For this album Mick assembled his favorite team of musicians, beginning with producer and guitarist Jeff Jensen, teamed with a solid group of Memphis based musicians: James Cunningham, Bill Ruffino, Rick Steff, Tom Lonardo, Carl Casperson, Eric Hughes, Marc Franklin and Kirk Smothers. Joining them was harmonica ace Bob Corritore on a very special song.

The color ‘pink’ takes us nostalgically back to the middle of the last century, when the color was present virtually everywhere. Just think of the Pink Cadillac, the pink accents in kitchens and living spaces, all kinds of pink clothing, pink lipsticks, pink perfumes, pink champagne, and we could fill several more lines. In short, it was part of the decidedly romantic style of the fifties and early sixties.
It is therefore not surprising that ‘pink’ also found its way into popular music. On this album, Bear Family Records brings together no fewer than 30 tracks recorded between 1950 and 1962, all of which had ‘pink’ in the title. It is not only fun to read those titles; it is even more fun to listen to the songs and immerse yourself in the fifties, when everything that is no longer possible today was still possible and allowed. Rock ‘n’ roll and rockabilly were omnipresent, but the songs on this compilation cover a broader segment. Thus, genres such as rhythm & blues, jazz, pop, exotic sounds, and sugary sweet teen songs are also featured.
For instance, you often encounter the same title, but it is performed in different styles by the respective artists namely, by well-known top artists and those who enjoyed slightly less fame.
The Tyrones kick things off with ‘Pink Champagne’ a track composed by jump blues legend Joe Liggins. The Tyrones perform the song at a hellish jump blues tempo. Later on the album, vibraphonist Lionel Hampton and his orchestra, with vocals by The Hamptones, present the song in a slightly calmer version. You also get ‘Pink Champagne’ a third time in a more rocking rhythm & blues version by saxophonist Rusty Bryant and The Carolyn Club Band.
Another song you get in two versions is ‘The Pink Panther’, composed by Lee Hazlewood and his wife Naomi Ford. For the first time, it is presented to you in a rhythm & blues version by the vocal group The Tads. Guitarist Al Casey then wraps the same song in a well-fitting rockabilly outfit.
There are no fewer than four songs featuring the ‘Pink Cadillac’. Two of these are by the same author, namely Sammy Masters. Together with His Rocking Rhythm, he performs the song in a brilliant rockabilly version. Rusty Draper, together with David Carroll and his orchestra, tackles the same track and gives it the same rockabilly touch.
For a jazzy touch, skip over to the instrumental ‘Sherry Pink’ by Vido Musso and his orchestra. Even more instrumental work in the same genre comes with the burlesque-sounding ‘Perfume and Pink Chiffon’ by Sonny Lester & His Orchestra. Another legend, saxophonist Earl Bostic, is present with the instrumental ‘Pinkie’, drenched in wailing sax. Atmospheric and romantic are adjectives that apply to ‘Cherry Pink And Apple Blossom White’ by Georgia Gibbs and Glenn Osser’s orchestra. Incidentally, the same applies to ‘Pink Hawaii’, performed instrumentally in ‘Aloha style’. The performers are the talented guitarist Billy Mure, accompanied by The Islanders.
This album features the most diverse genres. For instance, you can effortlessly categorize ‘A White Sport Coat (And A Pink Carnation)’ as pop.
Many artists recorded for Sun Records at the time, but not everyone managed to achieve worldwide fame. One such artist was O.C. Holt, who works his way through ‘Pink Wedding Gown’ in a rockabilly style.
‘Sixteen Tons’ made Tennessee Ernie Ford instantly famous. Here you can hear him in ‘Pretty Little Pink’, which is somewhat reminiscent of his big hit.
Pink was everywhere, as evidenced by the teen pop song ‘Pink Shoe Laces’ by Dodie Stevens, backed by Bobby Hammack and his orchestra. Incidentally, Dodie Stevens was barely 12 years old when she recorded the song in 1958.
Johnnie Ray is widely known. Accompanied by Ray Conniff’s orchestra and The Ray Conniff Singers, he delivers a major tearjerker in ‘Pink Sweater Angel’. Incidentally, other famous artists follow. Carl Perkins makes an appearance with the excellent rockabilly tune ‘Pink Pedal Pushers’, as does Eddie Cochran with ‘Pink Peg Slacks’. Later Jerry Lee Lewis also performs Perkins’ ‘Pink Pedal Pushers’ in his signature style. Jerry Dove and His String Busters also serve up fine rockabilly in ‘Pink Bow Tie’, complete with extremely tasteful guitar work. Naturally, rockabilly of the very best kind comes with Sonny Fisher and his own composition ‘Pink And Black’. Successor Gene Vincent, together with His Blue Caps, continues the rockabilly party with ‘Pink Thunderbird’, which is also the final track on this compilation.
‘The World Is Pink’ catapults you into the ‘pink world of the 50s’ for over 70 minutes. However, beware…… do not consume alcohol while listening, or you might receive a visit from ‘pink elephants’. Enjoy!

