The variation on ‘The Blues Is My Biography’ reflects Billy Branch’s talent.  His music takes you by the b…soul. And I love it!

In the previously published volume, which focused on the period 1941-1956, we already learned that, although he may not have enjoyed the fame he deserved, guitarist Robert Lockwood Jr. played a pioneering role in bridging the gap between Delta and Chicago blues. The fact that he inherited both the Delta blues skills he acquired from his stepfather, Robert Johnson, and his effortless mastery of urban Chicago blues and rhythm & blues certainly contributed to this. He was also a sought-after session musician, to whom pianists and harmonica players owed their success.
This second volume again contains songs Robert recorded under his own name, as well as tracks where he appears as a valuable sideman.
To distribute the number of tracks evenly across the two volumes (28 tracks on volume 1 and 27 tracks on volume 2), the periods partially overlap. That's why this volume starts with the 78 rpm ‘I'm Gonna Dig Myself A Hole / Dust My Broom’, which Lockwood Jr. recorded under his own name in 1951. Both songs are credited to Lockwood, although Arthur Crudup recorded ‘I'm Gonna Dig Myself A Hole’ six months before Robert. The original version of ‘Dust My Broom’ was written by Robert Johnson. ‘I'm Gonna Dig Myself A Hole’ is a typical blues, and you'll more than likely hear the legendary Otis Spann on piano. ‘Dust My Broom’ was immortalized by Elmore James through the use of slide. The pianist on duty here is probably Sunnyland Slim.
In 1954, Robert recorded his last 78 rpm album under his own name, ‘Aw Aw Baby / Sweet Woman’. Besides his brilliant guitar work, Sunnyland Slim is back on piano. The A-side is certainly modeled after Johnson's ‘Sweet Home Chicago’. ‘Sweet Woman’ is a slow blues with a great, smooth, slightly jazzy guitar. When Robert switches to the guitar solo, he displays his immense creativity.
Lockwood Jr. can be found behind many popular artists, such as John Brim, Freddy King, Eddie Boyd, Little Walter, Sonny Boy Williamson, Muddy Waters, J.B. Lenoir, Willie Cobbs, Ernest Cotton, and Sunnyland Slim.
All these artists are represented here with one or more tracks. What these recordings clearly demonstrate is that Robert Lockwood Jr. refined the tight Chicago sound through his talent on the six strings. He then swings again on Freddy King's ‘That's What You Think’.
Robert sometimes collaborated on two guitar parts with Luther Tucker. Both parts then matched wonderfully with the rhythm section. A beautiful example can be found towards the end of Little Walter's instrumental ‘Rocker’. A delightful guitar part, where Lockwood Jr’.s creativity soars, surrounds Sonny Boy Williamson's ‘Cross My Heart’. Robert also effortlessly found his place in J.B. Lenoir's rhythm & blues ‘She Don't Know’, and be sure to check out his part in Willie Cobbs' ‘Slow Down Baby’. Simply sublime! He echoes this in Ernest Cotton's ‘Going Back To Memphis’, as well as in Cotton's instrumental ‘Uhm Beautiful’, and certainly also in Sunnyland Slim's ‘Worried Bout My Baby’.
In 1960, Robert Lockwood Jr. moved to Cleveland and that same year he was present when Otis Spann recorded his groundbreaking album ‘Otis Spann Is The Blues’. This compilation ends with three songs from that masterful album, including a remake of ‘Little Boy Blues’.
Robert Lockwood Jr. never embraced the image of the ‘hard-drinking bluesman’. On the other hand, he held dignity and professionalism in high regard, and was sometimes labeled authoritarian as a result. The fact that his demeanor led to brilliant recordings can be heard on these two volumes in the ‘Right Hand Man’ series. A more than justified tribute!

Gerrit Veldman knows how to compose attractive bluessongs and to play with a lot of energy. The collaboration with Roland Bakker is a winner.

