'No Rhyme or Reason' is the seventeenth (!) studio album by blues guitarist and singer Stacy Mitchhart, who first made a name for himself on the club circuit of his hometown of Cincinnati during the early 1990s. These days, Mitchhart lives in Nashville, has performed in stadiums such as the Johan Cruijff ArenA before tens of thousands of people, and has collected awards including the Albert King Most Promising Guitarist Award at the International Blues Challenge in Memphis. He has also been inducted into the Canadian South Blues Hall of Fame and has received multiple awards from the Music City Blues Society. Naturally, such a résumé raises expectations for a new release, especially when the album is produced by two-time Grammy winner Tom Hambridge. What we hear on 'No Rhyme or Reason' is certainly of a high standard, although this blues veteran rarely ventures into truly new or groundbreaking territory.
The album gets off to a strong start with the swinging 'Good One Time', one of several blues-oriented tracks that gain additional colour from keyboards and horns without allowing those elements to overshadow the guitars and wah-wah effects. 'Bad As You', meanwhile, briefly misleads the listener by opening with a few loose notes before the rest of the band turns it into one of the strongest songs on the album.
Mitchhart is not an exceptional vocalist, but he is certainly more than capable of handling the lead vocals on his own material. On 'Sure Looks Good to Me', however, he receives assistance from Gretchen Wilson, whom he first met back in the 1990s when she was still working in a bar. Add some piano to the mix and the result is a highly enjoyable slice of roadhouse rock.
Things slow down somewhat with the solid ballad 'Once You Leave', which, thanks to its backing vocals, piano and horns, sounds just a little too polished. After that, we seem to pay a visit to Mississippi on the swampy 'Flip It to the Other Side', a track that – believe it or not – features lyrics about making pancakes and spinning blues records. A very cool song.
On 'We Blew It', Mitchhart occasionally adds a bit more distortion to his voice, although the music itself may be slightly too restrained to be considered particularly daring. The fact that 'It’s a Long Way Down'—originally written by Jordan Rainer and Kevin Brandt for Chris Stapleton, who ultimately passed on it—is another slow-paced song filled with organ and gospel influences does little to change that impression.
The cleverly constructed 'Ain’t No Rhyme or Reason' opens with a fat bass line and immediately reveals itself as one of the album’s more intriguing and original tracks. It therefore comes as no surprise that it has become a live audience favourite. 'Mean Bad Wrong', featuring Kenny Neal as co-vocalist, harmonica player and guitarist, is a completely different affair. Mitchhart’s slide guitar work and Neal’s rougher, more mature vocal performance elevate the song considerably, while the honky-tonk piano contributes greatly to its appeal.
'Never Gonna Get Me Back' perhaps feels a little too radio-friendly for our taste, although its guitar solo is certainly worthwhile. The shuffle-driven 'She’s Just Right for Me', on the other hand, recalls B.B. King and succeeds largely thanks to several excellent blues guitar solos.
Finally, 'On My Dying Day' brings the album to a powerful conclusion. Opening and closing with strong songs: hats off.

Emotional meditarrenian music from Corsica, finally recorded. Watch out for a live concert!

The reason why you’ve probably never heard of Ben Brandt? Well, we're talking about a still relatively young guitarist who previously played in the somewhat rougher Soul Miners Union and already had an EP to his name before releasing this album. Although his former band originated from Harrisburg, Brandt has clearly drawn most of his inspiration from the Nashville music scene. The 11 songs on this album – including the three tracks that each form part of the highly enjoyable yet brief instrumental jam session 'Matthew's Tire' – are all original compositions and showcase Brandt's versatility as a rock and blues guitarist who is not afraid to add a touch of funk influence here and there. Backed by a rhythm section that is fairly tight by the standards of this genre, the listening experience is certainly enjoyable, and opening track 'Solid Ground' is immediately a catchy tune that manages to leave an impression rather quickly.