Electric Swamp Funkin’ Blues is Selwyn’s most “in your face” recording, and proves why he has become a “must see” live artist. On the new album, Selwyn and his band move from searing, raw songs like Never Should Have Gotten Out Of Bed and Talking Heads to the tender Labour Of Love and the gentle, romantic Soulmate. The band, featuring longtime members Regi Oliver on saxophones and Donald “Huff” Wright on bass, fits perfectly into each song, creating just the atmosphere Selwyn intended.

We can only applaud that Big John Greer is featured in Bear Family Records’ ‘Rocks’ series. In the post-war music scene, Big John was one of the saxophonists who gave rhythm & blues a serious boost with their energetic and raw sound. Greer could not only coax an enormously powerful sound from his sax, but when he stepped behind the microphone, he also proved to be a great blues shouter. Big John, also known as ‘240 pounds of solid jive’, learned from the very best, as a member of one of the best orchestras of the time, namely that of Lucky Millinder. Big John sang occasionally in that orchestra, but he made his recording debut in 1948 with ‘Wineola’.
From early 1949, Big John Greer was just about the most important artist under contract with the rhythm & blues department of RCA Victor. The 30 tracks on this compilation all date from the late 1940s and the entire 1950s. Recordings he committed to vinyl for the labels RCA Victor, Groove, and King Records. Moreover, here you get Big John’s hits including ‘Red Juice’, ‘Clambake Boogie’, and ‘Rocking Jenny Jones’, both vocal and instrumental. It is no wonder that his music resonated with the public. After all, his songs were immensely powerful and, above all, very danceable, which was a plus for that time. Another plus is that Greer recorded with the very best musicians. We hear studio guitarist Mickey Baker, Al Casey, bandleaders Lucky Millinder and Art Blakey, Bill Doggett, Sam ‘The Man’ Taylor, Big Al Sears, and Stanley Webb, to name just a few.
The compilation starts with ‘I’m The Fat Man’, a blues shouter made for Big John, that unceremoniously lodges itself in your head. The tone is set for Greer’s successes, as the instrumental ‘Big Rock (Rockin’ With Big John’ is already foreshadowing. Big John demonstrates his effortless transition from rhythm & blues to the emerging rock ‘n’ roll in ‘Come Back Maybelline’, the answer to Chuck Berry’s ‘Maybelline’. Big John turned The Memphis Jug Band’s pre-war ‘Bottle Up And Go’ into an infectious rock ‘n’ roll version, and ‘Honey, Why’ and ‘Come Back Uncle John’ also possess that rock ‘n’ roll feel. You get another beautiful interpretation of a classic with ‘Drinkin’ Wine, Spo-Dee-O-Dee’. Greer could also be subtle, as in the slow, bluesy ‘Wineola’. With Dolores Brown, he created a cool duet with ‘You Played On My Piano’.
You can also enjoy Greer’s performance as a saxophonist on the instrumental tracks ‘Record Hop’, ‘Duck ‘Walk’, ‘Midnight Ramble’, the rocking ‘Blam’ featuring a skillful blend of sax and lead guitar, ‘Big John’s A Blowin’’, and the wonderfully smooth-sounding ‘Night Crawlin’’ with a superb performance by guitarist Mickey Baker.
The great Big John Greer concludes with the brilliant melodic blues ‘Got You On My Mind’, immediately his signature song.
As is customary in the ‘Rocks’ series, you once again receive a fantastic 30-page booklet with all the info about the artist and the tracks.
If you love roaring sax, a killer blues shouter, steaming rhythm & blues as well as flashy rock ‘n’ roll, and music that is incredibly danceable, then this ‘Big John Greer Rocks’ is definitely your thing. Highly recommended!