Lovely sweet a-capella songs to honor women. Be surprised!

Chicago blues master plays an array of styles and it breaks all skepticism.

The first volume of the ‘Phantom Rockers’ series, launched by Atomicat, quickly left us wanting more. This has now culminated in ‘Jake The Snake’, a worthy successor to ‘Don't Bug Me Baby’. Compiler Mark Armstrong once again retreated to the deep, dark recesses of the archives, where he enthusiastically searched through old recordings by mysterious artists. When he was finally allowed to see the light of day again, he had found no fewer than 30 recordings he wanted the world to hear. The result is now in our player.
Chuck Fayne immediately unleashes the title of this compilation on us. Glorious rock 'n' roll that had been gathering dust for 60 years, but has now finally found its way to a release. The successor, ‘Apron Strings’, by Billy The Kid, is mysterious. His real name was David Alexander Hess, but he also recorded as David Dante. He originally recorded ‘All Shook Up’ under that name, but he was also active as a songwriter for artists like Conway Twitty and Elvis. He later returned as David Hill with the energetic, hard-rocking ‘That's Love’.
On Randy Lee's ‘Tell Me’, you'll have to look for the Phantom Rocker among the backing vocalists. Not only did the song belong to Carl Perkins, but he's also the uncredited guitarist on this recording.
Jeff Daniels is featured here on ‘Uh-Huh-Huh’. It's not a bad song, but as a songwriter, he used Earl Lee as his name. Incidentally, it was in that capacity that he wrote ‘Midnight Shift’ for Buddy Holly.
Contractual obligations can sometimes throw a wrench in the works. For example, Bobby Darin recorded ‘Early In The Morning’ in 1958 with Brunswick, not the label he signed to. This didn't please his employers, who tried to boycott the song. Brunswick then released the song with The Ding Dongs as performers. Contractual concerns also led Bill Haley's Comets, as The Lifeguards, to entrust the instrumental ‘Everybody Out'ta The Pool’ to vinyl.
Another interesting story involves ‘School Day Blues’ by Johnny & The Jammers, a band in which Johnny Winter and his younger brother Edgar were members. For the Phantom recording ‘Broke And Lonely’, Johnny Winter adopted the name Texas ‘Guitar’ Slim.
The Saxons, featured here with ‘Rock And Roll Show’, were teeming with familiar names. Consider Tommy ‘Buster’ Williams, Jesse Belvin, Eugene Church, Gaynel Hodge, and Johnny Guitar Watson. They achieved fame either through solo recordings or by being part of other vocal groups.
Lloyd Arnold & His Rockin' Drifters hoped to win over a segment of the young rock audience with ‘Hang Out’. Before becoming a Phantom Rocker, Arnold recorded under his birth name, Lloyd McCullough.
A Phantom Rocker who used multiple aliases was Billy Lee Riley. As Skip Wiley, Darron Lee, and The Spitfires, you can hear him on the somewhat New Orleans-rocking rhythm & blues ‘Fast Livin'‘, the soulful ‘I've Been Searching’, and the instrumental ‘Catfish’, respectively. As an unaccredited harmonica player, he also scored on Bill Rice's ‘It's All Your Fault’.
Cool instrumental work comes from Sid Elrod on ‘Slap Happy Bass’, who recorded as Macy ‘Skip’ Skipper before becoming one of the Phantom Rockers.
It's no surprise that members were swapped within the vocal groups. Doo-wop, therefore, receives ample attention on this compilation. You can hear this member exchange on tracks by The Cadets, The Rocketeers, and The Flairs. To make things even more mysterious, the lead singers also recorded with other groups or even solo.
And there are plenty more Phantom Rockers, making this volume yet another smash hit. Want to discover even more Phantom Rockers? You can, because the next volume, ‘This Night’, is coming out soon.

This first volume starts with experimental jazz but evolves towards more classical structures.