A song like 'Burning Bridges' slows the pace down for a smooth groove, while 'Parasite Blues' picks things up again with a lively tempo and an enjoyable backbeat. 'Under the Weight of Us' opens with a particularly tasty riff before moving in a more 'bluesy' direction, while 'The Seeker' brings to mind the blues music of the 1970s. The rhythm of 'Little Something', however, feels just a bit too similar to that of the preceding track. The album partially concludes with 'Scramblin (The Well)', which once again adds some welcome variety to the mix.
'Solid Ground' is a very solid debut with one major drawback: Ben Brandt's own voice. It's decent, but certainly nothing more than that, and it often sits too far back in the mix. Many listeners will likely appreciate that 'Matthew's Tire Pt. 1', '2', and '3' sound as though they were recorded quickly in a small venue and received very little mixing, but personally I don't think that 'garage sound' was really necessary, and I believe those tracks would have benefited from a more modern production as well.

No idea why pianist Milan Robberechts and the four other members of Warmoes chose Swiss chard as their album title, but the fact that their debut is being released on the Trad Records label already says quite a bit about the kind of music you can expect to find on it. Flemish folk, then, performed exceptionally well by a group of highly diverse musicians who successfully incorporate influences from jazz, pop, and funk.
'De Zandman' opens with an alarm clock and sounds pleasantly upbeat – the kind of music you could often hear on BRT(N) morning radio during the 1980s. 'Klutskweit' is a jazzy piece initially carried by the double bass and makes clever use of the instruments the band members excel at playing, but it is the slightly more dynamic and mature-sounding 'Nachtvorst' – which opens beautifully with piano – that leaves the first truly lasting impression. A fine composition that gives ample room to the piano, accordion, wind instruments, and double bass, while seeking greater restraint at exactly the right moments. Those who are quickly irritated by Boombal music will find something to appreciate here.
'Orlando' explores more interesting rhythmic territory, while at times also sounding like an invitation to an exotic dance, after which 'Thee Deugd' breaks the cheerful atmosphere with a highly welcome and fragile piano piece that, in our opinion, ranks among the finest tracks on the album.
'Fiets Jigs' opens with fitting sound effects and briefly promises a darker atmosphere, but soon returns to an abundance of playfulness (along with an excellent wind instrument passage – Arno Molenschot masters both the tenor saxophone and the flute), which we honestly find a little disappointing; after all, there are no vocals anywhere on the album, and in that case a broader diversity of themes would have been welcome. As a result, we consider 'Kune Kune' one of the album's most interesting tracks purely because of its subtle tonal shift. Precisely because of this change in mood, the slower and more introspective 'Galanthus' emerges as the strongest song on the album, which may also have something to do with the wordless vocals – it's a shame the band waits so long before introducing any vocal elements, because they work remarkably well here. Vocals also reappear on 'Radiator Jig', but unfortunately by then we have returned to the 'happy people' zone, which will undoubtedly appeal to many 'spiritual' listeners who struggle with heavier themes because of their supposedly inherent negative energy, but for us it nevertheless feels like a slight anticlimax after the aforementioned 'Galanthus'.

‘Phantom Rockers’ concludes the series with ‘Pocketful Of Hearts’. The album once again contains thirty tracks, including one previously unreleased acetate track, and attempts to highlight the essential but often unknown contributions of artists; whether performing under their own names, studio musicians, or artists using a pseudonym. Moreover, many of these musicians later became famous artists themselves.
The reason why the already well-known names recorded under a pseudonym was sometimes due to the fact that they were still under contract elsewhere or timidly aspired to a solo career.
This volume also features breathtaking tracks, and just like on the previous volumes, you get, as already indicated, a never-before-released acetate recording. This also contains the title track of this compilation and comes from an emotional-sounding Fred Dexter, in real life Sylvester Long Cross, owner of Crest Records. Incidentally, ‘Pocketful Of Hearts’ was released in 1958 by Eddie Cochran, as the B-side of ‘Jeannie, Jeannie, Jeannie’. ‘Pretty Baby (I Saw You Last Night)’ by The Vibes is a delightful rocker. The phantom rocker here is singer Ronnie Franklin. He later became a member of the group Bread as David Gates. Jericho Jones adopted various aliases. Under this name, he can be heard rocking on ‘Save Your Lovin’ For Sis’. As Johnny Blaine, he later returns with the country-influenced ‘Play That Song One More Time’. He was born Clifford Joseph Trahan.
