This release on the German Vampirella Music label is virtually a re-release of the CD that first appeared on Rockabilly Hall Of Fame RABHOF CD 102, the exception being this time around there are now two differing edits of the rockabilly treatment of the Police hit "Every Breath I Take" and both work. Listening to the CD again, the previous opinion that this is a release with a high quality of musicianship and vocals throughout is reinforced. Particularly appealing are the reworking of Dire Straits "Walk Of Life", the harmonies on Bill Monroe's "Little Cabin On The Hill" and the superb reading of Presley's "I'm Counting On You" and "Let Me".

There are several original numbers with "In The Groove" being a tribute song to the r 'n' r greats and "Nickname Of The Game" being a paean of all the lovely femmes that you can't live without (and sometimes can't live with). "Sad And Blue" is fast paced rockabilly as is "Un Vizioso Come Me" which is sung in Italian. The only track, which does not really work, is the jazzy "Rockabilly's On My Mind" but sixteen good tracks out of seventeen is not a bad ratio.

Marco DiMaggio was at the rock 'n' roll festival in Las Vegas last Easter and he left many gob smacked with his guitar picking and vocal abilities - this CD is a fine representation of where his exceptional talent was a couple of years back.

© Tony Wilkinson
June 2000

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The liner notes of this release advise that Rick Hollow is a drummer, vocalist disc jockey, label owner, A&R man and a passionate worker in the rock 'n' roll field, generally a person of many skills. Certainly on the evidence presented here, he is a first rate drummer and a good vocalist.

The CD consists of a number of tracks by Hollow and his band in their own right whilst cuts include guest appearances. Taking the former category, attention was immediately drawn to the intriguing mid pace rockabilly treatment of Simon & Garfunkel's "Sounds Of Silence" which took a few listens before gaining acceptance, I now love this version. Quite a few cuts are originals and really exceptional is Rick's "Howl And Yell", this really rocks while "Millennium Bop", "Kiss", "Li'l Miss Waitress" and "Still Boppin' " are tasty rockabilly. "Mean Red Spider" is a jazzy blues shuffle and Buddy Holly's "Peggy Sue" is provided with a real slap bass workout.

Onto guest appearances, two outstanding cuts have to be Rick along with Darrel Higham on "Mean Ol' Train" (which bops away like nobody's business) and Italy's own Di Maggio Brothers on Leon Payne's "I Love You Because" which is given a jazzy country bop shuffle treatment with vocal back-up. There are four tracks featuring the boogie woogie piano playing of Bob Hardy and the R&B vocals of Andy Parker, namely the jump jive of "Be Sharp", "Goin' Fishin' " and "Someday You're Gonna Treat Me Right" whilst the shuffle treatment of Carl Perkin's "Everybody's Tryin' To Be My Baby" does not come off. Finally there is Southend on Sea's own Steve Hooker on "Don't Mess Around" which is a mid tempo R&B rocker complete with slurred vocals.

A CD of varied styles, the majority of which are more than competently performed.

© Tony Wilkinson
June 2000

This is the second release by Leroy Davis and seemingly is a previous LP release with the addition of two bonus tracks, a harmonious treatment of Carl Perkins "Turn Around" and a straight faithful rendition of Buddy Holly's "Rock Around With Ollie Vee". A similar styling to the last mentioned is served up on Holly's "Blue Days, Black Nights" which is quite tasty. Leroy's stab at Charlie Rich's "Rebound" does not quite come off as the piano is missing, this whole CD being performed by the competent trio of Davis on vocals/ guitar/ drums, Rick Hollow on drums and Doc Kennel on stand up bass.

There is a whole clutch of originals by Leroy ranging from the excellent instrumentals "Sunburst" and "Crazy Jam", the John Lee Hooker inspired "Voodoo Love" to the outright rockabilly styling of "I'm Through", "One Mo' Whiskey", Sweet 'n' Slow" and "Baby Don't Likes". Drummer Rick Hollow's "Mean Red Spider" is given a bluesy shuffle feel, which is more than acceptable.

"Power Of Goodbye " is a great mid paced rockabilly song given a fine treatment whilst Jimmy Wakely's "I'll Never Let You Go" is provided with an up tempo work out which comes up only so so but "The Loosin' Side" complete with a sublime faltering slap bass and "Long Walk Back" are just fine.

Overall an enjoyable set from some good young musicians.

© Tony Wilkinson
June 2000

These two releases constitute part of the on-going raids by Westside Records on the vaults of the country recordings made by Cincinnati based King Records and provide further amplification of the roots of rock 'n' roll, especially in the case of the Mullican cuts which date from 1946 and 1947 and include five sides never previously released. As such, historically they are most welcome releases but perhaps it is best to let the music speak for itself.

By the time he came to record the first 18 of the 23 tracks included on this release at Cliff Herring's studio in Fort Worth for Syd Nathan in one lengthy recording session in 1946, Moon was already a 37 year old show business veteran - having started out on a musical career a the age of 14. He cut his teeth in various bars and dives plus a whole heap of bands mixing in elements of country, blues and whatever else he came across to formulate his unique style which was labelled as "Texas Socko" or "East Texas Sock" - albeit that it is a close kin to western swing. The excellent liner notes by Kevin Coffey tell us that the musicians comprising the Showboys at the end of the summer of 1946 were probably lead guitarist Mutt Collins, Tiny Moore who served as a fiddle player/electric mandolinist, Cotton Thompson on back up vocals and fiddle, Lonnie Hall also on fiddle, Richard Prine on drums and Reggie Ward on bass. "Showboy Special" and "Shoot The Moon" are both high octane instrumentals with the latter having some first rate guitar work whilst "Let Me Rock You Baby" and "What Have I Done That Made You Go away" are where western swing meets jump 'n' jive and "Don't Ever Take My Picture Down" is near rockabilly, all of the last mentioned are marvellous stuff.