With Tom Eylenbosch, piano blues finally has a permanent place on the Belgian blues scene. This 25-year-old pianist from Keerbergen has everything it takes to become a great one and was crowned the winner of this year's Belgian Blues Challenge.
From the swinging opener ‘Ain't Nothing But Lies’, Tom demonstrates that his piano and voice are enough for him, and that remains true throughout the tracks. This is the sound our blues scene has been missing for so long, and Tom continues to set the bar incredibly high. Enjoy the blues in ‘Empty Pocket Blues’, the rocking rhythm & blues of ‘The Heart Wants’, and the artful ‘What A Mess’. A beautiful, yet not purely instrumental boogie arrives in ‘Brittle Bone Boogie’. A song whose instrumental middle section spotlights his talent and craftsmanship. A little later, ‘It's All Too Much’ unfolds with a swinging flourish. Eylenbosch serves up a beautiful example of restraint in ‘Satisfy My Soul’, and with ‘Tico Tico’ comes the inevitable instrumental highlight that shouldn't be missing from an album by a man and his piano.
‘My Kind Of Blues’ contains 11 tracks, no fewer than 9 of which came from Tom’s pen.
It's incredibly gratifying that someone has finally emerged who holds the piano blues in high regard and completes the Belgian blues scene with it.
Tom's ‘My Kind Of Blues’ is undoubtedly the kind of blues that fuels our enthusiasm.

Very enjoyable album with a nostalgic touch.  Hopefully not the end of his collaboration with producer Adam Minkoff.

Instrumental folk album from a Belgian duo with a great taste for traditional and modern melodies.

American country singer and songwriter Sunny Sweeney was born in Texas in 1976. She launched her musical career after being inspired by colleagues in the genre. Her big breakthrough came in 2006 with her debut album, ‘Heartbreaker's Hall of Fame’. After signing with several major labels, she chose the Thirty Tigers label, which gave her artistic freedom. Sunny is now a respected country artist in her home country.
She proves this is justified on her new album, ‘Rhinestone Requiem’, released on Thirty Tigers. Her music falls within the traditional country and honky-tonk genres, genres she approaches with a personal touch. Sweeney not only has an incredibly powerful voice but also a timbre that perfectly suits the genre she performs. Moreover, her lyrics are so good that, despite their traditional country nature, they are not sugary sweet. ‘Rhinestone Requiem’ features both delightful up-tempo numbers and slower tracks, all performed in superb arrangements.
Fans of exceptionally well-performed contemporary traditional country music need no further encouragement.

Introspection of an emotianal singer-songwriter using some classic instruments and synths, but in a modern electro pop jacket.

Very good blues buy, even when a low price scares you off!
The band is very inventive which you will definitely appreciate!

