​​The release ‘A Place Where Songs Come To Live’ is the title of Vincent Cross’ latest album.  It's a collection of songs described as ‘a soul-stirring set of songs with stories of experiences lived’.
Seven of the album’s twelve tracks were recorded live at Creamery Studios in Brooklyn with a band in front of an intimate audience, capturing the immediacy and connection of performance. The remaining tracks were recorded in the same manner, without an audience, and the album will be available on CD and vinyl. Highly recommended! 

The Stroll is a somewhat slower rock 'n' roll dance from the 1950s. You can find plenty of videos online showing how it was originally performed. The current rockabilly revival also rekindled interest in the dances of the 1950s, including the Stroll, which was adapted to the zeitgeist. You can also find plenty of demonstrations of this adapted version online. The music, however, remained the same, as evidenced by the fifth volume in the "Stroll-A-Rama" series from the Atomicat label. Compiler Mark Armstrong once again selected 30 songs to serve as the soundtrack for the Stroll, while Henrique San did the artwork.
The kick-off is Jerry Woodard with the raw ‘Speedway Rock’, complete with the ‘sound of the speedway’. Kenny Lee Martin's ‘The Shape I'm In’ is also very enjoyable and a song suitable for airplay. Before LaVern Baker became a celebrated rhythm & blues singer, she began her musical career in a gospel choir. Both rhythm & blues and gospel resonate in the sublime ‘On Revival Day’, originally a Bessie Smith song, which LaVern delivers with immense passion. As a member of The Neville Brothers, Art Neville would achieve success in funk and soul music. Here he is with the classic ‘Cha Dooky-Doo’, which he recorded in 1958 for the Specialty label. A bit rawer and with a slightly faster tempo, the quintet of Rockin' Saints works its way through ‘Cheat On Me, Baby’. A smash hit! ‘Lover’s Hell’ is a song that will also please many popcorn lovers. Time for a bit of doo-wop. It's here with The Royal Lancers and their ‘Oh Little Girl’, a song featuring a delightful sax solo. Beautiful harmonies are also featured in The Ding Dongs' ‘Now We're One’, as well as in The Starlighters' ‘Let's Take A Stroll (Down Lover's Lane)’. Kenny and Mose also match vocally in ‘Tell Me That Your Love Is Real’. Betty Jayne calls it a ‘Lonely Teenager’. Apparently, that's not so bad, because it's a cheerful, up-tempo number. Jimmy Nolen played in James Brown's band, among others, where he made a name for himself with his guitar technique, the ‘chicken scratch’. You can also hear his superb guitar work in ‘How Fine Can You Be’, and he's also a talented singer. For a superb instrumental harmonica rhythm & blues, skip to George Allen Smith and ‘Loose Screws’. Later, there's the instrumental ‘New Orleans Hop’ by Monte Easter and his band. Both the sax and guitar are in the spotlight here. In the fifties and early sixties, dance crazes were very hot. There was also Curtis Lee's ‘The Wobble’. Lee worked with producer Phil Spector in his early years. ‘A Little Bit Of Soul’ by The Jarnels is certainly brilliant. The performance reminds me of Sam Cooke. The Witt Sisters are present with the Lieber/Stroller composition ‘Poison Ivy’. The flip side of this single featured The Andrew Sisters' ‘Boogiewoogie Bugle Boy’, and the Witt Sisters sound somewhat like that. Glen Pace, with his band The Gliders, delivers a superb ‘Tell Me’. The addition of steel guitar and accordion makes ‘Cats Eyes’ by Frank Zolton with Town and Country Boys sound incredibly creative. A cool twang guitar then tracks Ron Hargrave's ‘Drive In Movie’. A really great song, thanks in part to the call and response! You've undoubtedly heard countless versions of ‘Let The Good Times Roll’. But I bet John Ashley's version will surprise you. Excellent cover with a distinctly unique twist.
As is tradition, this series concludes with two recent songs that perfectly fit the zeitgeist of the other songs. This time, they're ‘I Know Who’ by Barbara Portland and ‘They Won't Let Me In’ by Texan Huelyn Duvall.
A series like "Stroll-A-Rama" never disappoints. In fact, it leaves you wanting more! Highly recommended!