Whilst I personally could have done without the instrumental "Moonshine Polka" and the rather dirgy "When A Soldier Knocks And Finds Nobody Home", their inclusion is relevant as they were typical of the sounds of that period. However the "New Milk Cow Blues", featuring Cotton Thompson on vocals, is a first rate blues thumping slowie and the same guy is featured on the up tempo "I Can't Love You". "Worries On My Mind" has to be an early forerunner to "I'll Sail My Ship Alone" whilst Moon's biggest record of the period "New Pretty Blond (Jolie Blon) serves up a humorous version of the Harry Choates classic. The same can be said for "Jolie Blon's Sister" which is a slightly later recording whilst Mullican's interpretations of "Columbus Stockade Blues" and "Foggy River" are delightful country boppers.

The release by Bonnie Lou reveals a singing thrush with a really great voice and is an overview of her career on King Records between 1953 and 1958. Her early recordings included hereon are fine examples of a country artist trying to obtain a crossover hit - indeed in some ways she can be considered to be Syd Nathan's challenge Patti Page which is borne out especially on "Dancin' With Someone" and "Blue Tennessee Rain" which are close cousins to "The Tennessee Waltz". Other tracks such as "Pa-Paya Mama", "Don't Stop Kissing Me Goodnight" and "Tennessee Mambo" have Latin rhythms and are reminiscent of tracks recorded by Georgia Gibbs. The roles were reversed on the toe tappin' "Seven Lonely Days" as this was covered by Miss Gibbs. In a similar style to the last mentioned, and great country boppers are "Two Step, Side Step", "Huckleberry Pie" and "Tennessee Wig Walk". Mention must be made "Just Out Of Reach (Of My Two Empty Arms)" which was her first record for King and was a top ten country hit in 1953 - this tune, originally recorded in 1951 by The Stewart Family, of course has since become a country and soul classic via versions by the likes of Patsy Cline, Faron Young and Solomon Burke. There is a distinct hint of yodel in Bonnie's voice on this one. Before we leave this period of Miss Lou's career, special focus must be given to her treatment of Jimmie Rodgers "Train Whistle Blues" which is given a powerful bluesy performance complete with trumpet etc. a la Rodgers and great guitar work.

Come 1955, Syd Nathan was pushing Bonnie in the direction of the emerging devil's music, namely rock 'n' roll, and got her to perform a sanitized version of the big beat but in actuality it was not that far removed from her "Tennessee Wig Walk" styling. This is amply borne out by her big popular chart hit "Daddy-O" covered in the USA by The Fontaine Sisters for Dot Records. On all of these recordings, the musicianship is first rate and somewhat similar in styling to that adopted by Boyd Bennett. There are a couple off tracks, such as "Teenage Wedding" and "No Rock 'n' Roll Tonight" that fit in well with the Kay Starr "Rock And Roll Waltz" school of singing. Much of the remainder is well in keeping with the pop side of rock 'n' roll served up during the mid fifties by the major labels and other leading independents such as Dot Records which is to say it is all pleasant, good to dance to but not at the cutting edge of r 'n' r. Bonnie's final session for King was in January 1958 which included a duet with Rusty York on a cover of Billy and Lillie's "La Dee Dah" but not even Syd Nathan could overcome the plugging by Dick Clark on American Bandstand. All in all, this is an enjoyable compilation, which comes complete with first rate liner notes from Dave Penny.

Tony Wilkinson
© May 2000

Served up here is a new mini CD of seven tracks from Graham Fenton's Matchbox, five of which are covers and two originals although of the latter, the version of "Rockabilly Rebel" included hereon is a faithful and close re-cut of the chart making song for the band when they were on Magnet Records.

It is not clear from the CD liner when these titles were recorded but as the photographs include drummer Wild Bob "Sledgehammer" Burgos in the group's line-up, I guess that they must date from a little while back. Matchbox have always been a popular draw on the rock 'n' roll club circuit and these cuts demonstrate the reason why - laying down a modern sock driving dancing rhythm.

The set opens up with a good version of Billy Swan's "Drivin' Wheel" and is followed by a rockabilly treatment of The Valentinos "It's All Over Now". This is the song probably best known from the rather lame cover version by The Rolling Stones who first heard the ditty on the car radio whilst driving to a show date in Texas. (It's a good bet they were actually listening to a cover by The C&C Boys on Duke Records). "Wash Machine Boogie" by The Echo Valley Boys has long been a cult favourite and there is nothing wrong with this interpretation by Matchbox.

In 1975, Jona Lewie had left Brett Marvin And The Thunderbolts (aka Terry Dactyl And The Dinosaurs) and had set out on a solo career. For Jona, "Stop The Cavalry" was still a little way off but he nearly made it from the outset with "Piggyback Sue" which was produced by Southend on Sea's Pete Eden. The song has Cajun overtones, which are retained on this version by Fenton and Co., but which now has a more pronounced rockabilly beat mixed in, nice one.

"Blue Skies" is the other group original, this being composed by the aforementioned Mr. Burgos. It is a fast tempo number that will have couples on the dance floor twirling away like crazy. Quite a while back, Dave Phillips & The Hot Rod Gang dished up a rockabilly treatment of Soft Cell's "Tainted Love" which really worked and I remember thinking at the time that "Radar Love" by Golden Earring could well stand the same sort of styling. Graham and the boys must have had the same thought as here the seventies hit is given a real slap bass workout, sparkling stuff.