The fourth volume in the ‘Rockin' Country Style’ series once again boasts 33 tracks that share both country and rock 'n' roll roots. Well-known artists lead the way, but all deliver high-quality songs. The traditionally good sound quality makes this volume once again a true highlight. Rocking country immediately blasts through your speakers with Jimmy Thomason's ‘Big Deal’, a 1952 song recorded for the King label. Noel Boggs offers a beautiful piece of steel guitar. Along with his band The Dudes and Les ‘Carrot Top’ Anderson, he shines on ‘Just Like Two Drops of Water’. Little Billy Earl Owens proves that music often runs in the family. He was Dolly Parton's uncle. He recorded with her, but also under his own name, such as the impressive ‘Honey Baby-O’. Versatility was a characteristic Andy Wilson possessed, recording country, boogie, and gospel. Here he sticks to rocking country in ‘Hillbilly Boogie’, and note that incredibly cool piano solo. Jerry Lee Lewis, as always, including the hammering piano, rocks out in ‘Hillbilly Music (Country Music Is Here To Stay)’. The song was released under two titles, but, as here, they were also combined. ‘Bye Bye Love’ was a megahit for The Everly Brothers. Ray Price delivers a not insignificant cover of it here. Wade Ray stays closer to country a little later in ‘Paradise Of Broken Hearts’. Besides country and rock 'n' roll, ‘Sold Out Doc’ by Johnnie Lee Wills and His Boys also has a touch of hillbilly. A sax isn't often found in rocking country. Link Davis proves that it can be done perfectly in the well-known ‘Have You Heard The News’. A really great version! The unique ‘Dive Bomb Boogie’ by Larry Dean & His Virginia Playboys is also very impressive. The intro even translates the title into sound. Leroy van Dyke became known for his brilliant country and honky-tonk performances. You can hear that rocking suits him perfectly in ‘Party Doll’, including an inspiring, twangy guitar solo. For a rockabilly feel, skip to ‘Baby I'll Soon Be Gone’ by Lattie Moore. Don Gibson's ‘Didn't Work Out Did It?’ sounds very distinctive, even a bit poppy at times. A delightful arrangement can be found in ‘Blues Around My Door’ by Cecil Bowman & The Arrows, reminiscent of both Cash and Atkins. A delightful guitar intro sets the tone for ‘Tennessee Toddy’ by the also-whistling Marty Robbins, a song that could also be classified as rockabilly. A honky-tonk piano later introduces ‘Save The Pieces’ by Polly Possum & Joe Wolverton & The Dog Patch Boys.
This album also features previously unreleased acetate recordings. A first from an unknown artist with the only 41-minute, but no less enjoyable, ‘Lovesick Millionaire’. The artist of the second acetate recording, ‘Old Joe Trouble’, is also unknown. What a stunning song!
The fourth volume in this series needs no further explanation. The long-hidden gems of rocking country music will undoubtedly amaze you. Not to mention the acetate recordings, which you can listen to here in sublime sound. Congratulations to Atomicat for releasing formidable acetate recordings!

Poppy Breton folk with a pinch  of French chanson.  

Soft and well balanced album. One of the best folk albums of the year!

The fifth volume in this series, which features both rocking rhythm & blues and rousing gospel, is titled ‘All Aboard’. We're more than happy to take that title to heart, as we'll be dedicating ample time to the entertaining rhythm & blues that give meaning to Saturday evening, as well as the contemplative Sunday gospel that follows.
Compiler Mark Armstrong has once again delved into the bulging treasure trove of both genres and has once again selected 28 tracks that provide the ideal soundtrack for both Saturday evening and Sunday morning.
This album kicks off as it should on a Saturday evening, with Big Bill Broonzy's blues ‘Jacqueline’ inviting you to order your first drink. The song dates from 1953, and on washboard, you'll hear another legend, Washboard Sam. Broonzy is followed by Little Milton with ‘Hold Me Tight’, a swinging rhythm & blues that also contains a dose of soul.
Muddy Waters provides the title track of this compilation. The song may list ‘Muddy Waters & His Guitar’ as the featured artist, but several now-legendary artists participated in the recording. You hear Little Walter and James Cotton on blues harp, Otis Spann on piano, Pat Hare and Hubert Sumlin on guitar, Willie Dixon on upright bass, and Fred Below on drums. In short, all extremely talented musicians. Incidentally, Otis Spann will later be featured under his own name with the instrumental ‘Five Spot’. Here too, a host of familiar names are featured, such as guitarists B.B. King and Robert Lockwood, and Fred Below and Willie Dixon again. The latter also returns with his own group, Four Jumps Of Jive, for the aptly named ‘It's Just The Blues’. B.B. ‘Blues Boy’ King returns on ‘Shut You Mouth’. A well-known drummer, Sam Carr, is present on Frank Frost's bluesy ‘Pocket Full Of Shells’. Spreckled Red provides a nice piano blues a little later with ‘The Dirty Dozen’.
Arthur ‘Big Boy’ Crudup is well-known. He delivers a beautiful piece of down-home blues on ‘Come Back Baby’. A fun anecdote can be found in ‘Drive Drive Drive’ by Thomas and The Tomcats. Jimmy Hendrix played in this band but was drafted into the army just before this single was recorded. Slide guitar and Elmore James are inseparable. James's mastery of this instrument is demonstrated again on ‘Can't Stop Lovin'‘. Sonny and Jaycee also offer some nice up-tempo harmonica blues on ‘You Keep Doggin' Me’.
More top-notch blues presents itself on ‘My Baby Left Me’ by the lesser-known B. Brown & his Rockin' McVouts. For a fine example of rocking rhythm & blues, skip to ‘Evil Hearted Woman’ by Drifting Charles.
Little Richard focused more on gospel later in his career. A taste of this can be found in ‘Joy, Joy, Joy (Down In My Heart)’. Produced by none other than Quincy Jones. Little Richard later returns as pianist and backing vocalist on Christine Kittrell's ‘Lord Have Mercy (I'm So Lonely)’. Radio Four's follow-up, ‘I Feel The Spirit’, is authentic gospel. More trance-like gospel comes with The Nightingales and ‘Somenwhere To Lay My Head’, as well as ‘I Know My Jesus Is The Light Of The World’ by The Christland Singers. The grand dame of gospel is undoubtedly Mahalia Jackson. You can enjoy her fantastic voice on ‘Didn't It Rain’.
‘More Like Jesus’ by Bessie Griffin is a beautiful fusion of rhythm & blues and gospel. Earl Palmer is the drummer. The album closes with Buster Brown on the brilliant harmonica rhythm & blues ‘I'm Going – But I'll Be Back’, featuring Wild Jimmy Spruill on guitar.
Just like his previous four volumes, this fifth in the ‘Sin On Saturday, Pray On Sunday’ series is one to cherish. The interplay between searing rhythm & blues and faith-filled gospel is phenomenal. With exceptionally high sound quality, you get the very best of both worlds.