The Boneshakers are back with Live To Be This, their 11th studio album and their most electrifying release yet. Set to drop in Summer 2025 onrenowned Blues Label Gulf Coast Records, this album brings the band’s signature Blues & Soul energy to soaring new heights, fueled by the powerhouse vocals of Jenny Langer and the masterful guitar work of Randy Jacobs. Produced by John Wooler, the visionary behind their ’90s breakout Book of Spells this album is a soulful journey through originals and reimagined classics, featuring an all-star lineup of special guests. Blues legends Bobby Rush, Charlie Musselwhite, Coco Montoya, Don Was, Jimmy Carpenter and more join the ride, with Rush delivering a show-stopping duet with Langer on Salty. From fiery funk-infused blues to raw, heartfelt storytelling,Live To Be This is a celebration of The Boneshakers’ legacy and their fearless future.

Shake Where You’re Steady, produced by venerable Chicago Singer-Songwriter, Steve Dawson, is an exploration of her most profound experiences. The heartbreak of watching her father leave her family in her early adolescence informed the album’s opening track, “Greatest Abandon,” which delves into her desire to love untethered by fear or past wounds. “I empathized so deeply with my mother’s sudden loss of a partner,” Chrissy explains, “and of course there was my loss, too.” Songs like “In the Meantime” reflect on hard times, while others, like “Only Now,” mark the start of healing. While some songs are reflections and other subconscious premonitions, her songwriting process mirrors her personal growth, a balance of instinct and revision, vulnerability and restraint.

Musicians and songwriters often remain in the shadow of the artists they accompany or for whom they wrote songs. Their contribution to the evolution of a musical genre is therefore unfairly underestimated. This is especially true for Niki Sullivan. Sullivan was not only a founding member of The Crickets, Buddy Holly's band, but also featured as a guitarist on Holly's now-legendary album ‘The Chirping Crickets’. As a songwriter, he was co-responsible for Buddy's classic "I'm Gonna Love You Too."
What you hear on ‘You Better Get A Move On!’, Sullivan's first solo album, is simply astonishing. You get seven previously unreleased tracks recorded in 1959 at Audio Recorders Studio in Phoenix, Arizona. This vinyl also includes two incredibly rare garage rock recordings Niki made in 1965 with his band Soul Inc. Furthermore, you'll hear ‘It's All Over’, Sullivan's only solo single for Dot Records. A major rockabilly classic! This single also includes the B-side, ‘Three Steps To Heaven’. Not to be confused with Eddie Cochran's song of the same name, as this is an original by Niki.
This release demonstrates that Nike Sullivan was a true talent. As a guitarist, singer, and songwriter, he far surpassed his peers. Each of the 12 tracks here is bursting with enormous hit potential, from straightforward rock 'n' roll to emotional ballads, as demonstrated on ‘Waitin’’ and ‘I Stand Alone’. Niki's instrumental surf skills are evident on ‘Take '9’. More of his grand instrumental work can be found on ‘Creepin' In’. Holly's influence on Sullivan is evident in his performances of ‘Treat 'Em Gently’ and ‘It Really Doesn't Matter Now’. Niki reprises the latter song with a 1960s approach with his band Soul Inc.
Fans of raw, no-nonsense rock 'n' roll, fans of Buddy Holly, and fans of true, pure rock 'n' roll from the genre's heyday should seize this opportunity. This release is limited to 500 copies worldwide and, thanks to the remastering of the original tapes by renowned music historian John Dixon, offers exceptional sound quality. The beautifully produced 10-page booklet includes liner notes by Roland Heinrich Rumtreiber and rare, nostalgic photos.
If you ask me...buy it now or regret it later!

