This is a double CD re-issue of the soundtrack of a French television show
that was recorded in January 1982 and was originally available is a double
vinyl issue that has long since disappeared. As such it is most welcome, and
the added bonus is to obtain these live Jack Scott tracks in superb sound
quality CD format.
Jack Scott is in great form as he launches through some of his well known
numbers including sparkling versions of "Strange Desire", "Geraldine" and "My
True Love". Apart from the material released on the Canadian Underground
label, I believe these are the only other Scott live recordings and as such
are to be savoured with justified relish. Perhaps it is a little strange
with such a strong back catalogue to call upon that Scott closes out his
performance with a medley of rock 'n' roll standards but I guess that one has
to take into consideration that this was recorded for public transmission in
la belle France.
It is also good to have some live recordings from Texas rockabilly original
Sonny Fisher, Lordy only knows that there is too little material available
from this rock 'n' roll originator in the first place but here he shows he is
clearly enjoying himself. Great rock 'n' roll from start to finish with
Fisher in first rate voice. "Rockin' Daddy", "I Can't Loose" and "Sneaky
Pete" roar along like an express train whilst "If You leave Me Tonight I'll
Cry" is a tasty and appealing ballad. The interpretation of the swamp pop
classic "Mathilda" is just fine.
The Memphis Rockabilly Band is lead by Jeff Spencer and hail from the USA.
In sound, they area little like The Planet Rockers and have a reasonable
amount of recordings available on Big Beat Records including their CD "Back
To Memphis" (BBR 00058). Here they serve up a solid rock 'n' roll set
including two originals with the solid "Lindy Rock" and "Tongued Tied Love"
Their workout on Dorsey Burnette's/Johnny Faire's "Bertha Lou" is excellent.
Similarly solid re the Alligators who put up a no nonsense rock 'n' roll trio
of songs including Gene Vincent's "I'm Going Home".
Both Freddy Fingers Lee and Crazy Cavan & The Rhythm Rockers are still
performing to this very day and a considerable legion of followers. Like 'em
or loathe 'em, they are popular and the recordings here are well
representative of their stage act. Indeed Freddy Fingers Lee plays it
straight for once and cuts out the clowning around.
This worthy release is available by post only from Big Beat Records at
Jacklyn Music Ltd. P O Box 156, Worksop, Nottinghamshire S81 7YE, England.
Alternatively contact their web site www.jacklyn-music.demon.co.uk
© Tony Wilkinson
November 2000
Firstly let it be said that I am a big time Charlie Ryan fan, period. My family and I were fortunate enough to meet Charlie and his wife Ruthie this year courtesy of Don Weise and he is a true gentleman. He is some 84 years young and still performing with great gusto on stage. He wrote and had the original version of "Hot Rod Lincoln" back in 1957, a tune which has been recorded by many others and which has been the subject of an award from Billboard magazine for over 1,000,000 plays on the radio in the USA. All this part of a career that started back in the thirties.
Here we have the first ever CD from Charlie and it is a splendid collection of talking/singing country boogies plus some straight country shuffles, all performed with considerable gusto and feeling. The set opens up with a version of the classic "Hot Rod Lincoln" and is a masterpiece of country boogie. Offspring of "Hot Rod Lincoln" are evident in "Side Car Cycle", "Burlington Chase", Hot Rod Hades" and "Rocket Race", all of which are pure joy.
More talking boogie comes with "Chicken House Boogie" whilst "Hot Rod Boogie", "Hot Rod Guitar" and "Jack's Boogie" are simply splendid guitar lead instrumental boogies, real crackers. "Dream" is a narrative country ditty about the considerable talent of the original county greats and I do mean originals such as Jimmy Dickens, Red Foley, Elton Britt and Arkie Shipley. Charlie often performed alongside these acts as his considerable quantity of scrapbooks confirms.
Of the remainder, the up tempo "Beautiful Carolinas" is a great song sung with excellence and complete with lashings of steel guitar. "House Next Door" is near rockabilly and is real catchy whilst "Let's Try Again", "Never Again" and "Along The Border" are fine honky tonk shuffles.
Some tracks by necessity have been dubbed from disc and the odd crack and pop is evident but if anything this adds to the authentic feel. This CD should be in the collection of anyone who likes country boogie or authentic country music from the fifties, unreservedly recommended. The liner notes tells the story of the "Hot Rod Lincoln" and is complete with a quantity of photographs, both of Charlie and the car. The CD is available from Lincoln Records, 104 West 30th Avenue, Spokane, Washington 99203-1719, USA.
© Tony Wilkinson
November 2000
Here it was, Saturday night in downtown Battersea on the outskirts of London town and a crowd, albeit small in numbers but large in their enthusiasm, had gathered to hear an evening of that unique British forerunner to rock 'n' roll - namely Skiffle. And who better than to lead the charge but one of the original practitioners Chas McDeviit who, along with Nancy Whiskey, had a monster hit back in 1957 with "Freight Train". From the close surroundings of the venue and the good humoured banter abounding, it was obvious from the outset that this was going to be an informal show. But the music quality was high as Chas, with a four piece band, lead the gathering through a varied selection of numbers from the halcyon days of skiffle and early rock 'n' roll.
Opening up with "Good Morning Blues", it was straight into "It Takes A Worried Man", "Cottonfields" and "I'm Satisfied With My Girl" before a sparkling rendition of "Freight Train" on which the femme lead was taken by the daughter of Chas. The band were also featured on a few numbers, whilst Chas stood down from the stage, such as "The Devil Went Down To Georgia" and Chas's daughter took the lead on a couple of numbers. The standard of musicianship was high, generally vastly superior to those bygone days when everybody seemed to be picking at a string on a broom handle attached to a tea chest. However skiffle was the call of the night and Chas gave forth on ditties such as "Mama Don't Allow", "Rock Island Line", "Tom Dooley", "Goin' Home", "Pick A Bale Of Cotton, and "Down By The Riverside". There was also a medley of "Everyday/Oh Boy/Chantilly Lace/La Bamba" which went down well. Some of these numbers are featured on the brand new CD by Chas on RollerCoaster Records, which has backing on some numbers by Joe Brown And His Bruvvers.
Of the special guests, the first featured was Rick Hardy who along with Adam Faith was in the Worried Men skiffle group before venturing off to the delights(?) of Hamburg to join Tony Sheridan in The Jets before that infamous group known as The Beatles started to cast their shadow. Rick commenced with "Midnight Special" and followed with "Fraulien" sung, at the urging of some of the audience, in German in a right ol' Adolph style. This was hilarious and cracked everybody up, Freddie Starr will be proud of this performance. Rick finished off with a version of Johnny Cash's "I Got Stripes". Early British rocker Danny Rivers was also in the audience and he gave out with "That's All Right" which demonstrated the links between skiffle and rockabilly. This aspect was further amplified when the upright bass player from the Yazoo Skiffle group and looking every inch a rockabilly took the stage for the plucking of the strings for a couple of numbers.
The night closed out with Chas leading the assembled multitude on "Come Along" Cholie", a most entertaining and satisfying evening. T'was a pity there were not a few more there to savour the enjoyment and general good times but look out for advertisements for forthcoming events at The Buzz Bar. On this basis, they will be worth making the effort to venture out.
© Tony Wilkinson / October 2000.
JOHNNY LEGEND - Are You Hep To It/California Rockabilly/Let's Get Goin'/BILLY ZOOM - Bad Boy/Say When/THE BLASTERS - Marie Marie/RAY CAMPI - The Newest Wave/TONY CONN - Hard Knocks And Tough Rocks/JERRY SIKORSKI - Backseat Boogie/ALVIS WAYNE - I Wanna Eat Your Pudding/JACKIE LEE COCHRAN - Hungry Hill/CHARLIE FEATHERS - That Certain Female.
This is first time out on CD of the soundtrack of the soft core porn movie from 1980 titled "Teenage Cruisers", a much sought after issue. Of course one look at the artist line up and the songs will instantly reveal that these are all cuts for the Rollin' Rock label and so it is not that hard to work out that this is rockabilly music from start to finish.
Ravin' Johnny Legend who is still around (I spied him in the audience at Las Vegas last Easter) has three selections. The first is the sax and slap bass lead "Are You Hep To It" complete with call and response and is a great dance number. The others by Legend are "California Rockabilly" and "Let's Get Goin' ", both being up tempo typical Rollin' Rock recordings. Much can be said of "Backseat Boogie" by Jerry Sikorski, pretty frantic material with a nice lead guitar. Wonder where Jerry is now, he was a wild stage performer when he came over to the UK in the seventies. Another new act at the time was Billy Zoom who with "Bad Boy" serves up a tasty mid tempo rockabilly come rock 'n' roll whilst "Say When" has Presley overtones from the classic period, a real good number.
"Marie Marie" will be best known from the European hit version by Shakin' Stevens but here we have the original by The Blasters and mighty fine it is too, excellent rock 'n' roll from a great bunch of musicians. This leaves a batch of recordings from artists who were there when rockabilly music first assailed the world. "The Newest Wave" is served up by Rollin' Rock backbone Ray Campi and was recorded especially for this movie. Ray lets his tonsils loose on the number and the guitar work is a real treat. Tony Conn is represented by "Hard Knocks And Tough Rocks" which can best be described as frantic rock 'n' roll whilst Alvis Wayne serves up "I Wanna Eat Your Pudding", a number with ever so slightly dubious lyrics and fits in oh so well for this sort of movie. Easy to understand why Alvis refuses to perform this number today.
