the standard diameter 7? (18 cm).

The 7? 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s.

Although 7? remained the standard size for vinyl singles, 12? singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12? discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they 'wore' better, and were less susceptible to scratches. The 12? single is still considered a standard format for dance music, though its popularity has declined in recent years.

The sales of singles are recorded in record charts in most countries in a Top 40 format. These charts are often published in magazines and numerous television shows and radio programs count down the list. In order to be eligible for inclusion in the charts the single must meet the requirements set by the charting company, usually governing the number of songs and the total playing time of the single.

In popular music, the commercial and artistic importance of the single (as compared to the EP or album) has varied over time, technological development, and according to the audience of particular artists and genres. Singles have generally been more important to artists who sell to the youngest purchasers of music (younger teenagers and pre-teens), who tend to have more limited financial resources. Perhaps the golden age of the single was on 45's in the 1950s and early 1960s in the early years of rock music. Starting in the mid-sixties, albums became a greater focus and more important as artists created albums of uniformly high quality and coherent themes, a trend which reached its apex in the development of the concept album. Over the first decade of the 21st century, the single generally received less and less attention in the United States as albums, which on Compact Disc had virtually identical production and distribution costs but could be sold at a higher price, became most retailers' primary method of selling music. Singles continued to be produced in the UK and Australia but have declined since the mid first decade of the 21st century.

Dance music, however, has followed a different commercial pattern, and the single, especially the 12-inch vinyl single, remains a major method by which dance music is distributed.

As of 2006 the single seems to be undergoing something of a revival. Commercial music download sites reportedly sell mostly single tracks rather than whole albums, and the increase in popularity seems to have rubbed off on physical formats. Portable audio players, which make it extremely easy to load and play songs from many different artists, are claimed to be a major factor behind this trend.

A related development has been the popularity of mobile phone ringtones based on pop singles (on some modern phones, the actual single can be used as a ringtone). In September 2007, Sony BMG announced they would introduce a new type of CD single, called "ringles", for the 2007 holiday season. The format included three songs by an artist, plus a ringtone accessible from the user's computer. Sony announced plans to release 50 ringles in October and November, while Universal Music Group expected to release somewhere between 10 and 20 titles.

In a reversal of this trend, a single has been released based on a ringtone itself. The Crazy Frog ringtone, which was a cult hit in Europe in 2004, was released as a mashup with Axel F in June 2005 amid a massive publicity campaign and subsequently hit #1 on the UK charts.

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SMASH Records
Created by Mercury Records in 1961 to release material outside its focus at the time on pop and orchestral music. Shelby S Singleton Jr. was put in charge of the label. It was run by Singleton with Charlie Fach. Fach took over after Singleton left Mercury in 1966. After Philips bought Mercury and established Fontana as a subsidiary for international music, Smash became a de facto country label with some rock, R&B and pop mixed in. 

Notable artists include Bruce Channel, Dickey Lee, The Walker Brothers, The Angels, Bill Justis, The Left Banke, The Swingin' Medallions, Jimmy Castor, Jay And The Techniques, the Sir Douglas Quintet and James Brown (briefly, during a contract dispute with King Records (3) in 1962-64). 

The label lasted until 1970 when Roger Miller and Jerry Lee Lewis, by then a country artist, were moved to parent label Mercury. Singleton left Mercury in 1967 and bought Sun Records from Sam Phillips two years later. 

It was revived three times since then (in 1979 as a reissue label, in 1985 as a country label and in 1989 for PolyGram's late 1980s Timepieces reissue 45 series for singles originally on Smash's All Time Hits reissue series, using a reproduction of that label [later copies were issued on Mercury]), each occasion short-lived. 

In 1991, PolyGram decided to reactivate Smash Records one more time under the PolyGram Label Group -- this time, as a Dance and Club music imprint with a completely new logo, effectively putting an end to the previous era and changing the label's direction completely. In 1992, Smash was signed over to Island Records (an autonomous PolyGram subsidiary) as their second Dance imprint alongside Great Jones. 

The label had finally ceased operation permanently in 1996.

 

(THIS PICTURE FOR DISPLAY ONLY)

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