The album may be dead, but it's certainly not forgotten. TIME's critics have chosen the 100 greatest and most influential musical compilations since 1954.
It’s no great surprise that the second half of this chronologically ordered collection sags in direct proportion to the Big E’s waistline. Still, given that most of his RCA albums had valleys of filler that would shame anyone but Colonel Parker, this is the best way to hear Elvis the Superstar. “Hound Dog,” “All Shook Up,” “Are You Lonesome Tonight” and the ever zany “Suspicious Minds” still sound fresh and immediate—impressive given how many times most the world has heard them—and show off the diversity of Elvis’ singing, from the purity of his gospel falsetto to his rock and roll purr. The liner notes, written by Elvis biographer Peter Guralnick, provide excellent accompaniment.
Muddy Waters brought the blues from the Delta to the city. This meant not only his own journey from Mississippi to Chicago, but his remarkable writing, which expressed the lives and thoughts of the newly-urban black working class. The Anthology collects fifty songs from his classic era, most originally released on the Chess label (not that there aren’t other great Waters songs from before and after these years). His massive, sonorous voice, backed by the finest bands in the genre (the training ground for such stars as Little Walter, Buddy Guy, and James Cotton), makes his deceptively crafted lyrics sound like sermons from the mount. “Mannish Boy,” “I Just Want to Make Love to You,” “(I’m Your) Hoochie Coochie Man” — they’re all here, laying the groundwork for the rock & roll that followed.
Sue me, but I like Betty Draper/Francis as a character. The problem is that Mad Men doesn’t. Betty’s not the worst character on the show, but she’s probably the worst-served.