The name Wee Willie Harris may not immediately ring a bell, but he was undoubtedly the most colorful figure in the early days of British rock 'n' roll. He was certainly extravagant, with his pink hair and striking clothes. Moreover, his wild and exuberant stage performances brought a breath of fresh air to the British music scene of the late 1950s. You could even say he was a punk or glam rocker avant la lettre. The ‘Wild One From Bermondsey’, as he was known, rightfully claims the ninth volume in the ‘The Brits Are Rocking’ series. It's incredibly that his rare LP ‘I Go Ape’, released exclusively in Israel in the early 1960s, can be heard in its entirety here. The album is incredibly hard to find, making it a collector's dream. You'll also get his most important studio recordings from the 1950s, including ‘Rockin' At The 2 I's’, ‘Love Bug Crawl’, ‘Got A Match’, and ‘Wild One’. While rock 'n' roll may have originated in America, it's a fact that guys like Wee Willie Harris, with their uncompromising performances, also ignited the rock 'n' roll flame in London. It's logical that they initially relied on songs that were hits in the US. Many of these songs, therefore, appear on this album in Harris's own successful version. Wee Willie's ability to write great songs is certainly evident in ‘Rockin' At The 2 I's’ and ‘Grab You’. The latter must have inspired Brian Setzer.
Harris also mastered various rock 'n' roll styles, ranging from wildly raging numbers to more subdued ones. The tracks recorded with an audience at The Railway Tavern in October 1957, as well as those recorded for TV shows, are the ultimate proof of this. His band's talent and craftsmanship are revealed in the instrumental ‘Got A Match?’. Harris's versatility is also showcased in the country-rocking ‘Have A Drink On Me’.
David Bowie, Ian Dury, and The Clash all hinted that Wee Willie Harris inspired them. This immediately proves that Harris, although he didn't achieve the worldwide fame he undoubtedly deserved, was invaluable to the development of British rock 'n' roll.
In the 36-page booklet, richly illustrated with numerous photos and illustrations, Roland Heinrich Rumtreiber tells the impressive story of the unique, extravagant Wee Willie Harris, from his early years at the legendary 2 I's Coffee Bar in Soho, his tours with Buddy Holly and Gene Vincent, to his status as the ‘Godfather of Punk’. Fans of wild, energetic British rock 'n' roll will love this tribute to Wee Willie Harris. Plus, you'll also own the hard-to-find ‘I Go Ape’ album in stunning sound quality and for the first time  on CD. Highly recommended!