The late Jackie Lee Waukeen Cochran could do virtually no wrong in my books and "Hungry Hill" demonstrates the reason why. This is a number about bootleg whiskey running sung with gut wrenched emotion against a sparse backing. Simply superb. Mr. Hiccup Vocalist Charlie Feathers treats us to "That Certain Female", a typical offering from this unique stylist, which means top notch enjoyment.
Tony Wilkinson/ © October 2000
Saturday Night At The Duckpond/Choppin 'n' Changin'/Jezebel/Feelin'/Savage/Please Don't Touch/Shakin' All Over/Castin' My Spell/Peter Gunn Locomotion/Let There Be Drums/Restless/Don't Knock Upon my Door/Brand New Cadillac/Walk Don't Run.
Here is the a new CD by recent Hemsby performers the Tritons whose clear aim is to play fifties/early sixties style British rock 'n' roll well and capture the spirit of those formative days. Although no original songs are included, these versions of past glories served up by the Tritons are of merit and should appeal to all, especially those not there the first time around.
There is a heavy raid on the songbook of Johnny Kidd & The Pirates with credible versions of "Feelin'", Please Don't Touch" (one of the all time great tunes of British rock 'n' roll), "Shakin' All Over" and "Restless". "Castin' My Spell" is done Kidd style, rather that that of the song's originator Johnny Otis.
In such a project, it is inevitable that there will be more than a casual glance at the influence of the Drifters/Shadows and this is demonstrated with the Tritons worthy attempt at "Savage" plus "Saturday Night At The Duckpond" which was originally by the Shadows soundalike The Cougars. The instrumental theme is continued with a version of Sandy Nelson' "Let There Be Drums" and The Ventures/John Barry's "Walk Don't Run" with the accent being firmly on the latter's interpretation.
The Drifters/Shadows influence is continued with the vocal ditty "Choppin' 'n' Changin' " which was written by "Move It" composer Ian Sammy Samuel and is continued on their go at Vince Taylor's "Brand New Cadillac". However the version "Jezebel" sticks fairly faithfully to the Marty Wilde interpretation whilst the spirit of Billy Fury is captured with the work out on "Don't Knock Upon My Door". Finally the vocalized version of "Peter Gunn Locomotive" (originally recorded by Freddy Starr) is first rate, a star track if one will excuse the pun.
Altogether a little different rock 'n' roll album and all the more enjoyable for that. Available from Part Records, WaldstraBe 10, 69234 Dielheim, Germany. Check out on web site http://www.rockin-rollin.de.
Tony Wilkinson
© October 2000.
The Great Big Rock And Roll Show/Why Must You Leave Me/I Pretend/You Better Leave/Infatuation/Kiss Kiss You/God Has The Power/All They Wanna Do Is Stroll/On Solid Ground/Fredericksburg Jam.
The story behind these recordings is that Vernon along with guitarist Dave Moore and some other local Virginia musicians wanted to go into the studio earlier this year and cut an album in one take in order to capture the spontaneity and excitement of recordings made in the fifties. Coupled with this, Vernon had recently found a demo disc of some songs that he had composed in that era and was able to salvage three of the tunes and decided that he had better record them for posterity.
The question is does the CD manage to achieve these laudable aims and the answer has to be a great big yes! The opening track "The Great Big Rock and Roll Show" rocks like crazy complete with guttural guitar, stomping drums from Bob Bererich and pounding keyboard work from Peter Bonta with Vernon hollering out the lyrics. The feel of the rockin' fifties is captured and there can be no greater compliment. A similar result is achieved with "Fredericksburg Jam" which I understand was put together in the studio at the recording session. There are some very fine beat ballads in "Why Must You Leave Me" and " I Pretend" and more straightforward ballads in "On Solid Ground and "Infatuation", the last being a specially fine example of teen beat.
Fifties rockabilly sounds come out of the speakers with "You Better Leave" and "Kiss Kiss You", the latter being particularly splendid with Thommy Burns slapping the up right bass like there's no tomorrow. A more straight forward rock 'n' roll approach is taken with the ditty "All They Wanna Do Is Stroll" from the pen of Vernon's one time manager and friend Don Owens whilst "God Has The Power" is a simply fine piece of rockin' gospel.
The quality of singing and musicianship on this release is just great and is a credit to all. This has to be the way to make records, which are natural but exciting. Copies can be obtained direct from Vernon direct at P O Box 381, Myersville, Maryland 21773-0381, USA at $15.00 each (US funds only) including postage.
© Tony Wilkinson
October 2000.
POLECATS- Little Pig/LEVI DEXTER - Joint Jumpin'/DELTAS - Let's Go Boppin'/SWITCHBLADE - Ride, Ride, Ride/FRANTIX - Who's Knockin'/RONNIE DAWSON & THE PLANET ROCKERS - Rockin' In The Cemetery/TRIBAL BOPS - Ready 'n' Steady/B-MEN - Riverside Jump/JACK & THE RIPPERS - At The Weekend/NITROS - Big Sandy/BOZ & THE BOZMEN - Rock Old Sputnick/BORN BAD - I'm Movin' On/ B-MEN - I Can't Stop/DELTAS - Rock Me/PLANET ROCKERS - There'll Be No More Crying The Blues/RONNIE DAWSON & THE B-MEN - Squeaky/LEVI DEXTER - Dub Scratch Boogie/WIGSVILLE SPLIFFS - Got A Feeling/PLANET ROCKERS - Pink Dominoes/BORN BAD - Born Bad.
Twenty rockers come rockabilly titles served up by a variety of acts. The common link is that all tracks were recorded here in the UK although a couple of the acts such as Ronnie Dawson and the Planet Rockers are of course from the colonies. Indeed Ronnie's "Rockin' In The Cemetery" is the highlight track of the compilation whilst his other track "Squeaky" is a tasty instrumental as is "Pink Dominoes" by the Planet Rockers. The remaining Planet Rockers track is a worthwhile version of Alton & Jimmy's "No More Crying The Blues".
Indeed, this compilation is a mixture of covers and originals. In the latter camp are good versions of Al Ferrier's "Let's Go Boppin' " by The Deltas and they also come up trumps on "Rock Me" which is actually "She Sure Can Rock Me". Levi Dexter's "Joint Jumpin' " starts off with the riff from "Mack The Knife" and then proceeds into rockabilly blended with jump jive styling, good. Levi's other inclusion "Dub Scratch Boogie" is straight up-tempo rockabilly with shades of western swing.
Frantic paced rockabilly comes with several sides, such as "Ready Steady" by the Tribal Bops, the B-Men's "Riverside Jump" and "I Can't Stop", Jack & The Rippers "At The Weekend", Frantix's "Who's Knockin' ", the Nitros "Big Sandy", Boz & The Bozmen's "Rock Old Sputnick" plus "Born Bad" and "I'm Movin' On (not the Hank Snow song) by Born Bad. The trouble with these interpretations is that one number tends to blend into the next.
To round the set off, "Ride, Ride, Ride" by Switchblade is a very tasty mid -tempo rockabilly outing complete with harmonica. Also good is "Got A Feeling" by Wigsville Spliffs, which rocks along at a fair pace and is complete with call and response chorus. As is the Polecats interpretation of Dale Hawkins "Little Pig".
Available from Raucous Records, 8 Oxford Street, Leicester, LE1 5XZ, England.
When Something Is Wrong With My Baby/Don't Tear Me Down/Pass On By/Love Is After Me/I'll Shed No Light/Can't Get It Right/To Fool A Fool/Hurry Up Freight Train/ Renee/Big Time Operator/Who Will The Next Fool Be/Motels, Hotels/Only Me/Don't Come Knocking On My Door/Any Time/Only Me (undubbed)/ My Heart Would Know/Take These Chains From My Heart/Half As Much/You Win Again/I Can't Help It/Hey, Good Lookin'/Your Cheating Heart/Cold, Cold heart/Nobody's Lonesome For Me/I'm So Lonesome I Could Cry/Wedding Bells/They'll Never Take Her Love From Me.
This is the complete overview of the recordings laid down by Charlie Rich for the Memphis based Hi Records in 1966 and 1967 and sits well alongside the Bear Family box set (BCD 16152 CI) of his (not quite complete) Sun recordings and the "Complete Smash Sessions" (Mercury 314 512 643-2). Perhaps some enterprising label will now collate together his RCA/Groove sides to permit the completist collector's view of the career of Charlie prior to his commercial glory days on Epic Records.
These sides are quite removed from those he cut for Sun, or indeed Smash, but rising above all is that marvelous voice. "Pass On By" is a tour de force of a jazzy blues side, ideal for late night listening. Why "Love Is After Me" was not a hit I can never quite fathom as it was bang on with the Motownish sounds of that time but performed by all concerned with a total regard for the music, it certainly does not come across as conveyor belt soul. His version of "When Something Is Wrong With My Baby" knocks spots off that by Same And Dave.
As Colin Escott rightly points out in his liner notes, some of these sounds laid down at Hi were not that far way from the subsequent recordings at Epic and illustrating this correct viewpoint are "I'll Shed No Tears", "Renee", "My Heart Would Know" and "Any Time". Indeed there was a whole album of recordings of Hank Williams Snr. tunes recorded and released which also, of course, appear on this set. These interpretations are more akin to the more mellow sounds of this period rather than the raunchy honky tonk of the original performances.
