BOX SET : Roots in a Box: Early Elvis, R&B;, Country

When Elvis Presley’s career is recounted, the names of Sun Records owner-producer Sam Phillips and Presley’s manager, Tom Parker, are inescapable. Phillips discovered Presley and Parker guaranteed his superstardom.

But don’t forget Jim Hamill.

He’s the gospel singer who turned down the teen-age Presley’s bid to join his group the Songfellows. Disheartened, Presley then went over to Sun Records.

The story of that pivotal moment is contained in Charles Wolfe’s liner notes for a new two-disc box set focusing on Presley’s gospel side. The package is one of five sets that would make appealing holiday gifts for anyone interested in early rock or its roots.

*** “Elvis Presley--Amazing Grace: His Greatest Sacred Performances,” RCA (two discs). Casual fans beware: Despite stirring vocals, several of the songs in this 55-track collection are weak and the arrangements are sometimes careless. For the rock historian, however, the set is a must. Its highlights offer a look into Presley’s musical instincts and the development of his ballad style.

***** “The Sun Record Collection,” Rhino (three discs). The Songfellows’ loss was Sun Records’--and rock ‘n’ roll’s--gain. But even without Presley’s gems, Sun was the greatest of the early rock labels. Other Rock Hall of Fame members represented here: Howlin’ Wolf, B. B. King, Jerry Lee Lewis, Roy Orbison, Ike Turner, Carl Perkins and Johnny Cash. This set is as close as we can get to hearing the birth of rock.

**** “The Specialty Story,” Specialty (five discs). Art Rupe’s Specialty Records ranks with Chess and Atlantic as the most important of the ‘50s R&B; record companies--a Los Angeles firm whose roster included Little Richard (represented by 19 tracks), Lloyd Price, Larry Williams, Percy Mayfield, Roy Milton and the Soul Stirrers with Sam Cooke.

**** “The R&B; Box: 30 Years of Rhythm & Blues,” Rhino (six discs). The Rhino team may have served us better by assembling smaller boxes, each devoted to specific R&B; eras. This massive overview (Louis Jordan’s “Five Guys Named Moe” to Ike & Tina’s “Proud Mary”) was bound to omit hits that some fans deem essential (such as the Crows’ “Gee,” one of the most important pop crossover hits of the mid-’50s) and include hits from one era that fans of another couldn’t care less about. Still, it’s a remarkable collection that captures the heartbeat of a great strain of American pop.

*** 1/2 “Honky Tonk Girl: The Loretta Lynn Collection,” Decca (three discs). Jumping from R&B; to rock ‘n’ roll’s other main component. . . . Lynn’s country stardom in the early ‘60s came too late to influence rock the way, say, Hank Williams’ music did. But her singing and often wry material--such as “Don’t Come Home A’Drinkin’ (With Lovin’ on Your Mind)”--captured marvelously the honky-tonk passion and blue-collar sentiment that were an integral part of country’s pre-rock era.*