Of its type, this is a good CD and is certainly going to help keep rockabilly music alive 'n' kicking. Available from Raucous Records, 8 Oxford Street, Leicester LE1 5XZ, England.

Tony Wilkinson
© May 2000

Every now and again in one's life, a most pleasant surprise takes place and on this occasion it was when this CD popped unexpectedly through the letter box and revealed itself to a set of live recordings made at the Olympia, Paris, France in 1965 by the undoubted Queen of rock 'n' roll - Wanda Jackson.

The sleeve notes inform that Wanda was over in Europe as the main support act to Roy Orbison and that this show was recorded on 23 March 1965 and aired on the weekly show "Musicorama" five days later. The backing was provided by the French group The Gamblers who were fairly typical of most European backing bands of this period in that they laid down an enthusiastic beat. This outfit feature an organ and piano in the line-up.

Wanda was obviously at a creative peak because that voice on this recording has the power to send chills up the back of one's neck - it is absolutely bloody marvelous. Packed with bags of snarl and growl, she screams and spits the lyrics out with a fervor on rockin' ditties of the ilk of "Rip It Up", "Hard Headed Woman" (two versions), "Honey Don't" and "Man, We Had A Party". She also turns in a sparkling version of the Big O's "Candy Man".

Also served up are two versions of her real country biggie "Right Or Wrong" and the set is rounded out with good versions of Wayne Walker's "Lost Weekend" and Bobby Bare's "Sympathy". The quality of the sound recording is first rate throughout and the packaging contains several photographs of Wanda in Paris at the time, very tasty.

Maybe the CD is a bit short on playing time but if that is all there is, then this will have to do. However, that's a minor gripe when listening to that voice. Search this one out, it is worth the effort.

Available from Big Beat Records, Jacklyn Music Ltd. 270 Carlton Road, Worksop, Nottinghamshire, S81 7LQ, England.

© Tony Wilkinson
April 2000

Westside Records have been raiding the vaults of King Records for a little while now and have come up with some real goodies - such as the compilation put together by Mark Lamar entitled "Roc-King Up A Storm" but, of course, we still await the definitive Hank Ballard & The Midnighters and Little Willie John collections. However with the two above release, they have turned their attention to the country output of Syd Nathan's recording empire and anybody who likes outstanding hillbilly boogie will be in seventh heaven.

Hawkshaw Hawkins gained a fair degree of immortality when he perished in the plane crash that also took the lives of Patsy Cline and Cowboy Copas and this no doubt helped to make the honky tonk shuffle "Lonesome 7-7203" his greatest, albeit posthumous, hit. However this casts an unwarranted shadow over the man's talent as this compilation clearly shows that Hawkshaw was equally at ease with weepers such as "The Life Of Hank Williams", "The Last Letter" and "Unwanted" and the boppin' country of "Dog House Boogie", "I Ain't Goin' Honky Tonkin' Anymore" and "The Shotgun Boogie", the last mentioned being a splendid version of the Tennessee Ernie Ford song. These boppers and the rockin' treatments served up on the superlative "Rattlesnakin' Daddy" and "Back To The Dog House" clearly show that the rockabilly revolution of a few years later was being conceived.

The Louvin Brothers wrote "When They Found The Atomic Power" but Hawkins here makes the song his own and, listening to this, it is not hard to realize what inspired Carl Perkin's "Tennessee". Hank Williams clearly was an inspiration and Hawkins duly pays homage with his excellent version of "Kaw-Liga". Others who served to formulate the Hawkshaw style were Ernest Tubb, here honoured with the interpretation of his "You Nearly Lose Your Mind", and Lefty Frizell who has his "I Love You A Thousand Ways" given a powerful treatment. Zeb Turner was/is not so well known as Hawkshaw but boy he sure can perform knock out country boppers such as "Tennessee Boogie", "Bad Man Boogie", "Chew Tobacco Rag", "Traveling Boogie" and "Jersey Rock". He also makes a good attempt at Peppermint Harris's R&B Classic "I Got Loaded", utilizing black horn players with a shuffle rhythm, a tinkling piano and a mellow steel guitar.

Zeb had a twenty track overview of his King Label recordings issued on Bear Family back in 1984, which was six years after his death in Montreal, Canada from brain cancer, and sixteen of these cuts are included on this CD but of those which were not included, "Why Don't You Haul Off And Get Religion" is a great country rocker and "Rag Man Boogie" is a great mid tempo swinger. However not all tracks are boppers as there are goes at weepers in the form of "Crazy Baby" and "I'm In Love With Someone (Who Can't Belong To Me)" and western swing with "Back Back To Baltimore".

This release, like it's Bear Family predecessor, demonstrates the guy was ahead of his time and he could have easily made the grade as a rockabilly singer of the first order.

Both CD's come complete with informative liner notes from Dave Penney and demonstrate, to quote the current vernacular, real roots music - wonderful stuff.

© Tony Wilkinson
March 2000

This release in fact is two vinyl L. P. s' by Earl Lewis and The Channels on one CD, the albums in question being "Take One" recorded 1973 and "Take Two" from 1973/74. This was the second group of Channels who on these tracks were backed up by the Billy Vera Band (who himself had a couple of hot hits, particularly the duet with Judy Clay on the Chip Taylor co-written and co-produced "Country Girl - City Man").