Sometimes you have albums for which the rating 'absolutely recommended' or 'must have' is still too weak. Well Bobby 'Blue' Bland's 'His California Album' is one of those for which superlatives fall short. Bobby 'Blue' Bland already made several gems for the Duke label in the fifties and sixties. When Duke was sold in the seventies, Bobby found shelter at the ABC Dunhill label, where he could reach a wider white audience with his albums. 'Dreamer' and 'His California Album' are without a doubt beautifully polished diamonds. The German Bear Family Records re-released 'Dreamer' a few years ago and now it is the turn of 'His California Album'. Both albums were recorded in 1973/1974 with Steve Barri as producer and with Larry Carlton, Mel Brown and Dean Parks as guitarists. What immediately stands out is Bland's enormously versatile voice. A voice that gives shape to Northern soul, blues and gospel with class. When Bobby gets into a song, you immediately believe his story. That is immediately evident in the soulful opener ‘This Time I’m Gone For Good’. Bobby sounds both smooth and heartbreaking vocally when the song asks for it.
To mention the highlights on this album is simply impossible. This album contains 10 highly polished gems of songs about love, heartbreak and hope.
If you plan to buy only one soul album this year! Let it be the reissue of ‘His California Album’ by Bobby ‘Blue’ Bland, now on 180g vinyl. That the album still sounds fresh, contemporary and lived-in after 5 decades, says enough. You will enjoy it for many years to come. You can be sure of that!

‘The America Chronicles’ is a powerful reflection of that journey. Years in the making, the album confronts the beauty, contradictions, and complexity of this country with clarity, compassion, and soul. It’s not just a collection of songs—it’s a witness account, an offering, and an invitation to listen.

The release ‘Ruke Joints and Honky-tonks’ is a mesmerizing mix of contrasting musical idioms, a performance that the guitarist absorbed like a sponge during his hard-earned youth in Kentucky. Over the decades, Rusty has had more than his share of roadhouses, juke joints and honky-tonks. His hearty musical stew is guaranteed to keep you moving from the first to the last note. Earwig Records label boss Michael Frank produced the tracks at Delmark Records’ Riverside Studio in Chicago, with Rusty’s trusty rhythm section featuring bassist Uncle Dave Zirnheld and drummer Gene Wickliffe. Guest guitarist Wayne Young appears on four tracks. The release ‘Roadhouses, Juke Joints and Honky-tonks’ is a statement for Rusty Ends & The HillBilly Hoodoo.  Highly recommended! 

Soulfful thought-provoking, a heart-stirring mix of Contemporary and Ole School Blues that give you the escape you’re looking for. 13 AMAZING TRACKS!  Recorded & Engineered at David Lange Studio in the Pacific Northwest.  You’ll love the warmth and soulfulness of this Album.  Vocals: Mercedes Nicole, Piano & Hammond Jake Sele, Bass Scotty Harris, Guitar Rod Cook, and Drums Andrew Cloutier.  A Must-have for your Music Library!

Californian singer-songwriter/guitarist Brad ‘Guitar’ Wilson has, after all these years, appropriated a soulful, contemporary sound. Brad, who is considered by his fan base to be one of the most talented guitarists, is also an exciting entertainer. 