The Dovells present wonderful harmonies in ‘Bristo Stomp’, and a touch of doo-wop can be found in ‘Pretty Brown Eyes’ by Kenny Esquire & The Starlites.
Hardrock Gunter also recorded under various names. You hear him for the first time as Sidney Jo Lewis in the echo-drenched and special ‘Boppin’ To Grandfather’s Clock’. As Hardrock Gunter, he makes an appearance with the rocking and rolling ‘Gonna Dance All Night’, complete with a fine piano.
Jerry Grant, who can be heard with The Rockabilly Bandits in the rockabilly number ‘Some Day, Maybe Tonight’, is none other than lead singer Dicky Doo of Dicky Doo & The Don’ts. He is also present here with that lineup in ‘Wild Party’. On the Presley-famous ‘Heartbreak Hotel’ by Hank Smith & The Nashville Playboys and ‘Rock It’ by Thumper Jones, the phantom rocker is country legend George Jones, who, with these recordings, rode the wave of the genre’s success as a rocker.
For a touch of African percussion, skip to the instrumental ‘Rockin’ Bongos’ by Chaino, in real life bongo player Leon Johnson. Malcolm John Rebennack, better known as Dr. John, is the phantom rocker on both ‘Bad Neighborhood’ by Ronnie & The Delinquents and ‘Dangerous Redhead’ by Jerry Raines.
Impressive vocal work can be found on ‘Tonight And Forever’ by The Whirlers, ‘Looking For Love’ by The Prestos, and ‘Don’t Touch My Gal’ by The Empires. The same vocalists were central to all these groups.
In ‘Watch Me Do The Twist’ by Misty Bonner, you might think you hear a female singer. Not true, because it is a perfectly camouflaged Bobby Lee Tramell.
The most famous phantom rocker on Leslie Harris’ ‘Come On Little Sarah’ is Mickey Baker, who was not only the guitarist but also co-wrote the song.
The album closes with ‘South Of Chicago’ by Charlie Morgan. It was the only time Charlie Feathers used this pseudonym. With ‘Pocketful Of Hearts’, the ‘Phantom Rockers’ series has a worthy end. If you own all 5 volumes in this series, you are guaranteed to embark on a journey of discovery in the realm of the Phantom Rockers.

The Canadian left-handed blues rocker Spencer Mackenzie may not be world-famous just yet, but he recently managed to secure both a Maple Blues Award and a JUNO nomination, and anyone who listens to his album 'Empty Chairs' will immediately understand why: this is pure, unfiltered blues rock, performed by a gifted guitarist who first picked up a guitar at the age of five and gradually found inspiration in legends such as Stevie Ray Vaughan and Joe Bonamassa.
There is also little doubt that the man has something to say and is (thankfully!) probably not just another Republican MAGA supporter playing blues rock. The title track is a protest against gun violence; a mid-tempo blues rocker featuring excellent lead guitar work and inspired by the Parkland shooting in Florida, in which 17 people lost their lives. It is a powerful song, but the rest of the album offers a wide range of textures, from the more upbeat 'Trip' (featuring a strong guitar riff and straightforward yet highly effective drumming) to the more commercial single 'What You Do' and the memorable 'Don't Know Where I'm Going'.
The optimistic 'Till I Get to You' breaks away from the preceding tracks by introducing more soul influences and keyboards, and works slightly less well as a result, but that is quickly remedied by the somewhat rougher 'Frozen Hearts', which relies on a particularly tasty guitar riff that beautifully supports its subject matter – children being separated from their parents and placed in residential institutions.
'Helping Hands' adds more blues influences, after which it takes a little while before we arrive at the even smarter 'Shoot Me Down', which, with its highly singable melodies, wonderful slide guitar, and darker atmosphere, ranks among the album's stronger tracks. This is certainly one I'll be returning to regularly.