On a more up-tempo and rockin' styling is "Don't Come Knocking On My Door" which whilst recorded for Hi has only previously appeared on an Ace (Ms.) compilation of rockabilly sides. "Hurry Up Freight Train" also has a rockin' feel to it but does drift towards blue eyed soul.
If you like the vocalising of Charlie Rich, then this is a CD for you but it
ain't rock 'n' roll.
Christmas On Bourbon Street/Blue Christmas/When Christmas Is Here/Silent Night/Santa Won The Lottery/Please Come Home For Christmas/Adeste Fidelis/All I Want For Christmas Is You/Ave Maria/jingle Bell Rock/White Christmas/The 12 Drinks Of Christmas/Have Yourself A Merry Little Christmas/Santa Got Stuck Up The Chimney/Jingle Bells/Christmas Chased My Blues Away.
This CD of festive recordings was released in 1999 but only a week or so before Christmas and so in actuality was only really available in New Orleans last year. These are quality recordings when compared with the rather dismal Christmas album from Fats Domino of a few years back and is enjoyable for the most part. For sure, Frankie is in great voice and the backing is good.
The selection of tracks is a mixture of Christmas standards and originals. In the latter case there is the rockin', and very much in the Huey Smith mould, of "Santa Won The Lottery", the humorous "Santa Got Stuck Up The Chimney" and "Christmas Chased My Blues Away" which has a bluesy New Orleans feel written all over it.
The standard "Blue Christmas" is provided with a "Blue Monday"/Clarence Frogman Henry styling and is pure wonderful "Whiskey Heaven" whilst "The Twelve Days of Christmas" is served up here as "The 12 Drinks Of Christmas" in which Frankie relates the quantity and types of drinks that his true love gave him along with the inevitable partridge in a pear tree, successfully conveying the intoxicating effect. "The blues "Please Come Home For Christmas" is provided with a fine reading and "Jingle Bell Rock" is given a catchy sing along styling.
On "Adeste Fidelis" and "Ave Maria", Frankie sounds almost operatic in straight interpretations of these two songs whilst the old groaner Bing Crosby would have been proud of this version of "White Christmas". "Jingle Bells" has slight Bobby Darin overtones, which is no bad thing as it serves to demonstrate the versatility that is Frankie Ford.
There you have it, a wide variety of stylings and selections of songs, all with a Christmas theme. Available from Sea Cruise Productions Inc., P O Box 1875, Gretna, Louisiana 70054-1875, United States of America.
© Tony Wilkinson
September 2000
"HOUSEROCKIN'"
RAUCOUS RAUCD 068
PLAYING TIME: 36.53
From London To Chicago/Houserockin'/Just Passin' By/Two Timin'/Let The Good
Times Roll Again/Honest I Do/Are You Still Rockin'/Rockabilly Star/I'm
Nobody's Fool/Rollin' The Dice/The Moose Is Loose
"AIN'T NOTHIN' BUT ROCKIN'"
VAMPIRELLA MCG 1020065-2
PLAYING TIME: 40.95
Real Wild Child/(We're Gonna) Rock Like Never Before/The Call Of The
Wildest/Blue Skies (Keep Shining Down On Me)/Together Forever/I'm Coming
Home/You Are My Sunshine/Why Did You Go (Why Did You Leave Me)/I Need A New
Flame/I've Seen The Light/I'm A Rocker/My Way Of Rockin'/A Am What I Am.
Stupid sweet bird of faded youth that I am, just when I thinking that the normally prolific Wild Bob Burgos has been ominously quiet of late, not one but two new CDs' by this artist pop through the letter box. "Ain't Nothin' But Rockin' " is a collection of tunes cut by Burgos between 1984 and 1991 whereas "Houserockin' " comprises a set of tracks recorded between November 1999 and January 2000 utilising the Swedish group The Dreadnoughts as the principle backing musicians, augmented on certain tracks by Kenneth Swanstrom (piano), Matts Andersson (bass) and Peter Lindmark (harmonica).
Burgos may not have the greatest voice in the world but what he lacks in vocal refinements, he more than makes up for in capturing the spirit of rock 'n' roll in his singing. Raw, maybe, but exciting, a positive yes. Coupled with this is his constant sledge hammer r 'n' r drumming technique.
The content of "Ain't Nothin' But Rockin' " lives up to its title, as it is non stop rock 'n' roll from beginning to end. All tracks were composed by Bob with the exceptions of the Bobby Helms classic "Fraulein" and "You Are My Sunshine", originally by The Rice Brothers in 1939 but later made more famous by Gene Autry and Jimmie Davis to name but two. Both are worked up into solid mid-tempo items. Exceptionally tasty cuts are the bluesy "I Need A New Flame", "Blue Skies (Keep Shining Down On Me)" and "Real Wild Child" which should not be confused with the similarly titled song by Johnny O'Keefe, Ivan and even good ol' Jerry Lee.
The majority of the cuts on "Houserockin' " generally show a more pronounced R&B feel to the music but still maintain that rock 'n' roll feel. Once again all are Burgos compositions apart from his low down no hold barred treatment of Jimmy Reed's "Honest I Do". The lovely country boogie piano of Kenneth Swanstrom, whose allegiance to the style of Jerry Lee Lewis is well known, on "Moonshine", "Two Timin' " and "Are You Still Rockin' " enhances the rockin' feel to these songs. Most releases by Burgos include an instrumental and this is no exception with "The Moose Is Loose". The quality is high throughout but the title track "Houserockin' " and "Rockabilly Star" are worthy of singling out for mention in their own right.
Overall, these are two good CDs by a guy whose prime aim in life is to keep the flame of rock 'n' roll burning bright.
© Tony Wilkinson
September 2000
Rockabilly Blues (My Life)/Rockaye Baby Blues/Phantom Of The 50s/Matchbox/Good Old Timey Country Rock 'n' Roll/One Nite Stand/A Million Miles From Memphis/Mid-Nite Madness/1955/Rock 'n' Roll Freeway
The name of Canadian singer Dick (i.e.) Damron will be familiar to quite a few with his cult classics such as the 1959 recordings of "Gonna Have A Party", Rockin' Baby" and "That's What I Call Livin' ". Dick then went on to become one of Canada's top country entertainers justifiably receiving awards and accolades galore. However for this new release, he has returned to his rockabilly and rock 'n' roll roots, revealing a voice still marvelously in tact and fully in keeping with the genre.
All the sides on this release, apart from "Matchbox" are Damron originals and are listenable compositions. The opening cuts "Rockabilly Blues (My Life)" and "Rockabilly Baby Blues" both have an infectious mid tempo chuggin' beat whilst "Phantom of The 50s" and "Mid-Nite Madness" uplift the pace and bop along nicely. Regrettably "Matchbox" is a trifle pedestrian but there again there really is only one version, that by the late Carl Perkins.
For "Good Old Timey Country Rock 'n' Roll" Dick goes to his country side for the opening lines and then starts rockin' for all he is worth. The tune is a paean to rock 'n' roll music and its sentiments will be endorsed by anyone with r 'n' r blood coursing through their veins. The thoughts expressed in this song are echoed in the country tinged rockers "One Nite Stand", "1955" and "Rock 'n' Roll Freeway", all being tasty renditions. "A Million Miles >From Memphis" is good rockabilly and is one of the highlights of the set.
This is a most satisfying and enjoyable release proving the spirit of rock 'n' roll is alive and well in western Canada, hopefully there will be more. Contact Dick Damron at Box 270, Bentley, Alberta, T0C 0J0, Canada.
ALVIS WAYNE
"Rockabilly Daddy"
Rollin' Rock CD-109
Playing Time: 34.10
Rockabilly Daddy/Those Lonely Lonely Teardrops/One Woman Man/Here I Am/A Good Woman's Love/Back To The 50's/Fall Fallin'/You Can Have Her/A Life Like Mine/Louisiana Dirty Rice/Billy Bayou/Gothenburg/alone With You/I Want You all The Time/Texas Rockabilly Get Together.
Okay, the full album announced by Alvis from the stage at the Las Vegas festival last Easter is finally with us, indeed it's Wayne's first ever LP as that previously released on the UK Pink and Black label was a worthy compilation of his Westport and earlier Rollin' Rock sides. It may have been a long time in coming but it sure is a corker.
Recorded by Rollin Rock supremo Ronny Weiser in Las Vegas during July this year, it contains a wide variety of entertaining styles but that what shines above all else is that voice of Alvis which is close to rock 'n' roll perfection. The backing by various young artists such as Billinghurst Billy Disonante or Jorge Harada on lead guitar, Davis Van Antwerp on drums and Fernando Andres Lopez on bass is spot on; clearly these guys and Wayne had a ball laying down these tracks.
Out and out up-tempo rockabilly is well to the fore on "Rockabilly Daddy", "Back To The 50's", Jimmy C Newman's "Louisiana Dirty Rice", "Gothenburg (which should especially appeal to those rockin' Swedes), "Texas Rockabilly Get Together", "Alone With You" and sparkling versions of Roy Hamilton's "You Can Have Her", on which Wayne is joined by singing thrush Jessica Rooth, and Johnny Horton's "One Woman Man". These all succeed in capturing the spirit of rockabilly music. So do the tracks "Billy Bayou" and the exceptionally good "Those Lonely Lonely Teardrops" which features a further appearance by the aforementioned Miss Rooth.