You will undoubtedly know the name Charlie Brown from the legendary Peanuts cartoons, but this Charlie Brown is of a very different caliber.
Brown was a Texan cattle rancher and country singer. In 1955, together with his much younger guitarist Roy Thackerson, he recorded a number of groundbreaking songs that can be considered the first Texas rockabilly tracks, although Brown received no more than a footnote in the annals of Texas rockabilly. By now, we know better. A limited number of songs, but ones that collectors now eagerly search for and are often willing to pay a considerable amount of money for. Through this 10” LP released by Bear Family Records, playable at 45 rpm, you can acquire Charlie Brown’s legendary recordings at a reasonable price. You get blueprints of raw early Texas rockabilly like ‘Mean, Mean Mama’ and ‘Have You Heard The Gossip’ here in the best possible sound quality. Brown mixed his country skills with infectious rhythms, creating a high dose of intensity that was often lacking in commercial recordings. However, this album is not limited to the highlights, but adds some incredibly fine songs as well. For instance, you get a formidable, swinging version of ‘Milkcow Blues Boogie’ and a ‘Back To B Boogie (Pickin’) by guitarist Roy Thackerson that remains fantastic after all these years and has lost none of its charm. Incidentally, Roy Thackerson would later gain fame as the ‘fingerless fiddler’. And it doesn’t stop there, because of smash hits like ‘Don’t Put The Blame On Me and ‘Me’ and ‘Have You Heard The Gossip’, this vinyl also features the irresistible alternative takes.
When we drop the needle on ‘Mean, Mean Mama’, the first track on side 1, we are immediately grabbed by the scruff of the neck. This is rockabilly in its purest form, straight to the point and with a vibrant dynamic. In the follow-up, the slightly slower ‘My Hungry Heart’, Charlie’s love for country comes to the surface, but with ‘Have You Heard The Gossip’ and ‘Don’t Put The Blame On Me’, we get back up to cruising speed. Side 1 is boogie-style closed with ‘Boogie Woogie Mama’. On all these songs, Brown was masterfully accompanied by the talented guitarist Roy Thackerson. That same Roy gets to open the second side with the instrumental ‘Back To B Boogie (Pickin’)’, where you can fully enjoy his impressive string playing.
After a shaky start, ‘Milkcow Blues Boogie’ turns out to be a lightning-fast boogie. Phenomenal!
We hear that Charlie and Roy formed a perfect tandem in the alternative takes of ‘Don’t Put The Blame On Me’ and ‘Have You Heard The Gossip’.
Roy Thackerson gets to close the album in an incredibly skillful way with ‘Guitar Boogie’, where his finger dexterity is simply breathtaking.
The importance of Charlie Brown, the fact that these recordings are often impossible to find and that some never even saw the light of day back then, make this album an absolute ‘must-have’ for rockabilly fans. Additionally, this vinyl comes with a hugely richly illustrated booklet, in which you also learn everything about Charlie Brown and the tracks.
With this release, Bear Family Records fills a gap in the recognition that Charlie Brown lacked at the time.
Charlie Brown was born on April 10, 1913, and died at home after a fall in the shower on June 18, 1992.
One tip: be quick, because the print run of this album is limited to 500 copies. Enjoy!