The first line-up of the Channels, albeit with personnel changes, existed between 1956 through to 1959 and had records issued on the Whirling Disc, Gone, Fire and Fury labels including the classic "The Closer You Are" plus "My Love Will Never Die", "That's My Desire" and My Heart Is Sad".

The group featured on the recordings on this CD were originally formed as the Earl Jades but changed their name to Earl Lewis And The Channels in the oldies revival of the late sixties and toured pretty constantly until their break up in 1975. Many of the tracks are taken at a slow smooch pace, such as "I Really Love You", "You Came To Me", "She's Not Coming Home" and "Close Your Eyes" - all of which are perfect for getting to close grips with your partner's body. The soaring falsetto of Lewis dominates on all tracks, especially on "Here In My Heart", "I'm Sorry You're Gone", "Dear Lord" and the splendid "I Want You". On the last mentioned, the bass voice of John Felix is also featured complete with chokin' huffs and puffs, marvelous stuff.

There are a few covers dotted throughout the compilation, notably two versions of the Cadillacs "Gloria", the Genies "Who's That Knocking", the Del Vikings "Come Go with Me", the Belmonts "Tell Me Why" plus "Robert & Johnny's "We Belong Together" and the Heartbeats "A Thousand Miles Away", all of which are served up with tight harmonies and remain true to the spirit of the originals. In fact, the consistent feature of this CD is vocal group singing of a high level.

Earl Lewis and (a subsequent formation of) The Channels are still treading the boards and based on the contents of this CD, they are a must see act.

(Contact Early Bird Records, PO Box 92, Valley Stream, New York 11580, USA - Tel: 516 538 8266).

© Tony Wilkinson
March 2000

LORD DENT & HIS INVADERS - Wolf Call/The Greaser/ KACT-TIES - Were Wolf/Let Your Love Light Shine/ GINO - Hand Clappin' Time/ BABY STICKS & THE KING-TONES - Pigmy/ SENATORS - Loretta/ PAUL & THE FOUR-MOST - Tight Spot/Cut Out/ MAD PLAIDS - Blood Rare/ PRECISIONS - Cleopatra/ AUGIE RIOS - Linda Lou/ WAILERS - Tall Cool One/Snake Pit/ HITCH-HIKERS - Dog Fight/ CYCLONES - Take Off/ WIGS - Chicken Switch/ BANDIDOS - Bandido/ MASK MAN & THE AGENTS - Roaches/ WADE CURTISS & THE RHYTHM ROCKERS - Rompin'/ PRINCE JESSE - Sarah Lee/ JAPANESE BEATLES - The Beatle Song/ MANDO & THE CHILLI PEPPERS - Congo Mambo/ DONY LEE MOORE - I'm Buggin' Out Little Baby. Playing Time: 56.38

This is the fifth CD release in recent times of tracks from the Golden Crest group of labels but is the first on the Norton label and is basically aimed at the North American market. As such it does duplicate the content of the other four releases but the music contained thereon remains just fine.

Special mention must be made of "Pigmy" by Baby Sticks And The King-Tones, which apparently was a regional hit in the Pittsburgh area. This has to be one of the ultimate all time great rock 'n' roll instrumentals and is taken a slow thundering menacing beat. There is an insidious guitar riff and a real bump 'n' grind sax honking away and is worth the cost of the CD alone.

One of the premier rockin' bands from the north west was Lord Dent (apparently so named as he was always crashing cars) & His Invaders who are represented by two fine sax lead instrumentals, namely the superb instrumental "Wolf Call" performed in such a way that it would even scare Lon Chaney Jnr. Stiff sufficiently to forget his naughty Wolfman ways and "The Greaser". The former title has been used at New Mexico football matches featuring the team Los Lobos and often has the 15,000 strong crowd (including actor Peter Fonda) chanting along to the chorus time. Top Golden Crest band The Wailers are represented by their smash hit classic "Tall Cool One" and the equally good "Snake Pit". Other good instrumentals included are "Hand Clappin' Time " by Gino - which has a Routers "Lets Go" style guitar pickin' from the Wailers Johnny Greek, "Tight Spot" and "Cut Out" by the east coast Paul And The Four-Most which are clearly Wailers inspired workouts plus "Blood Rare" by the Mad Plaids.

However this compilation does represent a balanced overview of the Golden Crest out put as it includes some rockin' vocals, none more so than the interpretation of the Ray Sharpe song "Linda Lou" by Augie Rios which includes sparkling guitar work by the aforementioned Johnny Greek, sufficiently sharp that it seems that Augie was content, after the break, to forgo the words and merely chant along with Johnny's picking. "I'm Buggin' Out Little Baby" by Donny Lee Moore is a good piece of rockin' teen beat whilst Prince Edward's "Sarah Lee" is a more R&B tinged stomper.

There is even a rock 'n' roll social message with "Roaches" by Mask Man (aka Harmon Beathea) And The Agents who went onto later fame as a soul band - this tune is the same song as originally performed by The Court Jesters. "Loretta" by the Senators is a goodie rockin' vocal group work out as are "Were-Wolf" and "Let Your Love Light shine" by The Kact-Ties.

In fact the only duff track on this release is the gimmicky "The Beatle Song" by the Japanese Beatles which is basically rubbish - otherwise this set is a splendid rockin' testament to Golden Crest's founder Clark Galehouse. The CD comes complete with plenty of photographs and interesting liner notes from the pen of Norton's Billy Miller. As Gene Vincent was known to utter - "Git It".