Two outstanding highlights are the slowish heavy thumping bluesy "Here I Am" and "I Want You All the Time", boy Alvis really wraps this tubes around these two songs ably supported by biting guitar work and thumping drums. Both are emotion draining. This leaves what in essence are country ballads, namely "A Good Woman's Love" and two self compositions from Wayne with "Life Like Mine" and "Fall Fallin' ". The last mentioned title is a real throw back to fifties style country music and is superb.
A quick overview like this cannot really do justice to what is a first rate release and all certainly augers well for the appearance by Alvis in the UK at October's Hemsby rock 'n' roll festival. Available from Ronny Weiser, 2460 Casey Drive, Las Vegas, Nevada, 89120, USA. (e-mail rockronny@aol.com)
KENNY VANCE AND THE PLANOTONES
"Out Of This World"
La Plano RG132
Playing Time: 62.32
It's All Right/Medley: Hey Senorita & Treat Her Right/This I Swear/A Sweet
Woman Like You/Who's That Knocking? /Medley: Love Don't Love Nobody & End Of
The Road/Big Boy Pete/Medley: We Belong Together & Over The Mountain & You
Send Me & Gloria/Medley: I've Bee Lonely For So Long & Power Of Love/Looking
Foe An Echo/Wonderful Girl/Lovers Never Say Goodbye.
KENNY VANCE
"Short Vacation"
La Plano RG131
Playing Time: 41.41
He Will Break Your Heart/Wonderful World/Touch Will Tell/Trickle Trickle/The Performer/Heartbreak Hotel/Some Kind Of Wonderful/Bye Bye Love/Short Vacation/Lost In the Moment
Not one but two new releases by Kenny Vance, the former member of Jay And The Americans and produced the musical scores for some of the better recent rock 'n' roll movies. "Out Of This World" is a live recording made at The Bitter End club on 11th and 12th November 1999 whilst "Short Vacation" is a set of studio recordings which, with one exception, were laid down in 1989. The exclusion in the last mentioned is "Lost In The Moment" which is a gentle ballad and is part of the soundtrack for the forthcoming movie "Into My Heart", a very melodic number and has to a contender for an Oscar nomination.
For the live set, Kenny and The Planotones generally stick with a set of tried and true numbers but on all occasions attempt, and generally succeed, in breathing new life into the songs. As will be observed from the track listing, the selections range from great doo wop songs such as the Genies "Who's That Knocking", The Penguins "Hey Senorita", Robert & Johnny's "We Belong Together, The Cadillacs "Gloria" and The Skyliners "This I Swear" through to a sampling of early soul numbers such as The Impressions "It's All Right", Joe Tex's A Sweet Woman Like You", Joe Simon's "Power Of Love" and Frederick Knight's "I've Been Lonely For So Long". Along the way the group rock out on The Olympics "Big Boy Pete" and Roy Head's "Treat Her Right". In all instances, the harmonies are to the front and are beautifully blended plus accompanied by sympathetic and understanding backing musicians.
However two exceptional tracks are the doo-wop revival ballad "Looking For An Echo" (which alone is worth buying the CD for) and the lesser well known Fred Parris, of Five Satins fame, number "Wonderful Girl", a momentous performance. Based on this performance this outfit is a must to see.
The "Short Vacation" set again features quite a few well known numbers but boy this time around is given totally different arrangements. It certainly takes a few spins to get into this CD, it is quite unique. The treatments range from folkish to harmonious through to jazz tinged but all with a laid back feel, real mood music. For sure, "Heartbreak Hotel" and "Bye Bye Love" have never sounded this way before. The take of Jerry Butler's "He Will Break Your Heart" really works and on this Vance is joined by Eugene Pitts, the lead singer of the Jive Five. All In all this is a set for after hours, perhaps at a small nightclub or at home with your partner and the curtains drawn (in the case of the latter, it is bound to have such an effect that one had better take a few energy producing drinks first).
Contact Kenny Vance at PO Box 116, Fort Tilden, New York 111695 USA or check out the web site at www.planotones.com.
© Tony Wilkinson
April 2000
Eddie Sulik is not a name that one is instantly familiar with, which is a downright shame, as on the basis of these recordings he possesses a voice with the crystal clear quality and plaintive emotion of Marty Robbins. Not only that, he also possess a passing resemblance to Teddy Randazzo. In 1960 he was part of the Echoes, a duo that recorded for Columbia in Nashville using the likes of Grady Martin as backing musicians, and then embarked upon a solo career. The recordings on this CD are his self productions between then and his tragic death in 1965 in a car smash. By a sad twist of fate, this accident happened the night before Eddie was scheduled to meet with Archie Bleyer of Cadence Records and Chet Atkins to discuss a recording deal.
The set opens up with "Puppy Love" and "Heartbeat" which are two superior teen beat ballads and are originals, accordingly they should not be confused with the same titles from Paul Anka and Buddy Holly respectively. "Lovesick Blues" is a honky tonk version of the song made famous by Hank Williams Snr. But, like many recordings of around this time, is slightly marred by an obtrusive femme chorus. That said, it is the only non original of the whole compilation with all others being quality Sulik compositions.
"Twist All Night", which is otherwise titled "We're Gonna Dance All Night", is a good rockin' number with some tasty guitar work as is "Lover" which also features a muted sax whilst the splendid "Where Can She Be" reverts to teen beat ballads and is slightly in the same mould as Barry Darvell's "How Will It End". Both "Only foolin' " and "Make You Mine" are good easy country rockers.
"Anna Marie" is served up in two versions, one with girls chorus and one without, and is where Latin meets country, indeed it is partly sung in Italian. The Marty Robbins influence is well to the fore on the gun fighter type ballad "Bounty Hunter Dale", a marvelous catchy performance. This leaves "Who", a country tinged beat ballad and "Hard Rock Hattie" which is the highlight of the whole set which is gentle rocker somewhat similar to Ray Stanley's "Market Place".
This then is the musical legacy of Eddie Sulik and, whilst for sure it is not a ravin' rockin' set, that voice makes one realise that had he lived there was every prospect of Sulik becoming a major star. A sad loss to the music world but these recordings he left behind are most enjoyable. It was pleasing to also learn that there is a good possibility of the tracks he cut as The Echoes being reissued.
The packaging on this compilation is attractive with some excellent artwork. The CD is available from Hard Rock Hattie Productions LLC, P O Box 147, Plymouth, Connecticut 06782. USA. There is also a web site at www.edwardsulik.com that is worth a visit.
© Tony Wilkinson
September 2000
The story behind this CD is that Larry arrived in the UK last May to headline at Hemsby Rock 'n' Roll Festival and play a few other selected dates. Hardly had he stepped on the soil of this sceptered isle than Rob Glazebrook whisked Donn off to the Moon Studios at Croydon where he found fellow Playboys Wayne Hopkins on bass and Ritchie Taylor on drums awaiting him. The result was this CD recorded in one day flat as all good rock 'n' roll records should be cut.
In essence, the track listing is the set Larry performed with plenty of vigor at the aforementioned Hemsby show and here too he sets out to rock off the soles of his shoes. Okay there are a few ragged moments but it hardly matters, as the music is exciting and is performed with bags of passion. "Honey Bun" and "That's What I Call A Ball" do not need any explanation and these are good versions of the tracks Donn cut for Vaden. He also raids the songbook of fellow Vaden artist Bobby Brown with sparkling interpretations of the latter's "Please Please Baby", a heavy pounding mid pace rocker and "Down At Big Mary's House" another tasty rockin' piece.
There are a clutch of well known numbers served up in "Too Much Monkey Business", "Crawdad Song", "Night Train To Memphis" and "Chattanooga Shoeshine Boy", all of which are most enjoyable, especially the last mentioned. Slow rockin' comes with the standard "Every Day I Have The Blues". "Tryin' To Find My Baby" is a Donn original and follows the last mentioned rockin' blues theme whilst "Big Fat Mama" is a song written in 1956 by Leon Gamble but not recorded until this CD. It is a frantic piece of rock 'n' roll with plenty of pulverised piano playing. This leaves the highlight of the album, a moving interpretation of Carl Perkins "Forever Yours" performed as the number was intended, a slow country ballad.
This is a recommended rock 'n' roll set and is only available by post from Rob Glazebrook, 12 St. Johns Cottages, Maple Road, Penge, London SE20 8HX at £11.00 (UK) or £11.50 (anywhere else in the world).
Tony Wilkinson
© August 2000
These are the first four sides on this CD whilst the remainder are from the first album to appear on Wix Records, all of which have the sound considerably improved over the releases the first time around. "Break Up" is perhaps a song perhaps best known from the Jerry Lee Lewis version but Ray had the first cut of the song with Charlie Rich playing piano. The version featured here has Ray playing his own piano and the excitement generated is devastating. He then proceeds to rock up the Mickey Gilley hit "Room Full Of Roses" before turning his sights on cousin Jerry lee's "Whole Lotta Shakin' Goin On". The final side of the singles is take one of "Me And Bobby McGee", which plows a straight rock 'n' roll furrow for a breathless 4 minutes 35 seconds.