The release Vliegwerk was recorded live and sounds pure and sincere. It is not a commercial product, but a project of class musicians doing their own thing and connecting generations.

Organic modern and old school blues songs. John F. Klaver is on his best with touching fingerpicking guitar.

Jojjo and Amedee met in high school as guitarists for the Fontainbleau Jazz Ensemble. After several years away, playing different musical venues, they reconnected at a benefit show featuring Dr. John and Rockin' Doupsie. After playing music together again, they realized that they had something incredible to offer the community. Thus, the Pontchartrain Shakers were born, driven by the deep roots in the blues and the sweet interweaving harmony of traditional jazz

​Sometimes it’s enjoy Sometimes it’s enjoyable to revisit an album after a long absence – especially when it gets a relaunch. 'Nine Yards' by West London–born blues singer Del Bromham was originally released in 2013 and is more straightforward than the progressive style the singer-guitarist displays with his band Stray. If that band can be described as a cross-pollination between Wishbone Ash, The Who, The Rolling Stones, Bad Company, and Budgie, then 'Nine Yards' leans much more toward calmer blues rock and boogie, with fewer heavy riffs than we’re used to hearing from Stray.
'The Ballad of JD' – an ode to whisky, it would seem – immediately suggests that there will still be plenty of electric enjoyment, but after 'Walking Down the Road' (which also features an organ) we already get the acoustic title track – coincidentally one of the less inspired songs on the album. From there the record moves through the bright-sounding 'Everybody Has to Sing the Blues' toward the sturdier blues rock of 'Words', whose second half contains one of the more creative solos and stronger instrumental passages of the entire album. Immediately afterward the pace eases again with the highly successful and very melodic acoustic 'Bring Them Home'.
The fragile, tormented 'Smiling Face' also embeds itself in the memory straight away. Del Bromham wrote the song for his daughter Zoe, who at the time was battling cancer, though we ourselves are not certain whether she ultimately survived that terrible disease. In any case, it is far from the only song on the album that revolves around family matters and social themes – just listen to the (understandably sentimental) 'Father and Daughter, Mother and Son'.
With 'What Comes Around' it’s time for foot-stomping: a cool harmonica riff, the snarling voice of co-singer Cherry Lee Mewis, and short, fiery solos ensure the song instantly sticks in the mind. 'You Don’t Know How I Feel' stands out in turn thanks to its sizzling instrumental second half (featuring a gripping guitar solo), although that makes the boogie of 'World in a Suitcase' feel slightly less in place.
The closing trio of songs consists of the amusing 'Bills', the pleasantly rhythmic 'Don’t Throw Your Love Away' (a nod to hardworking women), and the excellent, more forceful 'Catch You When You Fall' – a worthy final chord for an album that contains very few weaker tracks.

Although the British Love Affair scored a number of huge hits between 1967 and 1969 that DJs still happily spin at parties even in 2026 – including ‘Bringing On Back the Good Times,’ ‘Rainbow Valley,’ and of course the absolute classic ‘Everlasting Love’ – the band itself was not destined to last long. Its cohesion was already lost in the early 1970s and the group eventually broke up, although singer Steve Ellis remained active as a solo artist. The vocalist also dusted off the name of his original band and regularly performed as Love Affair or Steve Ellis’ Love Affair.
This recording from 1995 is therefore not a reunion of the original line-up, but it does document a performance by Steve Ellis with a backing band that draws heavily from the Love Affair repertoire, as well as from a number of classics by other artists who left their mark on R&B and soul – including ‘Get Ready,’ ‘In the Midnight Hour,’ ‘My Girl,’ and ‘Dance to the Music.’
What is notable is that ‘All or Nothing’ was included in the setlist as a tribute to Steve Marriott, and that all of Love Affair’s biggest hits make an appearance. The musicians make virtually no mistakes and Ellis himself is in excellent voice, even though he never really has to perform any major vocal acrobatics. We personally enjoyed how prominently the bass sits in the mix, but as a historical audio document this live album falls just a little short due to its fairly limited production quality and rather dry sound. As a result, the audio remains functional rather than overwhelming, although that very quality also gives the recording a strong sense of authenticity. Ultimately, as a reviewer, one has to conclude that this is a likeable but not particularly essential live album, even if it still contains quite a number of very good soul-pop songs

