Elvis movies never came bigger than Blue Hawaii, the 1961 romantic musical comedy whose success helped push Presley into near full-time filmmaking for the bulk of the '60s. Not only was the flick a hit but so was the soundtrack, going Gold by the end of 1961, a success partially fueled by the ballad "Can't Help Falling in Love," a song so good it suggests the rest of the record might contain other gems. That's not the case. The record has its moments, including the dreamy title track, but as an album, Blue Hawaii is undone by a film that demands a good chunk of its tunes carry a Hawaiian flavor. Often, this mid-century Polynesian exotica has its charms – Elvis croons sweetly on the swaying luaus and everybody involved has the good sense to embrace the project's inherent silliness, letting themselves josh around on deliberate fluff like "Rock-A-Hula Baby" and the vaudevillian rhumba that's "Beach Boy Blues." Both of these are ridiculous but on record, they're slightly preferable to the steady march of island tunes ("Aloha Oe," "Ku-U-I-Po," "Island of Love," "Hawaiian Love Song"), all silver screen corn performed with a bit more panache than they deserve.

Dr. John first became a star by taking the sounds and traditions of New Orleans blues, jazz, and R&B and twisting them into new forms as evidenced by his run of early Atlantic and Atco albums form 1969's Gris Gris and 1974's hit, In The Right Place. As time went by, he would become one of the strongest proponents of the Crescent City's musical heritage, celebrating the songs that made the city – as well as the men and women who made them – great. (1982's The Brightest Smile in Town, 1992's Goin' Back to New Orleans, and 2014's Ske-Dat-De-Dat: The Spirit of Satch being three representative exsamples.)

In the years after Elvis Presley but before the Beatles, Cliff Richard was the biggest thing in British rock & roll – and in the years after the Beatles, he was never far from the top of the U.K. charts. Arriving in 1958, just a couple of years after skiffle swept Britain, Richard was the first English singer to approximate the hip-shaking rebellion of American rock & roll with his 1958 debut single "Move It." A smash hit right out of the gate, "Move It" kicked off an astonishing five decades' worth of hits (as of 2014, his last time in the U.K. Top Ten was in 2008, when "Thank You for a Lifetime" went to number three).

Groove Records was a subsidiary of RCA Victor records, founded by Billboard writer Bob Rolontz in 1953 as a rhythm and blues label. The label tried hard to break into the R&B market. Piano Red had its first hit but Mickey & Sylvia was its first big seller. The label also recorded King Curtis, Arthur Crudup, Brook Benton and George Benson. Following Mickey & Sylvia's big hit "Love Is Strange" in 1957, Groove was deactivated and its remaining artists switched over to RCA's Vik subsidiary.

Simon & Garfunkel The most successful folk-rock duo of the 1960s, Paul Simon and Art Garfunkel crafted a series of memorable hit albums and singles featuring their choirboy harmonies, ringing acoustic and electric guitars, and Simon's acute, finely wrought songwriting. The pair always inhabited the more polished end of the folk-rock spectrum and was sometimes criticized for a certain collegiate sterility. Many also feel that Simon, as both a singer and songwriter, didn't truly blossom until he began his own hugely successful solo career in the 1970s.

Includes ‘pioneers’ like Cock Sparrer, Slaughter & The Dogs and Menace via flag bearers like Angelic Upstarts and Cockney Rejects through to Oi! legends The Business, 4- Skins, Last Resort and Infa-Riot and not forgetting lesser known bands like Criminal Class, Subculture and Case. It’s all killer and no filler!