© Tony Wilkinson
February 2000

As will be blindingly obvious, this release is a vocal group compilation but wait just a moment, it is more than that as it comprises tracks culled from between 1953 with the Harptones classic "Sunday Kind Of Love" through to 1996 - and then they are not all American in origin as four emanate from Britain! This set has been put together by New York radio personality Mickey B (who has his own web site at www.mickeyb.com) and is rather tasty in content with plenty of varied selections. Particularly enjoyable is the 1958 rendition of "Can I Walk You Home" by The Velours which is a mid tempo stroller with great harmonies. The Unique Teens from 1957 with "Whatcha Know New" is a bright bouncy Frankie Lymon rocker with an infectious beat whilst "Erlene" by Mike & The Utopians is a first rate New York up tempo type sound with bags of high pitched and bass harmonies chanting behind the lead singer - wonderful stuff. "You" by the Aquatones should need little introduction as it was a extremely popular ballad in 1958 peaking at position 21, and even saw release in the UK on the London label - the wonderful wailing voice of lead singer Lynn Nixon is pure joy. "Let's You And I Go Steady" by The Pearls from 1956 is pure rockin' vocal group magic complete with a fine honkin'' sax solo. As a complete contrast, "Hey Pretty Baby" by The Ladders from 1958 is a slow smoocher with great harmonies - just makes you want to grab your partner and shug around the floor together as close as you can get.

The British content on this shiney wonder consist of fast tempo "Fools Will Be Fools" by the Firebirds who take their cue from the white Italiano sound of New York groups whilst "Jump For Joy" by Big Boy Bloater which is simply a good R&B rocker with tasty vocals and fine piano thumping from Neil Turner. The Roomates "Closer You Are" is a slow tempo ballad with good harmonies whilst with "Oop Shoop" by Red Peters it is back to an R&B style rockin' jumper. These last mentioned four tracks all date from 1996 and stand up surprisingly well alongside the American content.

Acapella singing is represented by "My Foolish Heart" by the Chalets from 1982 and "Beginning To Love You" by Younger Dayz from 1995 - both capture the essential ingredients of vocal group harmonizing as does "Creation Of Love" by the Revivals from 1989. The set opens up with "Dance Girl" by the Charts from 1957, which is a mid tempo shuffle with a tasty femme lead, and closes out with the magic singing of the Flamingos from 1954 with "Dream Of A Lifetime" - pure magic.

This is a carefully balanced compilation and should appeal to anyone who likes all shades of vocal group singing - it never gets boring. More please Mickey B.

Contact Early Bird Records at P O Box 92, Valley Stream, New York 11580, USA (e-mail ErlyBrdRec@aol.com)

© Tony Wilkinson
February 2000

>From a quick glance at the photograph on the rear of this CD, one could be excused from thinking that they had picked up a release by a member of Z Z Top but a quick look at the track listing reveals that this could not be the case and indeed it is a new album from Nebraska's own Bobby Lowell.

The music is solidly in the sparse rockabilly vein with some tasty guitar work from Sean Benjamin, brush stroking drumming from Bo Rose, light bass picking from Larry Boehmer and ivories tinkling by Pat Glenn. The guitar picking is quite tasty on the instrumentals "Johnny Thunder" and "Rockaboogie Boogie".

Bobby sings the lead vocals on eight of the tracks which are basically all mid tempo rockabilly work outs and are all quite listenable, especially "Bye Bye" and "Drag Race" plus the re-cuts of "Um-Baby-Baby" and "16 Chicks". "Hunky Chunky Mama" has good deep throated singing from Bobby and great rock 'n' roll lyrics in the vein of "ah my fluffy little cream puff, I just love that child". However on the titles "Rockabilly Heart" and "Snow Is On The Mountain", the vocals are taken by Janice K, a lady with a rather deep husky voice which is particularly effective on the latter of the aforementioned tunes - this being a nice country weeper of a ballad somewhat reminiscent of the Presley's ballad styling at Sun.

In addition to the foregoing, there is an unlisted track of Bobby and guitarist Sean talking in the studio about their influences and it is pleasing to hear Bobby singling out Marshall Lytle of Haley's Comets, Johnny Olenn and Carl Perkins.

Bobby is not in good health but we all wish him well and hope that he can return to the recording studio before not too long.

© Tony Wilkinson
February 2000

Playing Time: 49.28

This tasty 21 track compilation has been put together by Jan Damgaard of Star-Club Records out of Sweden to celebrate the company's twentieth anniversary in the music business and, for sure, it is a most listenable/danceable set. It consists of Swedish and American rock 'n' roll recordings with the earliest being Bill Haley's "Rock The Joint" dating from 1952 and which was one of the key records that started the whole rock 'n' roll thing. The latest are a couple of recordings that date from 1999, these being guitar maestro Hank C Burnette's pounding interpretation of Wade & Dick's "Bop Bop Baby" and "Jenny Jenny" by Broderna Volt, the last mentioned being a cover of the Little Richard song that is all over the place both vocally and instrumentally but is simply wonderful, it really captures the spirit of rock 'n' roll.

American rock 'n' rollers and rockabillies are well represented with some great recordings such as Jim Alley's "Dig That Rock & Roll" from 1958, Johnny Stark's amazingly unknown but great 1959 issue of "Rockin' Billy", the rockin' piano lead original version of "Judy" by Teddy Redell - which was subsequently covered by Presley - together with one of Carl Mann's first outings, "Gonna Rock And Roll Tonight", from 1957 which simply is r 'n' r music at its best. But that is not all, for there is Curtis Hobock's sparkling "Tom Dooley Rock & Roll" from 1959 along with the 1958 issue of Frank Trilo's "Ice Cream Baby" plus the surprisingly late (1962) but nevertheless excellent "Don't Knock The Rock" by Laurel London and a fine rockabilly interpretation of Eddie Hodge's "I'm Gonna Knock On Your Door" by Tommy King from 1961.