As we have often shown in previous reviews, a pollination of American roots genres took place regularly. The result of this was that on the one hand artists who were linked to one genre tried to reach a wider audience through it and on the other hand this pollination often resulted in very nice songs.
The Atomicat label puts the fusion of rock-‘n-roll, rockabilly and country in the spotlight on its new series ‘Rockin’ Country Style’. On the first volume we are already introduced to 33 tracks that contain influences from the aforementioned genres. We get a nice example of this right away with opener ‘Rock And Roll Country Boy’ by Curley Millikin & The Sundowners, with beautiful vocal work and excellent guitar and piano playing. The country influences are even clearer through the use of the lap steel in the successor, Billy Walker’s ‘Whirlpool’. The fiddle provides the country feeling in ‘Walk Off And Leave It’ by Sonny Sims. More delicious fiddle awaits you later in the rocking ‘Rattle Snakin’ Daddy’ by Boots Woodall and his Radio Wranglers. ‘Bird Dog’ was a hit for The Everly Brothers. Here you get a version of Half Brothers, which is quite close to the version of Don and Phil. The song was written by Felice and Boudleaux Bryant. This duo was also responsible for ‘Crazy Dream’ by Eddy Arnold. A great uptempo number, which Eddy unfortunately could not cash in on, because he was no longer the age of the record-buying teenagers. Artists also influenced each other. In ‘Wham Bam’ by Dave Edge, you can clearly hear the influence of George Jones. It is a fact that acetate recordings often contain endearing songs. This is once again clear in ‘Johnny Vagabond’ by Ned Miller, which is now released by Atomicat. The oldest recording on this compilation dates from 1947, namely ‘Something Within Me (Is Telling On You)’ by Buffalo Johnson. Number that, like the other tracks, also has a superior sound quality. Artists do not always go all out for a musical career. Too bad because 'That'll Be Love' by Glenn Reeves is a formidable number. Reeves emerged as a family man rather than an artist. Big 4 Hits was a budget label for which artists recorded covers of well-known hits. That this does not always have to be in a negative light certainly applies to 'Hepcat Baby' by Jim Fair. Anita Carter was one of the Carter sisters. She can rock and she clearly shows it on 'He's A Real Gone Guy', originally a piano rocking rhythm & blues by Nellie Lutcher. Another number that belonged to rhythm & blues is the often covered 'Hound Dog' by Big Mama Thornton. A very nice country version is given here by Billy Starr. A nice and especially humorous version comes with 'Chew Tobacco Rag' by Spade Cooley. He ended his musical career by murdering his wife, after which prison became his new residence. ‘California Blues’ has already been performed by Jimmie Rodgers and Webb Pierce. Unknown but certainly not inferior is the version by the virtually unknown Charlie Duke. Ferlin Husky scored a country hit with Jean Shepard with ‘A Dear John Letter’. Under his alter ego Simon Crum he rocked on ‘Stand Up, Sit Down, Shut Your Mouth’. ‘Cry, Cry, Cry’ is immediately associated with Johnny Cash. Texas Bill Strength recorded the song two months after Cash in a more country-sounding version. Another high-flyer on this album is certainly the more rockabilly-leaning ‘Easy Money’ by James O’Gwynn.
A swinging instrumental piano boogie is served by Moon Mullican with ‘Country Boogie’. Blues are interwoven in Mitchell Torak’s ‘No Money Down’, originally by Chuck Berry. ‘Sale Of Broken Hearts’ by Johnny Bond is reminiscent of Johnny Cash in terms of structure and performing. A great duet comes with ‘Hillbilly Wedding’ by Shorty Long & Dolly Dimple.
The surprises on this album come from artists whose identity is unknown. But that ‘I’m Tired Of Honky Tonkin’’, in the style of Lefty Frizzell, is an impressive song, is a fact. The other song by an unknown artist is the country boogie ‘Stop Look And Listen’.
With ‘Rockin’ Country Style’, Atomicat can once again add a qualitatively excellent series to its list of achievements. We can already announce that the second volume in this series will be released in September. Definitely something to look forward to!

Suzy Thompson has an unusually deep mastery of the whole gamut of Southern old-time music, from prewar acoustic blues to Louisiana Cajun-Creole to old-time fiddle tunes, especially the kind that have a ragtime or blues feel.  In 2025, she has released a new album, "Suzy Sings Siebel" in which she displays her powerful skills as a song interpreter, with ten songs by the great 1970s songwriter Paul Siebel. 

V&BT is a Norwegian band that was founded in 2016 with the collective goal of creating a good live atmosphere on small local stages. This self-produced album, which will be released on the independent record label Roller Records, is a mixture of songs that can be categorized as blues, bluesrock and popmusic. 