A lot of traditonal songs and a few own creations gives you the opportunity to dance or relax. It deserves a few listens. 

When rhythm & blues laid the seeds for the new genre of rock 'n' roll, blues shouter Wynonie Harris, born on August 24, 1913, in Omaha, Nebraska, was one of its founders. He earned his nickname ‘Mr. Blues’ early in his career, a moniker he readily lived up to with his wild, boisterous, and raw performances. Harris undoubtedly deserves his place in the ‘Rocks’ series launched by Bear Family Records. This compilation contains 30 tracks Wynonie recorded for the King label in the late 1940s and early 1950s. His best-known song, ‘Good Rockin' Tonight’, is naturally included. Incidentally, it was frequently covered by artists like Elvis, Buddy Holly, and James Brown. As befits postwar rhythm & blues, Harris's lyrics usually deal with women, alcohol, and nightlife, and often had a double meaning.
His nickname ‘Mr. Blues’ he immediately lives up in the first track, ‘Rock Mr. Blues’, where the burgeoning rock 'n' roll is already clearly audible. Wynonie recorded songs that would still be on the playlists of many blues artists years later, as is evident with ‘Bloodshot Eyes’. It's the ultimate proof that Harris was indispensable, not only for the development of rock 'n' roll, but also for the survival of rocking rhythm & blues. The way Wynonie regularly introduces his own songs is also delightful. Live, that must have been truly amazing, considering the interaction with the audience further energized his performances.
The power that Harris's songs exude is phenomenal. The album is brimming with it. Examples include ‘My Playful Baby's Gone’ and ‘Lovin' Machine’, rocking rhythm & blues at its very best. Moreover, Wynonie could also cover songs by other artists in such a way that they seemed original to him. Convince yourself of ‘Drinkin' Wine Spee-Dee-O-Dee’. ‘All Night Long’, which he recorded with the vocal group The Royals, also sounds fantastic. Mambo enjoyed success in the 1950s. This prompted Harris to record ‘All She Wants To Do Is Mambo’ and ‘Good Mambo Tonight’, a variation on ‘Good Rockin' Tonight’.
Wynonie also consistently surrounded himself in the studio with the crème de la crème of horn instrumentalists. You'll find saxophonists Hal Singer, Tom Archia, Johnny Griffin, and Red Prysock, and Hot Lips Page occasionally offered his services as a trumpet player, as he did on ‘Good Rockin' Tonight’. Fans of solid horn instruments, like myself, will be thoroughly satisfied on this compilation. Legendary jazz guitarist Kenny Burrell can be heard on ‘That's Me Right Now’. As always, the CD is accompanied by a beautifully produced 40-page booklet with a biography, all the track information, and historical photos and illustrations.
Fans of rocking rhythm & blues have no excuse not to own the album ‘Wynonie Harris Rocks’. This compilation is among the best in its genre.

Classic Latin-American music on acoustic guitar, not only gentil but especially strong performance.