The Swedish contingent is lead by a good version of "Corrine Corrina" by Boris and "Danny Boy" by Rock-Olga (both from 1959), Chrichian's cover of "Apron Strings" from 1963 plus Rock-Krister's 1985 hard rockin' "Do The Bop" and the Jerry Lee Lewis inspired "Jar Var Ung-58", recorded in 1978, from the admirable talent of Kenneth Swanstrom. From a year later comes the boogie rockin' sing-a-long sounds of Long John Silver with "Kara Mor" whilst The Spotnicks inspired guitar lead instrumental "Mjolnarens Irene" from The Gunslingers originated in 1987.

The efforts of the girls have not been overlooked with the hard-edged "The Rockin' Lady" from American Penny Candy which first saw the light of day in 1959. Teen beat originating in 1985 comes in the form of "High School Romance" from Donna Danger whilst "Kom Tillbaka" is a sing along folky type song from 1963 by Yvonne Norrman.

Overall a somewhat different and, in the main, entertaining set. Available from Star-Club Records at Box 74, 330 21 Reftele, Sweden.

© Tony Wilkinson

Mark Lamarr currently hosts a weekly hour of rock 'n' roll over the British national airwaves and his style of delivery as caused a fair degree of controversy. Personally his off-hand presentation does not bother myself as I listen in for the music and boy does he play some goodies. This collection culled from the vaults of the King/Federal group of labels is a reasonable facsimile of the varying styles of rock 'n' roll and R&B that one can tune in and hear.

In the main this compilation tends to concentrate more on the R&B/ jump & jive side of rock 'n' roll music. These facets being amply demonstrated by Big Jay McNeely's torrid sax honkin' on "Nervous Man Nervous", Roy Byrd's (aka Professor Longhair) New Orleans second line rhythm of "Rockin' With Fess" and the up-tempo chanting of The Five Jets on "Please Love Me Baby" and The Lamplighters on "Ride Jockey Ride".

Two the big names from the King stable were Little Willie John and Hank Ballard who can be listened to all night long. Willie John has two cuts included - the superb bluesy ballad "You Hurt Me" and the show jivin' shucker "Spasms". Ballard has three titles on this set, namely the fine rockin' "Nothing But Good" and "Rock, Granny Rock" and "Broadway" which in reality is a rockin' thumpin' workout by the band with vocal overtones thrown in by Hank and the boys for good measure, superb stuff.

The influence of Little Richard is demonstrated with the amazing "Fat Girl" by a pre-soul days Otis Redding, a masterpiece of solid rock 'n' roll. The Little Dick theme is continued by Ronnie Molleen on "Rockyn Up", a powerful frantic rocker, and then extended by Ba Ba Thomas on the equally hard rockin' "Miss Shake It" and "Why Don't Leave Me Alone" - which were cut in Macon in 1964. There is even an answer version to "Long Tall Sally with Big John Greer's "Come Back Uncle John".

Ike Turner's Kings Of Rhythm provide the solid R&B backing behind Jackie Brenston's "Much Later" and Billy Gayle's ""Do Right Baby" whilst Tiny Topsy was obviously King's answer to Atlantic's Ruth Brown and LaVern Baker. Both her "You Shocked Me" and "Miss You So" are quite reasonable R&B tinged rockers.

Rudy Moore, who later turned his hand to being a rather foul mouth comedian, turns in a catchy mid-tempo piece of rock 'n' roll with "Step It" as does Joe Tex with his 1956 cut of "She's Mine".

Andre Williams "Bacon Fat" is given a tasty cover reading by Big Daddy & His Boys - Big Daddy was in actuality Big Bob Kornegay of "Your Line Was Busy" fame whilst Eddie Clearwater was knocking out the Chuck Berry licks with the 1961 recording of "A Real Good Time".

White rock 'n' roll is represented by the superb "Clock Tickin' Rhythm" by Cecil McNabb Jnr. who apparently is Boyd Bennett along with his vocalist Big Moe. These two also serve up the splendid "Move", a pulsating slab of rock 'n' roll.

That's it - 24 sides of music, most of which is exceptionally tasty and does not let up anywhere in it's intensity.

However what really matters is the music contained thereon and here we have some fine fine examples of Memphis music when it reigned supreme. Just take a look at the artists contained hereon and it is mouth watering. Narvel Felts wraps those golden tubes around some fine songs, especially his interpretations of Ivory Joe Hunter's "Since I met You Baby" and The Jarmels "A Little Bit Of Soap". His "Dee Dee" is a fine rocker incorporating Solomon Burke's "Everybody Need Somebody To Love" as its hook line.

Tommy Tucker (the bad boy from Memphis and not to be confused with the "High Heel Sneakers guy of the same name) serves up quite a few tracks, many of which are in the Johnny Cash style. His original version of " Millers Cave" still has not been bettered and his "Shame Shame Shame" is a good slow bluesy thumper.

Jerry Lee Lewis's cousin Carl McVoy has some classic rockers, especially "Tootsie" and "Little John's Gone". I can well recall Jerry's sister Frankie Jean Lewis describing Carl as the most talented of the whole Lewis clan.