The great thing about series like ‘Boss Black Instrumentals’ is that you get a detailed picture of a certain genre, in this case instrumental rhythm & blues. The big names in the genre, such as ‘Hide Away’ by Freddy King, are well-known, but many instrumental numbers within rhythm & blues remained under the radar. Numbers by famous artists, but also by artists who often had to be satisfied with local success. This mix of well-known, lesser-known, and often obscure talent also populates the fifth volume in this series. Volume that was given the title ‘Ginger Snap’, borrowed from the song of the same name by The Exotics. Billy And The King Bees may give the starting signal with ‘Susie Q’, originally by swamp rocker Dale Hawkins, which does very well in an instrumental version. Buddy Lucas was an American saxophonist, who actually gained more fame through his performances on the harmonica. You can witness this on the slow blues ‘Show Down’. Harmonica is also the main instrument on the energetic ‘Braggin’’ by The Temps. Another talented harmonica player was Whispering Smith. He worked with Lightnin’ Slim and Silas Hogan, among others. That he was capable of great things on the small instrument, you can heir on ‘Harmonica Twist’. More harmonica can be discovered on ‘Slipping In’ by Lee Walker, as well as on ‘Red River Shuffle’ by Haze Hart. Pianist Jimmy McCracklin was mainly active in West Coast blues and jump blues. Especially this last style is expressed in ‘Trottin’’. The palmares of saxophonist / trumpeter Herb Hardesty is impressive. Not only because of his collaboration with Fats Domino, but also with the orchestras of Duke Ellington and Count Basie. On ‘The Chicken Twist’ you don’t hear Herb on one of his favorite instruments, but he did start his musical career as a musician on the double bass…..! Surfsound on harmonica may sound strange to you. But it is possible, just listen to ‘Honky’ by The Ho-Dads. Really cool songs with the sax in the lead role are certainly ‘In The Dog House’ by The Mack Johnson Combo and the party-infused ‘Rooty Tooty’ by Lionel Torrance. You can certainly add the more than 5-minute long ‘How About It’ by Big Bo Thomas to that. Big Bo will return later, this time together with his Arrows for ‘Big Bo’s Twist’. Where better to go for a portion of jungle beat than with the master himself, of course Bo Diddley with ‘The Twister’. Googie Rene was a well-known American musician, orchestra leader and songwriter. You can hear him on the piano on ‘Rowdy Dowdy’. Blues guitarist and singer Jimmy Reed provided many now classic blues numbers. That he was also a virtuoso on the harmonica can be heard on ‘Boogie In The Dark’. Another legendary artist is without a doubt B.B. King, here present on ‘Don’t Touch’ in his recognizable guitar style.
The fifth volume in the ‘Boss Black Instrumentals’ series is again full of energetic and danceable rhythm & blues instrumental work. It is series like this that you can not only enjoy, but that also send you on a discovery.

Emma Wilson is a dynamic soulful singer who now pays tribute to Willie Dixon on her new LP. No one is as closely associated with the blues genre as Dixon and friends. With his back catalogue of timeless classics, often performed by the most iconic blues musicians, Dixon's compositions still form the essence of the most creative and soulful blues tracks. Emma Wilson Wilson recorded six Dixon songs, including four well-known classics and two songs to discover. Highly recommended! 

A mystical guitar man from a bygone era, David M'ore arrived to L.A in the early 90's committed to alter the musical scene. Club goers and musicians begin to talk about the new kid with the virtuoso aggressive guitar style, raspy vocals, and his high energy fueled Blues-Rock tunes.

