EDDIE CASH - DOING ALL RIGHT (10"+CD)

This 10" single from Sleazy Records' Ten X Ten series includes those singles plus the Sun recordings, making a total of 9 tracks of the best rock 'n' roll made in Memphis in the late 50s.
He kicked things off with "Doing All Right," probably his best-known track, recorded with his then-band, The Cashiers, and a powerful rock 'n' roll anthem driven by tremendous drumming and an unbeatable rhythm. The B-side was "Land of Promises," a more pop-oriented, shorter track with a nice guitar and piano combination. The second single for Peak included "Come On Home / Day After Day." The B-side was an absolutely saccharine song that hasn't been included on this 10-inch. "Come On Home," on the other hand, is a good rock 'n' roll track, but the addition of backing vocals weakens it, leaving the final result several notches below his first single.
In 1959, Eddie entered Sam Phillips' studio and had none other than the bulk of Billy Riley's Little Green Men as his backing band, with Roland Janes on guitar, Martin Willis on saxophone, and Riley himself on bass. Eddie himself confessed that he was never completely satisfied with that session, but the truth is that he recorded two killer tracks: the incredible "Little Bitty Pretty Girl" and a great cover of Hank Williams' "Hey Good Lookin'," both with a total rock groove and the unmistakable Sun Records sound.
After the Peak adventure, and after the two singles released there had been virtually no impact, undoubtedly due to the poor promotion the Lansky brothers gave to all the singles released on Peak, Eddie had the opportunity to record a new single for Todd. This included "Thinkin' Man," a rather bland and cheesy rock 'n' roll number (again, the backing vocals were a letdown), and "Livin' Lovin' Temptation," which, despite being a slower track, was much more appealing than the previous one, thanks to the evocative atmosphere created by the guitar riffs and backing vocals, which this time successfully complemented Eddie's excellent voice. The record was well-promoted by Todd this time, but it still failed to achieve any significant success.
Eddie left Memphis for Chicago and began trying to relaunch his career, bringing along new musicians and recording demos that he planned to send to some of the local record labels. However, these tracks ended up in the hands of Roulette Records, who, without hesitation and with the consent of their manager but without Eddie's, released them as a single. Eddie was extremely upset, as he considered both tracks to be mere demos recorded live in a garage, lacking the necessary production quality for release. "Lonely Island" is a slow, bluesy track with undeniable energy and a powerful feel, while "Stormy Weather" is a rather novelty take on this jazz classic, leaving one somewhat unsure of its direction. As expected, the single was another flop.
After this period, it seems that Eddie continued performing live and managed to land a show in Las Vegas that kept him active for more than two decades.
As is customary in this series, the album is pressed on colored vinyl, red this time, and the track selection, liner notes, and cover design were handled by the usual trio: Leo Castro, Aisha Khan, and Berto Martínez, in that order. It's a good compilation about a great artist who didn't yet have a full album dedicated to him, but it's marred by a small but important detail: the cover illustration isn't of Eddie Cash, but of Pat Kelly, an obscure 1950s rocker, also with big ears like Cash, but who wasn't even a distant relative.

Doing all right

Come on home

Land of promises

Little bitty pretty girl

Stormy Weather

Lonely Island

Thinkin' man

Hey good lookin'

Livin' lovin' temptation