After 'Won't Find Her' and closing track 'Evil', the conclusion is clear: 'Empty Chairs' has become a highly varied blues rock album featuring more than enough impressive guitar riffs and equally strong solos, all serving songs that are further elevated by Spencer Mackenzie's excellent and powerful vocal performance. He is undoubtedly an artist worth discovering live as soon as possible.

Less than a full year ago, ‘Flee Through’ was released, but blues musician Ed Alstrom is already back with a new offspring: ‘This Idea of Humanity…’ Anyone who has listened to the aforementioned album already knows what to expect: music that navigates between blues, jazz, and rock, with keyboards rather than guitar serving as the primary instrument – hardly surprising, since Alstrom is a classically trained multi-instrumentalist who, on this album, plays everything from melodica and organ to piano, clavinet, synthesizer, Suzuki Andes, bass guitar, guitar, percussion, and drums, while also proving himself to be a fine vocalist. For more than 20 years, he has been providing the organ music at Yankee Stadium and has collaborated with a number of much better-known artists (including Leonard Bernstein, Bette Midler, Chuck Berry, Herbie Hancock, and Odetta), but his most recent notable achievement is undoubtedly reaching the semi-finals of the International Blues Challenge this year.
As the title of Alstrom’s second album suggests, the 14 tracks gathered here explore the human condition – often with a healthy dose of humor – while being wrapped in a variety of musical styles that remain just coherent enough to make it fair to say that ‘This Idea of Humanity…’ will primarily appeal to fans of blues and classic rock ’n’ roll. Just listen to ‘Party Planner’, sung together with Jimmy Vivino, for an example of the latter genre, while ‘All I’m Gonna Do’ is much more firmly rooted in the blues tradition and ‘Put You First’ seems to have drawn most of its inspiration from someone like Ray Charles.
The fact that the album plays with a wide variety of tempos – from the slow blues that characterizes ‘Understanding’ to the more progressive ‘Blues Keep Coming Back’ and the faster-paced ‘Go Ahead’ – provides enough incentive to keep listening for nearly a full hour, although after ‘Understanding’ one has to wait a little while for the excellent ‘Inquiring Minds’ (which features somewhat stronger jazz influences) before encountering another major highlight. We are also particularly fond of the gritty slide guitar that Vivino contributes to ‘The Way Back’; it works even better than a straightforward rock ’n’ roll tune such as ‘So Hard’.
The album closes strongly with the captivating ‘Worry’, and that’s it for Ed Alstrom. A recommended release, even if there are a few tracks we will probably end up skipping from time to time.

The Scott O’Neal Band: I describe our music as leaning toward the blues side of R&B! The release ‘Call Me Mr Blues’ is a very pleasant and relaxed album. It’s as if The Scott O’Neal Band is constantly evolving.

Recently, you could read the review of the first volume on Lefty Bates on this site. That volume covered the period 1939 – 1960. This second volume starts in 1946 and ends in 1962.
Lefty Bates was a highly sought-after session musician in the Chicago blues scene. He managed to wonderfully adapt his guitar playing to serve various artists in the blues and rhythm & blues genres. But vocal groups also gladly called upon his input. Occasionally, Lefty even ventured into jazz. It also happened that his guitar parts were mixed into the background or, very occasionally, erased and subsequently played by someone else. On this album, however, you get those recordings where Bates’ guitar playing comes fully into its own. On the recordings Lefty made with the vocal group The Flamingos on the rhythm & blues ‘Carried Away’ and Big Bertha Henderson on the slow blues ‘Tears In My Eyes’ for the Chance label, he played alongside bassist and bandleader Al Smith, tenor saxophonist Red Holloway, and drummer Vernel Fournier. For fans of vocal groups, the Four Buddies perform ‘Look Out’ later on.
The album opens with the blues ‘It Makes Me Blue’ by Aristo-Kats. In ‘The Spider And The Fly’, Aristo-Kats sensitively ramps up the tempo, partly due to Lefty’s guitar playing, and he delivers a brilliant guitar solo.