In the review of the fifth volume in the ‘Jive-A-Rama’ series we already mentioned that the fifth volume in the ‘Bop-A-Rama’ series would soon be released. Well, it has already happened and a review is therefore necessary.
Traditionally, you will once again get 28 tracks from the middle of the previous century, supplemented with two contemporary tracks from the Rhythm Bomb archives. These two tracks come from the Australian Chrome Daddies with ‘Cattin’ Around’ and B and The Bops from Ukraine with ‘Crazy Over You’. We start with Johnny Taylor and the rocking rhythm & blues ‘Mixed Up Rhythm & Blues’, including a beautiful piece on the steel guitar. Taylor is followed by the pure rock-‘n-roll of Dick Bills and his ‘Rockin’ And A Rollin’’. A fun fact is that Bills was the uncle of Glenn Campbell, who even worked with Dick in his early days. With John Lee Hooker and Loneseme Sundown, the blues legends announce themselves. Hooker is present with ‘How Can You Do It’, a boogie in his well-known style. Second guitarist on this recording from 1951 is Little Eddie Kirkland. Sundown became especially famous for his Excello recordings. He also recorded the catchy ‘I’m A Mojo Man’ for that label. Also note that beautiful piece of solo on the blues harp. Lightnin’ Slim also comes from the blues, who scores boogie-wise here with ‘Love Me Mama’. Tom James was originally a country artist. That he could just as well put down a cool rockabilly, he shows on ‘Hey Baby’. Country, by means of fiddle and lap steel, was also injected by Curtis Gordon in the beautiful ‘I’d Do It For You’. There are artists that little is known about. One of them is Steve Shuma. For his ‘Thunder Lightnin’’ ‘unknown is unloved’ certainly applies, because the man delivers an impressive rockabilly song, in which the guitar somewhat nods to the recordings of Johnny Cash. That guitarist would be Bob Scott. That roots genres can easily be mixed is also evident from ‘Opal Lee’ by Earl Scott. Scott, a country artist who presents an excellent boppin’ beat here. Country can also be found in ‘One Dead Man Ago’ by Jimmie Skinner. A song that was produced by Ray Stevens, who also recorded under his own name. Curley Griffin wrote songs for Carl Perkins, among others. The ‘You Gotta Play Fair’ presented here also flowed from his pen. You can also hear Perkins’ style in it. Nice tempo changes come to the surface in the super cool ‘It’s A Great Big Day’ by Derrell Felts. With his falsetto voice and ukulele, Tiny Tim scored his world-famous hit ‘Tiptoe Through The Tulips’ in 1968. Eight years earlier he recorded the ‘Teenage Lover’ that can be heard here. Talk about a world of difference! When a music genre is very hot, artists from other genres often try to jump on that train. For example, Jimmy Swan, who operates in country, recorded ‘Country Cattin’’, a somewhat rockabilly number in the hope of gaining the approval of teenagers. Incidentally, Wayne Busby, an artist who used to belong to bluegrass, did the same. His trip towards rockabilly is certainly impressive with ‘Live Your Life With Care’. Straightforward rock-‘n-roll comes in the fiery sax-drenched ‘Hollywood Rock’ by Al Turnage. A song clearly modelled on Bo Diddley is ‘Arkansas Jane’ by The Millionaires. For a black artist who sounds more like a white person, we refer you to Nick Greene and ‘My Lovin’ Baby’.
Volume 5 in the ‘Bop-A-Rama’ effortlessly maintains the high quality level of the previously released four volumes. A series to continue following, that’s for sure!

With his new album ‘Collapse’ JoosTVD wrote, played and produced an album that begs to become a concept album.  Rise and shine Joost!

D.K. Harrell has become a sensation in the blues world. The Louisiana native was unknown only a couple of years ago and since then has played to great enthusiasm on festival stages all over the world, wowing crowds with the confidence and skill of a seasoned veteran. Talkin' Heavy hits a blues sweet spot in a free and invigorating new way.  It continually surprises with twelve instantly memorable original songs filled with Harrell’s biting guitar and authoritative, church-born vocals.  Produced by musician and studio wizard Christoffer "Kid" Andersen, the album reveals Harrell as a generational guitar talent with a wide-eyed vision and a street-smart singing style that bring life to his memorable original songs.