The contents of the album originally issued on Wix 1000 had all the tracks recorded at one single session on 10th September 1978 again at the Mercey Brothers Studio. Again the results are no holds barred, take no prisoners out and out rock 'n' roll. Raw and crude in places for sure but they capture the true essence and spirit of the music that we all love. The piano playing, allowing for the odd bum note or two, shows just how Ray could pulverise how the 88 keys. Interestingly enough, these are the only recordings to capture Smith's piano playing on any of his studio sessions. "Let The Four Winds Blow", "Jambalaya", "Wabash Cannon Ball" and "I'm Gonna Rock Some More" are all pounded into submission whilst the surf instrumental "Wipe Out" is turned on its head and provided with a demonic treatment that Esquerita would have been proud of. "Hang Up My Rock And Roll Shoes" is taken at a slightly slower pace by Ray when compared with the aforementioned tracks but it is sung with a powerful raspin' voice whilst the gospel favourite "Just A Closer walk With Thee" is performed with emotive feeling, a masterful performance. The "King's Medley" consists of eleven tracks originally made famous by Elvis Presley and are included exactly as recorded in the studio with one number running into the next with an overall playing time of 24.20 minutes. This is apparently how Ray would include the numbers in his regular show and again he captures a lovely rockin' feel. Ray tells us on the disc that he is "not making a living off a dead man, this is how he used to do them the first time around".
It is sad that both Ray Smith and Howard Wix are no longer with us to see the fruits of this labour of love bear up so well some twenty years later. Congratulations have to go to Tommie Wix for this splendid release along with Steve Lester who has graced the set with some interesting liner notes.
(Available from Wix Records, c/o Steve Lester, 815 Hill Avenue, Owensboro KY 42301)
© Tony Wilkinson - August 2000.
Watson has made numerous visits to the UK previously and had always put on a show chock full of scintillating good rockin' authentic country music backed up by a more than capable band.
On this occasion, he launched straight into a version of Webb Pierce's "In The Jailhouse Now" which was served up okay for starters. However from here a malaise set in with a series of numbers, many of which were originals, performed in what can best be described as a laid back Don Williams styling. Watson commented a couple of times that things were "very quiet tonight", well a contributing factor had to be that the music emanating from the stage was boring. Among the covers also performed were lackluster versions of "Luckenbach, Texas" and I Got Stripes".
We were repeatedly advised that Nashville is screwing everything up and where are the old stars. True, this is a lamentable situation but I am getting a little bored of being constantly reminded. - I was there to hopefully hear and watch some great country music being performed, not being lectured to in a Kris Kristoffenson manner. Dale included a couple of tribute tunes to the country greats which were basically a list of names strung together plus one about how you stick Nashville up where the sun don't shine. Not good.
However, towards the end of the set, things began to improve dramatically. Serving up a powerful version of the Marty Robbins classic "Lord, You Gave Me A Mountain", Watson quickly followed with a sparkling interpretation of "Viva Las Vegas". We were now cooking and the show had finally caught alight. The best song of the whole night was "Hit The Road" and he closed out with an up tempo treatment of "Long Black Veil".
Certainly a show of mixed blessings and it is to be hoped that this was just a glitch.
© Tony Wilkinson
August 2000
Tribute albums by artists honouring the music of a rock 'n' roll great are a mixed blessing. On the downside they generally cannot hope to equal the original versions but on the plus side it is good to hear music that one is familiar with, often performed with good differing arrangements and thus breathing new life into even the most hackneyed of r 'n' r standards. Such is the case with each of the four above compilations and, overall, they are enjoyable with some sparkling tracks, many that pass the test by capturing the spirit of the originals without being slavish imitations and some that are a bit of a disaster.All these four CDs are available from Vampirella Music at MCG Music & Communications Group Medien GmbH, P O Box 170433, 60078 Franfurt am Main, Germany (e-mail: megmedien@aol.com).On the Carl Perkins Tribute CD, effective and stimulating readings are offered up by Darrel Higham on "Her Love Rubbed Off", The Crawdads on "Lend Me Your Comb" and Leroy Davis on "Turn around". The rest are all listenable and have a good boppin' beat apart from Steve Hooker's "Boppin' The Blues" which comes over as a crude recording and the blues style rendition by Bob Hardy & Andy Parker's on "Everybody's Tryin' To Be My Baby" which just does not work. I guess that Carl would have been quite happy and contended with the treatments provided here of his songs.
Darrel Higham again serves up the goods on the Buddy Holly tribute with first rate interpretations of "Not Fade away" and "Midnight Shift" as does Leroy Davis on "Blue Days, Black Nights", Mark Harman on "It Doesn't Matter Anymore" and Steve Hooker with a totally different work out on "Midnight Shift" when compared to the Higham version. In fact all of the tracks work with the possible exception of "Ready Teddy" by The Paralyzers, this I am afraid is only just average.
On the Elvis tunes compilation, both The Jive Sharks and Juke attempt to come up with something quite radical in their attempts at "Love Me Tender" and "Jailhouse Rock" respectively. The Jive Sharks turn "Love Me Tender" into an up beat swing arrangement whilst Juke give "Jailhouse Rock" with a Latin bluesy workout. The latter after a few spins is quite appealing. Bob & The Bearcats pick on a couple of post army days Presley tunes with "Shoppin' Around" and "Put The Blame on Me" and provide effective versions. The stand out track has to be Al Holden's beautiful interpretation of "Tomorrow Night", quite stunning.
Marco Di Maggio with his tribute to the music of Eddie Cochran effectively captures the rockin' Cochran spirit and as a result comes up with a cracking CD. What is quite exceptional is Marco's guitar playing throughout, although having seen him on stage a few times this comes as no surprise as he is an immense talent in his own right. On this album, Marco in fact plays all instruments on all tracks, apart from a few where he enlists Matteo Giannetti on double bass and Renzo Franchi on drums. "The Cream Of The Crop" is a Di Maggio original and is obviously an attempt, successful, at the way in which it is felt that Cochran would have recorded this number. This is a most pleasing CD.
© Tony Wilkinson
July 2000
This is the second raid by UK comedian/disc jockey Mark Lamarr on the vaults of the King group of labels - the first being "Roc-King Up A Storm" (Westside WESA 801) - and whilst its predecessor covered many facets of rock 'n' roll, the latest offering is much more firmly rooted in black R&B. That said, this collection still manages to blow up a proverbial hurricane of rockin' sounds.
There is only one totally previously unreleased track and this is "Bobby Sox Rocker", a little contrived but nevertheless a nice piece of jump jive. Fred was the vocalist with Roy Milton's Solid Senders, who provide the backing, and his other track hereon is "Ground Hog Snooper", a quasi answer version to "Hound Dog". "Mule Milk" by Big Jay McNeely is also previously un-issued in that the version included is without the fake audience overdubs, the tune being a direct descendent of "Night Train".
The rockin' R& B theme is continued with "Rock 'n' Roll Jungle" by Joe Benson, a novelty ditty which is a great jiver as is "How Much Love Can One Heart Hold" by Joe Perkins & The Rookies, a song co-composed by Johnny Bragg of the Prisonaires. More of the same is served up by Joe Tex with his very first recording from 1955, "Davy, You Upset My Home", a shuffle lament how Davy Crockett on TV is ruining his marriage. Ronnie Molleen's "Fat Mama" is about as close to out and out rock 'n' roll this compilation gets and is good.
In a solid rockin' blues frame is "Hey Mr. Warden" by Danny Cobb which Lamarr's excellent liner notes tell us is virtually a re-write of Hurricane Harry's "My Last Meal" whilst Willie Wright is backed up by Ike Turner's band on the jerky R&B "Got A Feelin' " which comes complete with an extended raucous sax solo. "Aw Shucks Baby" by Tiny Topsy is almost popish and is clearly aimed at the same market that appreciated LaVern Baker "Jim Dandy".
The much under-rated talent of Little Willie John is reflected with two fine tunes, the mid tempo "Look What You Done To Me" and "Uh Uh Baby" which rocks along nicely in typical John fashion. Much more well known is Hank Ballard who is represented by two tracks, the 1953 "That Woman", very much in the Annie series styling, and "C'Mon Baby Let's Shake It" from 1962 which is a dance ditty.
Overall this volume is not as strong as "Roc-King Up A Storm" but that was an exceptional compilation This one is worthy of attention and is better than a lot of other recent various artists releases.
It is good that Raucous records have issued these tracks as there is far too
little material available by the UK's leading rock 'n' roll eccentric, I miss
him.
Two splendid releases for those who appreciate genuine fifties country music with truly superb nasally vocals against stark and simple country backings, although in the case of the Pierce compilation, certain tracks get quite rockin'.
Each of these sets has the tracks running in chronological date order and all were, with one exception in each artist's case, county chart hits. In Kitty's case, the exception is the wonderful slightly off key vocals on "Crying Steel Guitar Waltz" which was obviously aimed as a link to "Tennessee Waltz" whilst Webb's non-chart entry is "The New Raunchy", a vocal version of the Bill Justis instrumental hit "Raunchy", and rocks along quite tastily.
Pierce also has his cover version of the Everly Brothers "Bye Bye Love" included and it ain't bad. Continuing on with rockin' Webb inclusions, we have the cult and marvelous "Teenage Boogie", the boppin' "I Ain't Never" which many other artists have recorded over the years including John Fogerty and a splendid interpretation of "Honky Tonk Song". Apart from the hit "In the Jailhouse Now", there are no other inclusions from the "Webb With A Beat" album (Decca DL 4015) and "No Love Have I " is too sadly missing. Perhaps there will be a second volume.
