With the CD issue of the studio recordings by Willie and the Poor Boys -- former Rolling Stone Bill Wyman and a host of the most enduring session and touring players in British rock music history -- listeners get to reconsider not only the songs themselves, a smoking batch of early rock roll, country, RB, and even soul recordings, done in a loose but expertly played fashion, but the root of rock roll itself as played and felt during its golden age. But these yobs are no mere archivists. They were out to have a ball and let the music speak for itself. These tunes are not terribly concerned with authenticity. But they are with the spirit of the thing These were not recordings made to bring some new light to bear on nuggets of rock and soul's golden age. They are what they are: a slew of amazing songs played by a great amalgamated and ever-rotating group who could care less about showing off their individual chops, but are content with getting together and playing the music that drew them in the first place. As such, it works here shockingly well. Paul Rodgers' vocals on Otis Redding's These Arms of Mine, and Little Richard's Slippin' and Slidin (with killer roots guitar work from Jimmy Page). are among the most convincing of his career. Likewise, moody rocker Chris Rea's vocal read of Baby, Please Don't Go is astonishing. Geraint Watkins, known by many as Van Morrison's keyboard ace (and producer of Tres Chicas) turns in a killer lead vocal on Saturday Night and Chicken Shack Boogie, (not bad for a guy who everybody thought couldn't sing). Ray Cooper, percussionist to the stars -- and some regular blokes, too -- sings his skinny ass off on Lee Dorsey's nugget Can You Hear Me?. But it's not just the singers who provide satisfaction here. Guitarists Andy Fairweather Low and Mickey Gee are killer throughout. The horn section's Steve Gregory and Willie Garnett add heft and weight to this entire orgy of rock and rhythm. Speaking of rhythm, the drummers here are none other than fellow Rolling Stone Charlie Watts, ex-Faces and Who drummer Kenney Jones, Eric Clapton skinman Henry Spinetti, and Rockpile's rhythm ace Terry Williams. These cats push the proceedings into the red, with splattering hi hat work and popping snares. With Wyman manning the bass with fingerpopping groove and grit, guests in the chair were utterly unnecessary. Fairweather Low is also a smashing vocalist, as evidenced on a burning read of Hudson Whittaker's Let's Talk It Over (Don't You Lie to Me). The awesome thing about the set, brief as it is, is that despite the many players it sounds like a band, a whole band, experienced, rehearsed, and smashing. The final (and title) cut on the Poor Boys studio album is a great pastiche/medley written by Wyman. Lyrics from all the songs are used and so are themes, it's a seamless, wooly monster. The remastering job is terrific and if ever there were a record to take the roots sound and make it fun again, it was this motley crew. ~ Thom Jurek, Rovi

1		Baby Please Don't Go
2		Can You Hear Me
3		These Arms of Mine
4		Revenue Man (White Lightening)
5		You Never Can Tell
6		Slippin' and Slidin'
7		Saturday Night
8		Let's Talk It Over
9		All Night Long
10		Chicken Shack Boogie
11		Sugar Bee
12		Poor Boy Boogie