Gene Simmons serves up his big hit "Haunted House" which was on the back of Sam The Sham's version. This is accompanied amongst others by the great rocker "Goin' Back To Memphis", which was released on the Checker label, and the early rockin' soul of "Wedding Bells" and "Invitation To the Blues". Jerry Jaye too is represented by his monster 1967 hit "My Girl Josephine" which was a hark back to the rockin' days of Memphis and served as an inspiration to Creedence Clearwater Revival. Other Jaye goodies are "Long Black Veil"; "Sugar Bee" and "I Washed My Hands In Muddy Water".

Another hit included hereon is "Long Tall Texan" by Murray Kellum, a first rate version of the song first recorded by the late Jerry Woodard. The flip side to Kellum's single was the good rocker "I Gotta Leave This Town" by Glen Sutton and this too is included.

The early years of Hi Records were justifiably famous for their chugging instrumentals served up by Ace Cannon and the Bill Black Combo. Cannon's "Tuff", which was first released on Bill Black's Louis label but scored chart-wise when re-issued on Hi, is included as is Bill Black's real biggie "Smokie (Part 2)" alongside such under-rated thumpers as "Son Of Smokie and "Crank Case".

The good music made in Memphis continues on with Joe Fuller's sparkling rocker "You Made A Hit", probably better well known by the version recorded by Ray Smith on Sun. Then there's Jay B Loyd with his moody rockin' "I'm So Lonely", Teddy Reddell with his interpretation of Moon Mullican's "Pipeliner", Charles Eldred on his jerky harmonic lead "Dark Shaded Glasses", under-rated Memphis rocker Kimball Coburn with "Please Please" complete with a real biting guitar break and the magnificent Bill Reeder with the sublime "Till I Waltz Again With You.

This compilation is a splendid overview of the early days of one of the premier Memphis labels - that's recommendation enough.

© Tony Wilkinson
August 1999<

This CD is one of the most important rock 'n' roll releases of the nineties as it not only shows off the on stage talent of Cochran but that of the original punk rocker, the late great Gene Vincent as well. These tracks emanated from the Town Hall Party, a Californian television show. The release must rank alongside the recently discovered live recordings by Gene Vincent, Johnny Dollar and Groovey Joe Poovey from the Big D Jamboree that appeared on Dragon Street Records in the USA and RollerCoaster records in Europe. The pure excitement of their performances and awesome degree of their rockin' talent is amply revealed - what a tragic loss that neither is with us today.

The Cochran performances come from two appearances on The Town Hall Party on 07 February 1959 and throughout, he is backed up by the rather excellent Dick D'Agostin & The Swingers - who are featured on two good instrumentals in their own right.

Cochran features scintillating versions of his hits "Summertime Blues"and "C'mon Everybody"as well as another of his recordings, an intense reading of the ballad "Have I Told You Lately That I Love You". However it is the choice of the other material included that causes sharp intakes of breath. Eddie really rocks out on the Fats Domino "Don't Blame It On Me"which raises the thought of what he could have really done if he had been able to record at Cosimo's down in New Orleans. This is joined by first rate interpretations of the Drifters/Elvis Presley's"Money Honey"and Chuck Berry's "School Days". Such is Cochran's pedigree that he provides his own unique stylings rather than slavish copying and breathes life into the numbers. The same is true with his reading of Gene Autry's "Be Honest With Me". The Cochran portion of this CD is rounded out by an interesting interview with host Johnny Bond as well as D'Agostin and the Swingers.

Gene Vincent's first inclusions on this release date from two appearances on 25 October 1958 and include the backing of the then current line-up of the Bluecaps and this is live rock 'n' roll at it's very best which features the obligatory "Be-Bop-A -Lula"and a thumping "Dance To The Bop". Like Cochran, Vincent could take somebody else's tune and turn it around to make it his own. This is clearly demonstrated in the performances of Huey Piano Smith's "High Blood Pressure", Little Richard's "Rip it Up"and Hank Williams "You Win Again", although on the last mentioned it is the Jerry Lee Lewis version which provides the inspiration

However it is Gene's passionate reading of "For Your Precious Love"that really makes the toes curl, this is one hell of a sensuous performance as he wraps those golden tones around the classic doo wop song. Magnificent!

Also included by Vincent are three performances from 07 November 1959, in fact shortly before the European phase of Gene's career commenced. Here he is backed up by the regular Town Hall Party musicians supplemented by his then regular guitarist Jerry Merritt. Vincent appears comfortable with these country based players and again turns in a breath taking performance. The Chuck Berry songbook is again raided for a tasty "Roll Over Beethoven"which is followed by the meaningful singing of "Over The Rainbow". Vincent then announces his then latest to be Capitol single of "She She Little Sheila"which does plod along a trifle until Merritt's great guitar picking explodes the song into a wonderful rockin' life. Oh, only if I could slip HG Wells some coins to transport me to this Town Hall Party in his time machine.

This release is accompanied by informative liner notes and some great action shots taken from the actual performances. In fact, I have it on good authority that if the CD sells well enough, the video will follow - over to you rock 'n' roll lovers.

