New Rock Catalogues Cover Several Decades

After saluting the company’s rhythm-and-blues roots last year with a generally excellent series of seven separate CDs, Atlantic Records now turns its attention to its impressive rock catalogue.

“Classic Rock 1966-1988”--which can be found around town for as low as $36--is a three-disc set that has some impressive features: an illustrated, 12-page booklet, at least 70 minutes of music on each of the discs and, most important, some truly classic rock.

Among the selections: Crosby, Stills & Nash’s “Suite: Judy Blue Eyes”; Led Zeppelin’s “Whole Lotta Love”; Derek and the Dominos’ “Layla”; the Rolling Stones’ “Brown Sugar” and Peter Gabriel’s “Solsbury Hill.”

Yet there is also a problem that would be true of almost any set that focuses on 22 years of product by a single record company. Consumers are fans of styles of music and artists, but few are fans of major record companies--the most notable exception being Motown.

In the case of “Classic Rock 1966-1988,” fans of those records cited--mostly from the ‘60s and early ‘70s--may find little of interest in ‘80s artists who dominate Disc 3: Julian Lennon, Twisted Sister, Ratt, Mike + the Mechanics, White Lion or Yes.

The problem of too much diversity wasn’t an issue in the rhythm-and-blues discs because each disc covered a shorter period of time (normally just three to four years), allowing each disc to reflect a more consistent vision.

Focus is an issue that also surfaces in RCA’s equally ambitious “Nipper’s Greatest Hits” CD series--five discs, each selling for about $13 and saluting 20 RCA country, rock, pop and R&B; hits from various decades. Two discs are devoted to the ‘50s, two to the ‘60s and one to the ‘70s. Running time ranges from 53 minutes to 68 minutes, depending on the disc.

The mix of styles makes for some strange disc-mates. On “The ‘50s, Vol. 1,” the selections go from Dinah Shore’s “My Heart Cries for You” and Mario Lanza’s “Be My Love” through Elvis Presley’s 1956 hit of “Heartbreak Hotel” to Jim Reeves’ 1959 recording of “He’ll Have to Go.”

MCA’s “The History of Hi Records Rhythm & Blues” CD series sidesteps the problem of focus because the heart of the small Memphis-based label revolved around a sensual, soulful sound largely designed by producer Willie Mitchell.

In these recordings, mostly from the early ‘70s, Mitchell assembled an especially talented group of lead singers. Among them: Ann Peebles, Otis Clay, Syl Johnson and, especially, Al Green, arguably the most affecting male solo singer since Otis Redding.

Each budget-line disc (around $10) contains two bonus tracks but runs only 34 and 38 minutes respectively.