On ‘I Should Love Her More’ by Jimmy Eager, actually Tampa Red, Bates’ sublime guitar playing is clearly in the foreground and has a somewhat jazzy feel.
Female blues arrives with ‘Annies Answer’ by El Doradoes featuring vocalist Hazel McCollum, the wife of the legendary Robert Nighthawk. Piney Brown and Billy Brooks are united in the bluesy jazzy ‘They Call Her Rosalie’. Brooks was once a member of The High Toppers, Little Richard’s first permanent backing band. In 1960, Piney Brown hired Bates once again for the soulful ‘My Love’.
Soulful rhythm & blues resonates in ‘Fannies Place’ by Larry Birdsong, featuring Al Smith’s orchestra.
For a magnificent slow blues with unique harmonies, it is best to skip to ‘Have No Fear’ by The Answers, accompanied by Lefty Bates’ own band. Impressive doo-wop is also the hallmark of ‘Great Googley Moo’ by The Spaniels.
You get a breathtakingly swinging instrumental with Al Smith and his Broomdusters in ‘Hot Rod Special’, featuring a smooth-sounding Lefty Bates, and on Al Smith’s instrumental ‘Road House’, Lefty largely determines the sound through his playing.
Lefty can be heard under his own name on the instrumental ‘Am I Blue’ and the vocal ‘Ninety Days’, two classic tracks that he recorded in the late fifties. In the early sixties, Bates could be heard on recordings by John Lee Hooker, Jimmy Reed, and Etta James, among others. From Lefty’s collaboration with Jimmy Reed, ‘I’m Mr. Luck’ has been selected on this album, featuring a beautiful guitar intro. Incidentally, Bates can also be heard on Reed’s widely known ‘Big Boss Man’. On Hooker’s ‘I’m Goin Upstairs’, Lefty can be heard somewhat in the background behind John Lee’s unadulterated boogie style.
We conclude with the formidable blues ‘Stop The Wedding’ by Etta James.
It is clear that Lefty Bates felt right at home in any musical genre and more than once determined the sound of the song. The two volumes dedicated to him are therefore more than worth purchasing.

Long before Motown Records put Detroit on the musical world map, Fortune Records was the label that captured the raw rockabilly and wild rock 'n' roll from Detroit on record. From the late 1940s to the mid-1960s, Fortune Records produced songs characterized by striking directness and immense rawness. The recordings were not polished, and country, rockabilly, rock 'n' roll, and rhythm & blues were committed to vinyl with that mindset. As a result, these recordings have lost none of their persuasive power today, thanks to their directness and energy.
Fortune launched an impressive array of artists, including the York Brothers, Johnny Powers, Pete DeBree, Roy Hall, and Andre "Bacon Fat" Williams.
The recordings from both Fortune Records and the sub-labels Hi-Q and Strate 8, which you will find on this CD, were recorded with a fixed house band, whose musicians changed quite frequently. One of the most important musicians was guitarist Eddie Jackson, partly responsible for the typical Fortune sound. This compilation also contains incredibly rare songs, including ‘Blues I Can’t Hide’ by Eddie Jackson, the only release on his Caravan label.
The CD starts immediately with a classic, namely ‘Rock The Universe’ by Dell Vaughn & The Fortune Aires, recorded in 1958. A track that immediately highlights Fortune’s energetic and raw sound. From then on, the tone is set for 28 fiery rock ‘n’ roll and rockabilly, both vocal and instrumental. Energetic songs performed by wildly lashing-out artists, accompanied by tight bands with skillful contributions on lead guitar and sax.
Kenny Land & His Bull Dogs take things down a notch in ‘Columbus Stockade Blues’. Not for long, however, as we are back at top speed with the instrumental ‘The Roll’ by Butch Vaden & The Nite Sounds. Pay special attention to that tearing sax. The saxophone also takes center stage in the equally instrumental ‘Long Walk’ by The Catalinas. Sublime! Guitar and saxophone complement each other perfectly in another fine instrumental, namely ‘J & D Hop’ by Jim Myers & The Regan with The Gems. A pure guitar instrumental appears with Ellis Kirk & The Town And Country Boys in ‘Flamingo Rock’. Guitar with a somewhat Eastern slant later makes a splash in the equally instrumental ‘Fling’ by The Phaetons.