Kitty Wells chart successes commenced with answer songs. "It Wasn't God Who Made Honky Tonk Angels" being the response to Hank Thompson's "The Wild Side Of Life" whilst "Paying For That Back Street Affair" is the answer to Webb Pierce's "Back Street affair". Kitty never really rocked, although sitting on the shelves somewhere I have her delicious version of Roy Orbison's "Only The Lonely" but that does not detract from the fine fine country music that she recorded.
It is good to have these two splendid overviews of these country legends, music recorded at their respective career peaks. There ain't a bad track included hereon.
© Tony Wilkinson
July 2000
"Boy Meets Girls" Television Shows:
Introduction to Boy Meets Girls (MW)/Hallelujah I Love Her so (EC)/C'Mon
Everybody (EC)/Somethin' Else (EC)/Interview (EC)/Twenty Flight Rock
(EC)/Introduction (MW)/Money Honey/Have I Told You Lately That I Love You
(EC)/Hallelujah I Love Her So (EC)/Closing Announcement/Summertime Blues
(EC)/Milk Cow Blues (EC)/Introduction and Interview (MW and EC)/II Don't Love
You No More (EC)/Sweet Little Sixteen (EC)/Introduction (MW)/White Lightnin'
(EC & GV)
The Monty Lister Interviews with Gene Vincent, Eddie Cochran, Billy Fury and
Joe Brown together with an interview between Monty Lister and Spencer Leigh.
Well this is the one that has been a long time in coming but after listening to the contents, the wait has been well worthwhile. This CD pulls together recordings made by Gene and Eddie for the Marty Wilde hosted "Boy Meets Girls" TV show broadcast between 16 January 1960 and 27 February 1960 plus those made for the radio show "Saturday Club" broadcast on 05 and 12 March 1960. The compilation is then rounded out by interviews conducted by Monty Lister in March 1960 with Gene, Eddie, Billy Fury and Joe Brown plus a chat from June 1995 between Monty and Spencer Leigh in which the we learn how these interviews came about.
Much, if not all of this, material has been previously available on Rockstar records but here we have the whole shebang in one package which has now been digitally re-mastered with a significant improvement in the sound quality making it quite exceptional for live recordings from this era. The song titles, apart from possibly the Teddy Randazzo co-penned "I Don't Like You No More" with it's ineffectual big band treatment, will be familiar to anybody with rock 'n' roll blood coursing through their veins but the performances exude excitement. Eddie's voice and guitar playing never sounded better and Gene's vocals are worth selling your sister into white slavery for. Clearly a lot of time and effort has been expended on this release, which comes complete with extensive liner notes, by Steve Aynsley and Roger Nunn, an introduction by Big Jim Sullivan and extensive photographs. In short, it is a marvelous package.
Whilst we are only just over half way through this year, it clearly has to rank as one of the most significant r 'n' r releases we are going to get during 2000. Crikey, 40 years on and the performances have lost none of their impact or musical importance. If you only purchase one CD this year, make it this one. Available by post from Rockstar Records, 96/D Southchurch Road, Warrior Square East, Southend on Sea, Essex SS1 2LX, England.
© Tony Wilkinson - July 2000.
To paraphrase the popular song, "all of a sudden my heart sings when a new issue by Eddie Bond pops through the letter box". I consider that Eddie has one of the best singing voices to come out of the mid south of the USA and this CD clearly demonstrates that belief. In essence, these tracks are re-issues of the two Dutch Rockhouse label albums "Rocking Daddy From Memphis Tennessee" Volumes 1 and 2 which came out in 1982 and 1984 respectively, the only differences being that the 1964 recording of "Monkey & The Baboon" and the 1969 version of "Juke Joint Johnny" have not been included this time around. However as partial compensation, the 1989 Nashville recording of Hoyt Johnson's "You'll Never Be A Stranger To Me" now appears hereon, a delightful country shuffle with fine steel picking from Paul Franklin.
22 of these cuts were recorded in England on 05 to 07 April 1982 inclusive with a band fronted by one of the UK's leading rock 'n' roll musicians, Dave Travis who does not appear on the stage too much these days. Oh how I miss those days of watching Dave with that pained look on his face as he poured out emotional vocals. This batch of tracks flow well albeit the tempo on the majority of these is pretty constant in that they are tempo boppers, highlights being a sparkling version of Carl Perkin's "Lonely Heart", the Vic McAlpin ditty "Behave, Be Quiet Or Be Gone", "Standing At The Station" and "Night Train To Memphis". Special mention must be made of the sympathetic backing, especially that of Howard Tibble on drums and the great Eddie Jones on lead guitar (who has his own album available - "Guitar Boogie Fever", Rarity CD 192610). Five of this grouping came from the pen of the aforementioned Dave Travis and they fit in well, especially the chicka boom rhythms of "Feel Like I'm Catching The Blues" and "Keep Playing That Music".
The remaining seven tracks ("Your Conscience/Blue Suede Shoes/One Way Ticket/No. 9 Train/Long Tall Sally/Fool About You/Tore Up) were recorded in 1979 in Memphis with a band of rockabilly legends including the late Marcus Van Story on bass, Al Hopkins on lead guitar, Smootchie Smith on piano and the legendary James Van Eaton on drums. Somewhat surprisingly, whilst they are more than listenable, they are not as good as the UK recordings. That said, the version of "No. 9 Train" with Charlie Feathers on rhythm guitar works well.
This is a recommended CD for lovers of good boppin' music and can be obtained from Rarity Records, P O Box 656, 2003 RR Haarlem, Holland.
© Tony Wilkinson
July 2000.
Playing Time: 58.05 The Everly Brothers - All I Have To Do Is Dream & Let It Be Me & Devoted To You & Leave My Woman Alone & Keep A Knockin'/Andy Williams - Twilight Time & Blueberry Hill & Are You Sincere & Butterfly & I Like Your Kind Of Love & House Of Bamboo/The Chordettes - Eddie My Love & I Cried A Tear & To Know Him Is To Love Him & Charlie Brown & Tall Paul & Lollipop & Pink Shoe Laces/Johnny Tillotson - Pledging My Love & Earth Angel & Lonesome Town & I Got A Feeling/Ernie Englund - Night Train/Link Wray - Rumble.
This release comprises two complete albums issued on the Cadence label in 1960 and it could be classed as being similar in concept to an album on the UK Embassy label (i.e. covers of top hits of the day by studio singers and musicians) except that the acts are name artists and the production values are the same as their hit records - no quick "we've got 15 minutes to nail this side" here. In fact several of the cuts were chart successes for the artists concerned.
Today, it is hard to think of Andy Williams as a teen idol but clearly this was the case during his Cadence days, he being their answer to Pat Boone. His versions of "Twilight Time/Blueberry Hill/Are You Sincere/House Of Bamboo" are soul-less and without merit from a rockin' perspective, ideal for a M.O.R. dance. Andy's version of "Butterfly", which was a No. 1 USA hit, is listenable whilst "I Like Your Kind Of Love" is as rockin' as Williams ever got, which does not say too much.
The five sides by The Everly Brothers are all classics and hardly need any further review except to say the sound quality and clarity on this release is first rate. No doubt it helped that one of the Chordettes, Jane Ertel, became Mrs. Archie Bleyer who just happened to own Cadence Records. They were a big act in chart terms with no less than 14 placings. The seven tracks included here are all covers although they had the big hit with "Lollipop". As stated previously, the production values on their sides were of the highest quality and the tracks can all be listened to without stirring the emotions, no teenagers would have ended up in trouble if they stuck with these safe as milk sides.
Johnny Tillotson was a teen idol who came to the label via a Nashville connection as the interesting liner notes by Fred Dellar inform us. Actually his four sides are not too bad and his attempts at the two Ricky Nelson hits, "Lonesome Town" and "I Got A Feeling", are appealing - especially the latter. The Ernie Englund version of Jimmy DeForrest's "Night Train" dates from 1954 and swings rather than rocks but is good. This leaves the classic "Rumble" by Link Wray and what a powerful guitar lead instrumental this really is, still sounds great today with its menacing chords and atmosphere.
Truly these two albums were records of their time.
© Tony Wilkinson
July 2000
Whew, what a great week for rock 'n' roll here in London - one of the best of this millennium and certainly the most interesting.
The week commenced rockin' wise with a selection of filmed performances by Johnny Cash and Carl Perkins on 10 July at the National Film Theatre, which unfortunately due to other commitments I was unable to attend. However, those of my acquaintance who made the show remarked how good it was to see the footage again, which included Johnny Cash's "San Quentin" performance.