With the end of the year fast approaching, the holidays are upon us. It's always nice to brighten up this season with music that serves as your ultimate soundtrack. Bear Family Records is therefore releasing ‘Santa Is Rockin' and Rollin'‘ in two versions. There's the CD, featuring 25 tracks to get you in the Christmas spirit, and the vinyl edition, featuring a selection of 16 tracks from the CD. The vinyl edition comes in a vibrant red vinyl and includes a beautiful illustration depicting a winter scene. For the full track list of both the CD and the vinyl edition, please visit the ‘DETAIL ALBUM’ button.
‘Jingle Rock’, a fun rocker with excellent vocals from Tommy Lee & The Orbits, will instantly get you in the mood. ‘Run Rudolph Run’, of course, is a classic Chuck Berry song. Here's The Outlaws' version, where the boogie piano takes center stage and is certainly on par with Berry's version, where the guitar takes center stage. Incidentally, this recording was made live and has superb sound quality. For a dose of doo-wop, you can definitely skip to ‘Rockin' Santa Claus’ by The Martells with The Bella Tones. When we think of soul, we naturally think of the Motown label. You can tell that the Fortune label also released decent soul with Nathaniel Mayer's ‘Mr. Santa Claus (Bring Me My Baby)’. Harry Lee was described by his Alaska-based record label as ‘The Sensation of Eskimo Land’. Hopefully, his hot ‘Rockin' On A Reindeer’ didn't cause a complete thaw there. Bill Parker serves up a fine example of rockabilly with the title track of this compilation. ‘White Christmas’ is a classic that has been covered by a vast number of artists over the years. Jerry Robinson delivered a fantastic up-tempo version. ‘There's Trouble Brewin'‘ may not immediately evoke Christmas, but it's a lovely Jack Scott song. The performance is somewhat reminiscent of Elvis. Perhaps that connection is due to saxophonist Boots Randolph, who appears on both Presley's and Scott's recordings. A touch of country can be found in Del Reeves' ‘Twisting Santa Claus’. The steel guitar, a staple of country music, is the lead instrument in Santo & Johnny's instrumental ‘Twistin' Bells’. Also instrumental is Little Bobby Rey's ‘Rockin' ‘J’ Bells’. More country follows with ‘Jingle Bells Boogie’ by Jody Levins and His Boys. Rocking and jumping rhythm & blues forms the basis for Big Bud's impressive ‘Snow-Man Rock’. Also note that wonderfully ripping sax solo. Benny Lee and the Ken-Tones' ‘Rock 'N' Rollin' Santa Claus’ also falls into that genre. Elvis completely revolutionized music in the 1950s. It was no surprise then that teenagers dreamed of spending Christmas with him. Little ‘Lambsie’ Penn brought it to light in ‘I Wanna Spend Xmas With Elvis’. Temperatures can plummet at Christmas. This inspired Donny Burns to write ‘Cool Yule’, a spoken-word song with a rocking guitar background, referencing the Peter Gunn theme. Beautiful harmonies follow shortly after with Kathy and Jimmy Zee's ‘Santa Claus Rock and Roll’. Wonderful vocals can also be found in ‘Santa's Got a Coupe De Ville’ by The Four Imperials. Yes, apparently Santa was keeping up with the times in 1962.
Marcel Martel was Canadian, so it's no wonder he sang in French. His ‘Rock 'n' Roll Du Pere Noel’ may sound a bit strange, but it's highly original and incorporates influences from both rock 'n' roll and country. Incidentally, he also composed the song. The combination of rockabilly vocals with a country backing is a resounding success in Sandy Center's ‘Come On Baby It's Christmas’.
Bobby (Boris) Pickett and The Crypt-Kickers close with ‘Monster's Holiday’, which also gets a bit spooky thanks to spoken word lyrics.
The vinyl edition, just like the CD, includes all the information about the tracks and the artists.
Whether you choose the CD or the beautiful red vinyl version, you'll always have the perfect, rocking soundtrack for the Christmas season. If you want to own all the songs, CD and vinyl are highly recommended.