This musically and historically important release should be available in good specialist record shops but in the case of difficulty, it can be obtained from (in USA and Canada) Hepcat records, 722 West Chapman Suite 2), Orange, California 92868 or (Europe and elsewhere in the world) Record Museum, 96/D Southchurch Road, Warrior Square East, Southend on Sea, Essex, SS1 2LX, England<

© Tony Wilkinson
August 1999




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Wailin'/Scotch On The Rocks/Snake Pit/High Wall/Mau-Mau/Scotch On The Rocks (Hey Cumba Version) - The Wailers/Wolf Call/The Greaser - Lord Dent & The Invaders/Blood Rare/Cool It - The Mad Plaids/The Alamo - Bob Hood & The Rhythmaires/Wipe Out - Billy & Gary Mure/Hand Clappin' Time - Gino with Johnny Greek/Pigmy - Baby Sticks & The Kingtones/Tight Spot/Cut Out/ Fried Onions - Paul & The Four-Most/Terrock/ The Slide - Rhythm Rockers/Little Daddy/ Cross Current - Sterly Singleton & The Rocking Dukes/Jerry's Monkey/Miami Dreams - Little Jerry Williams/Bandied/ Ape Walk - The Bandidos/Dog Fight (Part 11) - The Hitch-Hikers/Minuet - Teddy Tyle & The Jim Dandies/Margie - Cy Seyrnour/Squeezer - Big Bob Dougherty/Congo Mornbo - Mando & The Chili Peppers.

Playing Time: 70.29

Here is the latest in the series of releases by the UK Ace label delving into the vaults of the Golden Crest label and this time it is an all instrumental set. With regard to instrumentals, I am wary as they can be tepid guitar lead pieces in the manner of The Shadows or the Ventures whom are okay in small doses but can lead to yawning. No fear with this release, the vast majority of the tracks are tuff raunchy driving pieces with plenty of drum pounding, screeching guitars and honkin' saxes to the fore, a perfect example being "Pigmy"by Baby Sticks & The Kingtones which is a slow heavy thumping grind with great rock 'n' roll sax playing up front.

The Golden Crest label only had one major chart hit and that was with "Tall Cool One " by The Wailers. On this compilation we have two previously unissued versions of this tune in its embryonic state and they are good rockers, clearly showing how the cut was being worked up into its finalised state. Also by The Wailers is the sledge hammer rockin' of "Wailin'", an early version of the atmospheric "High Wall" (without the chains sound effects), "Snake Pit"minus the chorus and finally the great "Mau-Mau"which was coupled with "Dirty Robber"for single release. The guitar player for The Wailers was Johnny Greek and he is featured on this set along with Gino on "Hand Clappin' Time", a work out not dissimilar to The Routers "Let's Go". The Wailers came from the North West region of the USA and this is the same area from whence Lord Dent & The Invaders hail. Somewhat similar in style to The Wailers. "Wolf Call"and "The Geaser"are tough rockers, the former being sax lead and the latter featuring piano pumping along with vocal interjections. This record should have been a monster hit Similarly from the North West are The Mad Plaids and their two inclusions are "Blood Rare"and "Cool It"- both good rockers mining the Wailers sound.

The beauty of this collection is that it includes many tracks, which are (unjustifiably) unknown.

Perfect examples of this being "Cut Out"and "Tight Spot"by Paul and The Four Most which are good guitar and sax lead up-tempo pounders, which also show the Wailers influence. Very tasty rockin' instrumentals whereas "The Alamo"by Bob Hood and the Rhythmaires is an electrified acoustic lead piece with an infectious melody and was recorded in Tennessee.

The liner notes advise that "Terrock' and "The Slide"by The Rhythm Rockers (fronted by Wayne Curtis) and who hailed from Buffalo, New York was their one shot at stardom which is not the case as there were several other releases, but this was the only one on Golden Crest. This does not detract from the fact that both tracks are good movin' sax lead instrumentals. This set also features a young Jerry Williams, who later achieved notoriety and fame as Swamp Dogg, with two previously unreleased sides in "Jerry's Monkey"and "Miami Dreams, which are R&B cum early soul sax lead chanters. The catchy "The Squeezer"by Big Bob Dougherty is much more jump jive orientated whilst

"Little Daddy"and "Cross Current"are somewhat similar to the sound achieved by King Curtis on Bobby Robinson's Enjoy recordings which means good.

"Congo Mambo"by Mando & The Chili Peppers is a Latin inspired tune complete with a mambo beat. Also containing Latin over-tones are the two sides "Bandido" and "Ape Walk"by The Bandidos but this time in the Champs vein although the inclusion of an accordion does tend to detract.

There you have it, overall a fine fine set of rockin' instrumentals which is a superb collection from the days when the rock 'n' roll instrumental ruled supreme and with the inclusion of thirty tracks, represents great value for money. This shiney wonder comes complete with informative sleeve notes from its compiler John Broven and numerous photographs, label shots and period advertisements. Play this and there will be good rockin' tonight

(c) Tony Wilkinson July 1999

STATEMENT on the above BOBBY WAYNE ARTICLE
In this article on Bobby Wayne, it was stated that the Jerden label folded around 1967 and that "'it may have been something to do with Jerry Dennon taking an enforced holiday In the Big House" due to Income tax evasion'".
Jerry Dennon has just contacted myself and made It clear In no uncertain terms that at no time has he spent any time whatsoever In the "Big House" and that he has not committed tax evasion. Moreover he advises that Jerden Records was not folded but that he retired the label when he quit the record business in approximately 1970, only to return to It In 1976.
Naturally we are grateful to be able to correct the offending text, which of course is hereby withdrawn with apologies for any distress caused. It is not, and never has been, our Intention to cause concern - indeed our sole aim is to spread and keep alive genuine rock 'n' roll music.
We have extended an invitation to Jerry to tell us the story of Jerden Records and his involvement In the music business which it Is felt will make a fascinating article and are currently awaiting his response. Hopefully the story of this piece of north west rock 'n' roll can appear in print before not too long.
-Tony Wilkinson

(c) Tony Wilkinson - September 1997.