Tuesday saw the "Legends Of Rock 'n' Roll" at the Docklands Arena, which is a large tin shed of a place. The real downside of this event was the poor acoustics and P.A. system, which was generally appalling. However, it was more than compensated for by witnessing Jerry Lee Lewis on stage again. Backed up by the Jerry Lee Lewis All Star Band, which included Kenny Lovelace and B B Cunningham, he was on stage for around 40 minutes and played a first rate and varied set. "High School Confidential", Boogie Woogie Man From Tennessee" and Georgia" were just great but that bloody sound system made his piano playing sound like he was thumping away on a harpsichord until the third number from the end, "Whole Lot Of Shakin' Goin' On" when it all came right. Jerry does not look the perfect picture of health and so it was a joy just to see him up there. He was followed by Little Richard and his ten piece band, oh what a tight band. True to recent shows, Richard camped it up an awful lot, probably too much, and certainly should have left "Be Bop A Lula" alone. However when he was good, he was just fine. "Keep A Knockin' " and "All Around The World" were superlative. Special mention must be made of the hard rockin' and dancin' sax man, a real throw back to the fifties and just great. A very visual show. The final act of the evening was Chuck Berry who was much improved over the pitiful performance he gave at Wembley around two years ago. That said, his guitar was still not in tune, was far too loud and discordant. "Carol" came off reasonably well but after about half an hour, I gave up on Chuck and left. Why oh why does it have to be this way - I remember him from the first tour of the UK when he was little short of brilliant. Sad!
The next night, Wednesday, was probably the best of the four and it was back at the National Film Theatre (NFT) for the European premiere of the Peter Guralnick produced documentary entitled "Sam Phillips: The Man Who Invented Rock 'n' Roll. The film is a masterpiece of rock 'n' roll history, with plenty of great and rare footage of the time. It traced the history and importance of the contribution made by Sam to real rock 'n' roll and was a joy to behold throughout it's 100 minutes running time. It included contributions by the likes of Ike Turner and fine insertions on Presley, Orbison, Jerry Lee, Johnny Cash, Carl Perkins, Charlie Rich, Howlin' Wolf, Johnny Bragg plus DJ Dewey Phillips and Jack Clement etc. It is a fitting monument to the man as well as being recognition of the talents of Guralnick. The film, which should be shown on the History Channel here in the UK later this year and then on BBC Television next year, was followed by a question and answer session with Phillips and Guralnick hosted by Adrian Wooton. This was interesting and entertaining at the same time with some of the questions and answers being sharp and perceptive. Some of Sam's responses were rambling and did, at times, reek of pretentious but who can really blame him - the man is 77 years young and has such a musical pedigree that it was just good to see him in the flesh. We all owe him one heck of a debt.
The final night, Thursday, was again at the NFT and this time we saw the Jerry Lee Lewis performances from the 1964 Granada Television show "A Whole Lotta Shakin Goin On" and his filmed appearance at the Wembley Country Music Festival in 1985. On the former he was backed by the Nashville Teens and clearly he was at a performing peek, a real dynamite pulverising show featuring red hot rockin' on the likes of "Great Balls Of Fire", Whole Lotta Shakin' Goin' On", "High School Confidential", "I'm On Fire", "You Win Again" and "Your Cheatin' Heart". I have seen this many times on a small screen but on the big screen, one becomes aware of how much detail they had previously missed. For the Wembley country show, Lewis was backed up by the Nashville A Team of James Burton, Buddy Harmon and Bob Moore along with the ever faithful Kenny Lovelace. This was again a fine set performed by consummate musicians, including a killer version of "Lucille". This evening closed out with two filmed television performances from Roy Orbison, the first being an extract from a 1966 "The London Palladium Show" whilst the second was the 1975 thirty minute "Roy Sings Orbison" show for the BBC. Whilst any performance by the Big O was never wild, tapping his foot was about as exuberant as he ever got, he had a voice worth selling your sister into white slavery for, he is a tragic loss to the musical world.
After all this it was a return to reality and determine if the daughter could remember who her father really was/is.
© Tony Wilkinson
July 2000.
In view of the ball we had around this time last year, I decided that perhaps it was again prudent to earn some brownie points with She Who Must Be Obeyed and suggested a return trip to the West Coast to commemorate her fifty years and holding - plus: see some splendid scenery and accommodate some live rock 'n' roll music. Accordingly the Wilkinson trio lit out for Seattle and after a leisurely drive through the beautiful Cascade mountains ended up in Spokane at Don Weise's Tavern. Don was one of the headliners at last October's Hemsby and he and his family made us more that welcome. He introduced us to Charlie "Hot Rod Lincoln" Ryan who is a 84 years young incredible character and treated myself and Don to a ride in the original Hot Rod Lincoln (during this trip, Charlie applied the brakes and after my nose ended up about 1" from the windscreen and Don was left clinging onto the rumble seat for dear life, Charlie observed that "I guess the brakes need adjusting").
On 10th April, Don arranged for a jam session of local Spokane musicians at his bar and from 7.00 p.m. to around 1.30 am the next morning, we were treated to some splendid country and rockin' sounds. The wealth of talent included Chris Parker, Don Smith who performed sparking versions of "Route 66" and "House Of Blue Lights", Pam Parker, Jack Hamilton, Don Mishler, Dean Hoppnam who played a rocked up version of "Gonna Find Me A Bluebird", the trio Airr who veered towards the Stevie Ray Vaughan school, Matt Kelly who is similar to an acoustic Steve Earle and Mingo who is Spokane's own answer to Freddy Fender. Special mentions must be made of Don Weise who served up tasty versions of his own "Poor Boy Paul", "Goodnight My Love" as a steel guitar instrumental, "Have I Told You Lately That I Love You" and "Whole Lotta Shakin' Goin' On" and the inimitable Charlie Ryan who must have done at least eight numbers including "Beautiful Carolinas", "Get Aboard My Wagon", "Crazy Arms" and "Hot Rod Lincoln". (Hopefully somebody will get Charlie over to Europe before not too long). The evening concluded with Steve Starkey who is a young singer attempting to get a recording contract in Nashville and possesses a superb voice and stage presence. He sang a stunning interpretation of "I'm Just A Pilgrim On The Road" - boy he deserves to make the big time.
From Spokane we journeyed north to visit with relations on Vancouver Island and it's breath taking
views and nature - it's nothing out of the ordinary to see some deer or moose trotting down the road.
After returning to the USA and a visit with Jerry Dennon of Jerden Records, a lovely person who also
acted as a promotions man for Era Records during it's hit making days, it was time to get back
on a plane and head to the bright lights of Las Vegas and the Easter rock 'n' roll festival.
The events kicked off with a pre-show party and a meet 'n' greet session at Rockin' Ronny Weiser's
place on the Wednesday afternoon at which all were made welcome. There was plenty of musicians jamming
together including a delightful lady who sang delightfully out of tune and recreated
Roy Orbison's "Pretty Woman" as "Trashy Woman" and gave a whole new meaning to "Hot Rod
Lincoln" - very entertaining.
"Viva Las Vegas 3" kicked off proper at the Gold Coast Casino on Thursday, 20th April in the ballroom with 3 Bad Jacks, a trio whose material ranged from country ballads to new wave rockabilly thrash. They were followed by Canada's Ray Condo & The Ricochets who played an energetic well balanced and professional set with a varied choice of original numbers and covers demonstrating excellent vocals and musicianship throughout. The style of music ranged from the honky tonk of "Your Old Used To Be" though the rockin' steel guitar lead "Shadow My Baby", the hillbilly tinged "Have I Gone Crazy" and the bluesy rock 'n' roll treatment of "Parchman Farm" to the first rate rockabilly of "Splash My Face With Cold Water", "Hey Mae" and "I Flipped". Their set concluded with a fine interpretation of Dorsey Burnette's "Great Shakin' Fever". Based on this performance, this outfit will go over well in Europe. The first night closed out with a crowd pleasing performance by Sweden's Eddie And The Flatheads.
Friday saw the festival launch into top gear with the result that there was rock 'n' roll music everywhere, it was coming out of my ears. The main shows were held in the upstairs ballroom whilst new bands were demonstrating their talents in the downstairs dancehall. Afternoon performances took place in the east lounge and, in the west lounge, Bob Timmers and the Rockabilly Hall of Fame arranged evening shows featuring a mixture of seasoned veterans and new acts. Most of my time was spent dashing between the upstairs ballroom and the aforementioned west lounge which was at t'other end of the casino - boy my little legs were worn down to the knees by the time the festival ended but nevertheless leaving me happily exhausted.
Up in the ballroom, the evenings shows kicked off with the Casey Sisters who originate from Kansas City but are now based in Austin and whom were deputising for the non available Ronnie Hayward. Featuring a femme steel guitar player, the two lead girls sang a tasty mixture of western swing and honky tonk including original numbers like "Let's Go", You Set My Soul On Fire" and the rockabilly "You'll Be Sorry Someday". These were followed by The Haystack Hi-tones, a Dutch outfit fronted by the lovely Marjos and Anita on vocals with Hans on drums, Raymond on double bass and occasional vocals and Rolf on biting lead guitar. This band appeared at Hemsby a little while back and impressed but, since then, they have come on leaps and bounds. Their set combined an exotic blend of hillbilly, rockabilly and western swing and boy could the two ladies sure shake their things whilst belting out the lyrics. Numbers included "Mercy", "Gotta Lotta Rhythm", "Sweet Love On My Mind", "Tennessee Jive", "Just Because" and "Never No More". They left the stage to tumultuous applause.
The live shows in the main hall continued with Ronnie Dawson complete with even blonder hair and, for myself, a new band. The joint was really jumping and with a loud 'n' heavy sound, Dawson launched into "Bobwire Betty" followed by "Shim Sham, Shimmy". The stage was full of action and Ronnie was all movement complete with the angular poses he regularly adopts. Number followed number such as "Good At Being Bad", Veronica", "Ford Boogie", "Rockin' Country Cat" and "It Wouldn't Do No Good". People were jumping about everywhere as the set climaxed with "Rockin' Bones", "Action Packed" and "Monkey Beat City". A devastating show but boy the group were a trifle too heavy at times, almost Link Wrayish in approach. The ballroom closed out for the night with audience pleasers High Noon and No. 9.