With his unstoppable, energetic performances, where his wild piano attacks made rock 'n' roll proud, complemented by his passionate vocals, Jerry Lee Lewis set many venues ablaze in the mid-twentieth century. Unfortunately, seeing him live is no longer possible. Fortunately, you can blast him through your speakers on a brilliant live album. Germany's Bear Family Records is now taking care of that with the reissue of the vinyl ‘The Greatest Live Show On Earth’. First released by Smash Records in 1964, the album, along with Jerry Lee's ‘Live At The Star Club Hamburg’, is considered one of the best live albums of the 1950s and 1960s. ‘The Greatest Live Show On Earth’ was recorded during Lewis's performance at the Municipal Auditorium in Birmingham, Alabama, on July 18, 1964. It's clear that ‘The Killer’ was at his best then. The album contains ten tracks, featuring now-classic songs in rock 'n' roll, rhythm & blues, and country, each presented in Lewis's formidable interpretation. These songs, as we've come to expect from Jerry Lee, he committed to vinyl with an incomprehensible, dynamic enthusiasm. Rockers like ‘Jenny Jenny’, ‘Memphis Tennessee’, ‘Hound Dog’, ‘Mean Woman Blues’, ‘No Particular Place To Go’, ‘Long Tall Sally’, and the rhythm & blues of ‘High Heel Sneakers’ blend seamlessly with the slow country of Charlie Rich's well-known ‘Who Will The Next Fool Be’ and Buck Owens’ ‘Together Again’.
The album closes with an impressive, over five-minute-long version of ‘Whole Lotta Shakin' Goin' On’.
‘The Greatest Live Show On Earth’ has been remastered from the original stereo tapes, resulting in a truly impressive sound. What's more, the 180-gram vinyl comes packaged with the original cover, and as a bonus, you'll receive a rare postcard with a promo photo of Jerry Lee.
Does it even need to be said that this album is a must-have for any fan of straightforward, uncompromising rock 'n' roll? I don't think so!

Expressive fingerpicking guitar in a sensitive Classic, Brazilian or Flamenco style.  Really beautiful!

This vinyl arrived just after Halloween, but don't worry, because these tracks will make your mouth water all year round. Besides, Halloween is an annual event……! As the title suggests, this compilation contains 14 rare horror tracks that are sure to give you the creeps. The tracks date from the '50s and '60s and explore various roots genres.
Merv Griffin gets the party started with the primarily instrumental ‘House Of Horrors’. Rockabilly horror can be enjoyed without any shame on ‘I'm The Wolfman’ by Round Robin. In the early '60s, Round Robin was a huge hit with dancing crowds. Later, he would record for the Stax label as a funky soul singer. Wonderful doo-wop, though the horror here is rather gentle, arrives with ‘Zombi’ by The Monotones. Screamin' Jay Hawkins took the horror very personally. He transformed himself into a monster, which he transferred to the stage. Here, he delivers a fantastically rocking ‘Little Demon’, and note that sublime guitar solo. Serial killer Jack the Ripper inspired Casey Jones and The Governors for the eponymous rhythm & blues rocker.
Side two of this vinyl opens with The Swingin' Phillies, who give the title track of this compilation a twisty touch. The Swingin' Phillies are followed by Rod Willis. He delivers the previously unedited version of the cat-screech-laced ‘The Cat’, a brilliant example of how a rockabilly song should sound, complete with a superb guitar. Virgil Holmes was a rather obscure figuur. He invites you to take a seat on a spooky train with ‘Ghost Train’, which, thanks to the clever arrangement, you can almost literally hear it riding along the rails. Screaming, Dick Barton's Rebels announce themselves with ‘Yes, Baby, I'm Scared’, a massive rockabilly banger. Little Gerhard then cheerfully works his way through the anything but scary, yet fantastically rocking ‘Rockin' Ghosts’. Completely horror-style, with raw vocals, The Savoys close with ‘The Mortal Monster Man’.
With ‘Frankenstein's Party’, Bear Family Records treats you to a devilishly spooky fusion of rockabilly and doo-wop, a hit that DJs and collectors alike will appreciate. Frankenstein and his colleague Igor will give you a warm welcome!