The band Sacromud guarantees swinging blues, soul, and so much more! It is a project of the ‘Italian blues master’ Maurizio Pugno. Musically they define as ‘Overground Blues’. Just like the project ‘Bluesland’, an "off-scale blues suite" was based on a secular prayer that speaks about exodus, about the sensuality of our weaknesses, about the sound of our footsteps and about the alienations of wandering spirits! Now the five seasoned musicians headed to the famed SUN Studio in Memphis, TN. Sent by ‘The Lord’, an unusual snowstorm, a session that was skipped due to force majeure, a chance meeting with sound engineer Daniel Crockett and five hours at their disposal. A mix that is more unique than rare and one of those opportunities that you rarely get twice in life. Memphis and his Sun Studio! And to think it all started in 2023 with a victory at the Italian Blues. The band opens with the soul and gospel inspired ‘The Mule’, to continue on the chosen path with the bluesy ‘Holy Day’ and the swinging soul caput ‘Symmetry’. The horn section is present in almost every song, and that sets the tone for that danceable. A subdued Hammond organ as an intro for the diffuse ‘Sticky Situation’, and then follows that heavy trombone bass line for songs as ‘The Hider & The Seeker’, ‘Pray For Me’ is a rare blues ballad to round off with the soul track (Extra) ‘Ordinary Day’. The release ‘The Sun Experience’ is Sacromud’s logbook.

Volume 50 in the ‘That’ll Flat…Git It!’ series is the fifth, and also the last CD, that pays attention to the more than formidable recordings made by the Columbia label. No surprise that Bear Family Records is once again diving into the archives of this label. The gems are inexhaustible, as is once again evident from the 30 tracks brought together here. In addition to recordings by Columbia, you will also find a few songs that were released by sister labels Epic and OKeh. Once again, we see quite a few well-known artists in the track list. In addition, this CD also contains a number of lesser-known artists, who made wonderful recordings, but for one reason or another were unable to reach the general public. The rockabilly genre developed rapidly, which is why artists from the country also wanted to get a piece of its success. Naturally, they injected the genre with country influences. And you also get wonderful examples of this. We start with Link Wray, the king of distortion and the well-known instrumental ‘Raw-Hide’. Wray returns later with the bluesy ‘Ain’t That Lovin’ You Baby’, one of the rare songs where he also makes himself heard as a singer.
And Link is not the only well-known one. He is soon joined by Johnny Horton (present with three songs), The Collins Kids (twice) and Carl Perkins. Also present is Johnny Cash, who scored his first hit with Columbia with ‘What Do I Care’, after he left Sam Phillips.
A dynamic raw rocker, with razor-sharp guitar work is ‘Do Do Do’ by Ronnie Dawson, then still recording as Commonwealth Jones. Impressive, but also somewhat more commercial, sounds ‘Let Me Your Comb’ by Bernie Nee.
The influences of country are clearly audible in ‘Little Jimmy Dickens’ ‘Stinky Pass The Hat Around’, partly due to the nice piece of fiddle. Country also resonates in Charlie Adams’ ‘Cattin’ Around’ and ‘Sugar Diet’, as well as in ‘Case Of The Blues’ by Mel Tills, Lefty Frizzell’s ‘From An Angel To A Devil’, ‘There’s A Change In Me’ by Bill Phillips and in ‘The Little Rock Roll’ (with a nice harmonica) and ‘Lay It On The Line’ by Johnny Bond. Even more country is provided by ‘Hook, Line And Sinker’ by Gordon Terry and Carl Butler’s ‘Baby I’m A-Walkin’’.
Hillbilly influences are expressed in ‘Let Me Love You’ by The Maddox Brothers and Rose, while a touch of rhythm & blues can be heard in ‘A Looka – A Looka’ by Larry Hart. Doo-wop is part of ‘Party Pooper’ by Bobby Lord.
It must be said that the Columbia label was certainly not inferior to Sam Phillips’ Sun label in terms of quality rockabilly recordings. This compilation proves this once again with great aplomb.

Vanja Sky ‘Access All Areas Live’, as the title already suggests, Vanja Sky lets her fans completely immerse themselves. Vanja Sky and her excelent band with Guenter Haas, Johannes Hoffmann and her long-time bassist Artjom Feldtser present a live recording that captures the pure concert magic. The show is recorded in 2024 at a sold-out concert in Germany. One hour and a half, a fascinating document that once again makes you want to see Vanja Sky on stage. This live album is much more than just a collection of songs, it is a statement that celebrates the young Croatian. An exciting, versatile live album that captures Vanja's passion on stage. 