Down in the west lounge, it too had been an fine evening for rock 'n' roll witnessing shows by members of Bobby Lowell's band backed up by Dickie Harrell's rock steady drumming, Bobby himself being unable to make it due to worsening of his cancer. Eddie Bond along with his regular musicians Cousin Bo Jack and Larry Frye gave a first rate performance performing the classics for which he is justifiably famous like "Here Comes That Train", "Flip Flop Mama", Slip, Slip, Slippin' In", "Monkey & The Baboon" and "Rockin' Daddy". He was followed by Sun cat Mack Self who was supported by Burl Boykin (aka Johnny Crash). Despite clearly not feeling to well with a lousy cold, Mack gave out good vocals on "Mad At You", "I Vibrate", "I'm Taking You Down"", Walkin' And Thinkin' " and "Easy To Love" whilst Burl provided a good Johnny Cash impression. Also present pickin' and singin' later was Marco DiMaggio who turned in exemplary work out on "Mystery Train".
Saturday saw Finland's The Barnshakers open up the proceedings in the ballroom followed by Ronny Weiser's Rip Carson & The Twilight Trio and Chicago's Jimmy Suttons 4 Charms, the last mentioned being rather jazzy in approach. It was then time for the great Alvis Wayne who was replacing Frank Andy Starr. Giving a performance that matched the ones we recently saw in the UK, he launched into "Swing Bop Boogie", "Sleep, Rock-a-Roll Rock-A-Baby", "I Gottum", "Lay Your Head On My Shoulder" and a marvelous version of ""Don't Mean Maybe Baby". He followed on with a sparkling interpretation of Johnny Horton's "I'm Coming Home" and a so so take on "Long Tall Sally". But all was redeemed with the next number which I think was titled "My Baby's Back" - whatever, it was great country rock. After "Johnny B Good", Alvis dished up excellent interpretations of "Move It On Over" and "I'm Movin' On" closing out with a Willie Nelson song. No sooner than the deserved applause died down than Lew Williams stepped onto the stage, his first appearance in 41 years. Clearly very nervous, he started out with "Bop Bop Ba Doo Bop", "Centipede", "Gone Ape Man" and "Something I Said". Still displaying nerves, he got a great reception with "Cat Talk" and "Abracadabra". Apart from a reprise of "Cat Talk", it was all over - far too brief a set but immensely enjoyable for all that. The voice is still all there and give Lew a few more live performances, he will be a force to be reckoned with. The final shows in the ballroom for this night were by California's Deke Dickerson and his Eccofonics and the UK's very own Big Boy Bloater and his Southside Stompers.
However., the west lounge had been full of magical rock 'n' roll moments too. The evening had started out with Rocky Burnette and Paul Burlinson. As they launched into "Tear It Up", the place erupted to the top notch rock 'n' roll. The momentum and enthusiastic reaction was m aintained with "Please Don't Leave Me" and "Honey Hush". A listenable version of "You're 16" followed and the Rocky was replaced on vocals for "I Just Found Out". However it was back to the real thing with "Baby, Let's Play House" and "Lonesome Tears In My Eyes" with Marco DiMaggio joining the band on stage. What was probably the highlight of t he festival came next with an absolutely shattering version of "The Train Kept A Rollin' ", people were boppin' on the bar, on table tops and twitching on the floor. The audience joined in the chorus and to those assembled, this was rock 'n' roll heaven. The punters on adjacent slot machines were clearly startled wondering just what the hell was going on. The set concluded with Ronnie Dawson joining the assembled musicians for a another run through of "Tear It Up". Looking somewhat like Austin Powers, Jody Reynolds had the unenviable task of following this performance. Demonstrating that he still possesses a great voice, Jody sang two originals in "Rockabilly Man" and "Endless Sleep" but, for the remainder of the set, he stuck with standards such as "I Got A Woman", "Baby Let's Play House", "Blue Moon Of Kentucky" and "Good Rockin' Tonight". He finished off his performance with "Kansas City". After a real life wedding on stage, there were a couple of other performances and then it was time for Allan Clark, Gary Lambert and Dickie Harrell to take the stage. Alan sang a few numbers and then Glen Glenn took over and rocked the evening out with "One Cup Of Coffee", "Down The Line", "Hillbilly Boogie", "Laurie Ann", "I Walk The Line", "Blue Jeans And A Boy's Shirt" finishing on a high note with "Everybody's Movin' ". Such a night.
Sunday in the ballroom commenced with the Raging Teens from Boston followed by King Memphis and New Mexico's own Bovine. Every big festival usually throws up an act with immense potential - last year at Viva Las Vegas it was Marti Brom and for this festival, it was the next band, namely The Starliners from Melbourne, Australia. Exhibiting a first rate stage presence, this five piece male aussie band blended a pleasing mixture of western swing, rockabilly and honky tonk music - with lashings of fine steel guitar playing thrown in for good measure. Like many of the other acts, they served up a mixture of their interpretation of older numbers blended with a scattering of originals. Particularly fine were "Careful Baby", "Dig That Fool", "Mobile", "Cadillac And A Model A", the mid tempo "I Got The Blues For You", "Bovine Boogie" and "Tank Town Boogie". "I'm Gonna Flip My Wig" had the Oz support contingent down front really boppin' the corks on their hats as did the band's performances of "Rebop" and the rockabilly "I Done Did It". Their set finished off with "Crazy Blues", Bop Cat Bop" and Barracuda". Word had already got out that The Medallions were without leader Vernon Green who had recently suffered a stroke and so it was with some trepidation that I awaited their act. It soon became readily apparent that there was to be no problem as the five guys took the stage and launched straight into "Speedin' " followed by some great doo wop harmonies on "For Better or Worse" and this was to be the general pattern of the set. Alternating lead vocalists on some numbers, and working up some wild stage routines, they swept into ditties like "Behind The Door", "Did You Have Fun", "Edna", "Magic Mountain", "'59 Volvo" and the song, which they described as their theme tune, "The Letter". They even threw in a bit of comedy with a pretty cutting impression of Ray Charles on "What'd I Say" complete with risque lyrics and a wonderful version of "16 Candles". Their set climaxed with, naturally, "Buick 59" followed by a reprise of the same song. The Medallions came, conquered and drew the best applause of the whole festival. I cannot wait for their UK appearance in November. The final act in the ballroom was a reformed Planet Rockers with Eddie Angel on lead guitar and, a very Sonny Burgess sounding, Sonny George on lead vocals. They rocked out nicely on tunes such as "Best Dressed Beggar In Town and "Rock 'n' Roll Mama" and even threw the odd instrumental in for good measure. A good band to close out the festival.
Meanwhile, back in the west lounge, things had quietened down from the previous night a little but there was still some good rockin' going on with nice performances by Marco DiMaggio supported by the ever steady drumming of Dickie Harrell and the bass picking of Bill Mack plus Dave Crimmen (who was supported by his own band) and Wicked Honey.
Sadly my little legs and time did not permit myself to drop in on the bands playing in the downstairs showroom but there seemed a good buzz coming from therein every time I trotted by. Certainly, the UK band Texas Shakedown came up a couple of times favorably in conversation.
Phew, what a festival, it was good rockin' from start to finish. The good Lord willing, I shall be back next year.
© Tony Wilkinson
April 2000
On occasions when a tribute album is recorded honouring an artist's music, the effort falls short as attempts are made to either pointlessly recreate what's gone before or totally altering the original(s) by coming up with meaningless new arrangements/interpretations. It is a pleasure to write that this release, which is dedicated to the music of both Johnny Cash and the late UK country singer Cal Ford (Ian Calford's father), has neither failings. Rather, it successfully captures the spirit of the music of both of the aforementioned without being slavish imitations.
The effort is primarily devoted to the musical heritage of Johnny Cash and of the seventeen titles on offer (out of a total of thirty recorded) ten are Calford's interpretations of tracks from the Sun Records era whilst the remaining seven are based on cuts from Cash's Columbia days. A Cash tribute would be worthless without that chicka boom rhythm and this is served up by the bagfull by Marshal Stack on double bass and Luther Cummings on lead guitar (why do I think that perhaps these are not the real names of these gentlemen?). Drums only appear on two tracks, "Frankie's Man Johnny" and "Transfusion Blues", which are played by Dave Machin. However what makes this a thoroughly enjoyable listening is the vocals of Ian Calford. He really gets under the skin of the songs on most of the tracks and serves them up with real heartfelt renditions but in his own voice - which does has Cash overtones.
It is pointless going though the tracks one by one as most will be well known to any r 'n' r or country music aficionado. However there is one exception with "Saturday Night At Hickman County" which is a delightfully obscure number to pick on and the treatment on off here is one of the standout tunes on this CD. Hopefully there will be a follow up and which will include the unjustifiably overlooked "Goin' To Memphis" which Cash recorded during his early days at Columbia.
Whilst recorded in the UK, this is a German release and if difficulty is experienced in obtaining a copy, contact Vampirella Music at MCG Music & Communications Group Medien GmbH, P O Box 170433, 60078 Franfurt am Main, Germany (e-mail: megmedien@aol.com).
© Tony Wilkinson
June 2000.
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
.
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' D