Before the musicians formed The Dibs, they had already showcased their talents in various formations. The band's figurehead is singer and percussionist Peter Jacobs. Peter is supported instrumentally by drummer Jeff Jr. Gijbels, bassist Guy Engelen, guitarist Stanley Patty, and Bart Billekens on Hammond and piano.
'Just For You' is The Dibs' debut album. It contains 11 songs, no fewer than 10 of which originated with the quintet. And those who regularly read our reviews know that's a plus for us.
The album opens impressively with the funky 'No Sleep'. The instrumental pieces fall into place immediately, allowing Peter to go all the way. Original ideas can be found in 'Stop Fooling Around' and its follow-up, the contradictory 'Sick And Tired', both of which are introduced by nothing but steady drums. The same goes for 'Live Life', which has a jazzy feel. ‘Like Lovers Do’ is a magnificent ballad that embodies the best of blues and soul. For pure soul, skip to ‘Relentless’. New Orleans subtly surfaces a little later in ‘Getting Older’. The band then works its way through ‘Last Chance’ with a blues-rocking flourish. The Dibs close with the bluesy ‘Together’, which leads into a stirring gospel.
Musically, there's certainly something for everyone, but pay close attention to the lyrics as well.
It's beyond doubt that these are true musicians at work here. If I may point out one minor point, it's that very but also very occasionally, Peter's vocals seem to get lost a little bit in the mix. Nevertheless, Peter, Guy, Jeff, Stanley, and Bart can be proud of ‘Just For You’.

That the now 77-year-old blues legend Duke Robillard has been quite productive throughout his career becomes clear from the fact that this journalist had quite some trouble determining exactly how many solo albums the man has released: I arrived at 36, but colleagues mention somewhere between 35 and 38 – and that’s without counting the albums by Roomful of Blues and The Fabulous Thunderbirds in which the guitarist was also active.
The shoes of a Jimmy Vaughan cannot simply be filled by just anyone, of course, but even in 2026 Duke Robillard proves why he was allowed to do so back then. While there is nothing particularly innovative to be heard on the man’s latest offspring, 'Blast Off!', even the performances of already well-known songs such as 'Warm and Tender Love' (a 1966 classic by Percy Sledge), the funky 'Confusion' (originally by Allen Toussaint), the sizzling, wonderfully layered 'Lowdown' (by Tom Waits, with whom Duke Robillard toured two decades ago), and the instrumental 'The King' (by Count Basie) sound remarkably fresh and energetic. The cover of 'Lowdown' in particular is delightful and adds a slightly rougher edge that is (a little too) absent from most of the other tracks.
Naturally, 'Blast Off!' also includes original material, although with 3 out of 12 songs (two of which are entirely instrumental) that number remains rather modest. The fact that Duke Robillard wrote the one self-penned track that also features vocals, the somewhat sensitive 'Feel My Cares' – a blues ballad in which Robillard himself sings instead of leaving everything to the (better, though not exceptional) vocalist Chris Cote – when he was just 17 years old may be telling, though the guitarist’s repertoire has long been filled with reinterpretations of well-known (and lesser-known) songs.
'Blast Off!' offers an engaging journey through familiar genres, from jump blues and ragtime to R&B, jazz and big band, sometimes accompanied by rather cheesy lyrics, but Duke Robillard – who produced the album himself – makes excellent use of the accompanying musicians on his debut for the Nola Blue label, and together they ensure that the album remains fairly cohesive. The strong horn section in particular deserves mention.
A good album with slightly too few surprises to be added to the very top of Duke Robillard’s discography, but with more than enough craftsmanship to make it worth the purchase.

Very strong title track ‘This World,’ not to be missed! You will need the repeat button. 

Blues brings people together – So don’t hesitate to enjoy on the rhythms of  Omar & Igor.