Warm and lovely album of a talented jazz singer.  But notice also the piano playing. Just beautiful as a whole!

​Sacromud has been one of the best and most interesting realities of the blues landscape for several years. Italian virtuosity, the project of ‘blues overground’ and ‘new place for the blues’. The double release ‘Gubbio To Memphis: Live At The Opera House, The Overground Suite’ is a live recording of the band at the Luca Ronconi Theater in Gubbio, Italy on December 9, 2023. The hometown of guitar virtuoso Maurizio Pugno. It is a blues-inspired project, with a number of songs that explicitly refer to the blues and related musical styles! Highly recommended… 

The artists who recorded energetic rock-‘n-roll and rockabilly also had a romantic side. This resulted in stirring, often emotionally charged ballads. Bear Family Records bundles 32 of these songs in this first volume, which spotlight the soft side of the fiery rockers. Songs that often served as a B-side or appeared on an album, but once they reached the fans, they unleashed a lot of sentiment in them. Successful country songwriter and multi-instrumentalist Gene Dunlap gets to start with his Jokers in ‘What Do I Want’. In this wonderful ballad with a voice drenched in echo, Gene immediately makes his wishes known. A little more tempo comes with Tracy Pendavis and The Swampers and ‘A Thousand Guitars’, with indeed nice clean work on the six strings. Sleepy LaBeef is present as Tommy La Beff with ‘Lonely’, a song that perfectly highlights his impressive and immediately recognizable voice. Ronnie Self had talent to spare, but due to his rather destructive behavior, he only managed to enter the charts once, namely with ‘Bop-A-Lena’. Here you get the cool ‘I Ain’t Goin’ Nowhere’, the flip side of that single. Ronnie is followed by another Ronnie, namely Hawkins with ‘Someone Like You’, which also uses great backing vocals. As a young man, Sanford Clark was influenced by the work of Hank Williams and Lefty Frizzell. He also managed to get a song from the now famous Lee Hazlewood for the minimalistic performed ‘A Cheat’ that can be heard here. This song certainly contributed to the illustrious career that Lee would later build up as a composer and producer. If anyone can create a catchy ballad, it is country artist Patsy Cline. She certainly does so convincingly in ‘Walkin’ After Midnight’. An artist who, like so many others, left us far too early is Ritchie Valens. Fortunately, there were still some of his recordings on the shelf. You could always expect quality from him, just like here in ‘We Belong Together’, a tearjerker of size. Unfortunately, Ric Cartey could not cash in on his composition and original performance of ‘Young Love’. Sonny James did so. That Ric was a talented songwriter is clear from ‘Crying Good Bye’. Ricky Nelson became known to us mainly through his ‘Hello Mary Lou’. However, the man had much more up his sleeve. Just dive into his oeuvre for that. You can already get a foretaste with the formidable ‘Poor Little Fool’. For a dreamy instrumental with nice steel guitar, you should skip to ‘Sleep Walk’ by Santo & Johnny. With the delicious ‘More And More’, Tooter Boatman increases the tempo considerably. Number that contains a cool piano solo. A single with a double A side was ‘Love Me Tender’ by Elvis. On the other side and also on this compilation you get the equally hit-sensitive other side, namely ‘Anyway You Want Me (That’s How I Will Be)’. That same Elvis also had a great influence on Ral Donner’s singing style, as can be heard on ‘Turn Back The Clock’. Link Wray may have been the promoter of the ‘distortion sound’, but he had to leave the vocal qualities to brother Vernon Wray. He can be heard here as Ray Vernon on ‘I’ll Take Tomorrow (Today)’. The album ends in style with top-notch Carl Perkins and ‘Sure To Fall’.
With ‘Rock-A-Ballads’, vol. 1, Bear Family Records suggests that there will definitely be a sequel. For rockers who want to catch their breath or perhaps wallow in heartbreak, this album is the absolute soundtrack. Highly recommended!