The reason why Eddie Jackson was one of the most important musicians at Fortune can be heard in the previously mentioned ‘Blues I Can’t Hide’, a magnificent blues-based number. A top-class song is the rawly performed ‘Gonna Get Me A Satellite’ by Little Ernest Tucker & The Ted Walker Orchestra, featuring yet another delightful saxophone part. Inspiring guitar work sets ‘Hamtramck Mama’ by The York Brothers on track. A track that contains subtle traces of hillbilly. For a fun piano boogie, you'd best skip to the fiddle-adorned ‘Dirty Boogie’ by Roy Hall & His Cohutta Mountain Boys. You get a serving of rocking rhythm & blues with ‘Try Me One More Time’ by Nolan Strong & The Diablos, complete with great backing vocals.
Elvis not only captured the imagination but was also a source of inspiration for songs. The first song you get is ‘Elvis Is Rocking Again’ by The Hunt Sisters & Mark with Roy Hall & His Boys, a track in which The Hunt Sisters put their best foot forward with breathtaking harmonies. The second track is ‘Hey Mr. Presley’ by Pete De Bree & The Wanderers, featuring vocals by Jimmy Franklin.
Snippets of gospel grace ‘No Grave’ by The Whirl Wind Evangelists.
True to tradition, you once again receive a beautifully produced 36-page full-color booklet, packed with rare photos, illustrations, and an extensive label history, as well as info about the tracks and the artists.
Volume 55 in the ‘That’ll Flat… Git It!’ is once again a standout. If you love the raw and energetic aspect that characterized Fortune Records recordings, then there is good news. Bear Family Records is currently working on a second volume centered on the raw rockabilly and wild rock ‘n’ roll of this Detroit label.

When we think of the birthplace of rock and roll, we almost immediately arrive at Memphis, and actually, this is only partially correct. After all, a large part of the music developed outside the city, namely in the rural South. There, country, blues, and the new beat came together in a raw way, as in Arkansas. This region is often unjustly overlooked. The reason may lie in the fact that Arkansas was not really a major recording center. However, it cannot be denied that many young musicians took their first steps there with only one goal... to get to Memphis. Many of those who had their roots in Arkansas grew into world-famous artists. Just think, for example, of Johnny Cash, Sonny Burgess, Billy Lee Riley, and Conway Twitty. They all came from The Natural State and became world-famous through their own sound. Just behind these well-known artists were artists like Larry Donn, Bobby Lee Trammell, and Don Head. They too spread the sound originating from Arkansas, just like Eddie Bond, who is connected to both Memphis and Arkansas. They recorded on smaller labels, produced their own singles, or played in clubs and on radio shows in the region. It is these recordings that you can listen to on this first volume of ‘Arkansas Rocks’. These rare original recordings from the fifties and sixties were carefully selected, resulting in 25 tracks that sound unpolished, real, and honest. Tracks by artists who had an immense drive and were willing to do anything to be part of the rock 'n' roll and rockabilly scene.
That becomes immediately clear during the opener ‘Arkansas Twist’ by Bobby Lee Trammel. A track that sounds incredibly professional and immediately captures Bobby's emotion and passion. With this song, we also start our trip through Arkansas in Jonesboro, ending up in Little Rock via Trumann, Monette, West Memphis, Harrisburg, Bald Knob, Concord, Harrison, Fayetteville, Siloan Springs, Fort Smith, Plainview, and Hot Springs. The nice thing about this compilation is also that it shines a light on artists who are less well-known and even unknown. Yet, being less well-known does not detract from the quality. Kenny Owens delivers a delightful rocker with his ‘Long Lost John’, complete with razor-sharp guitar playing, while Ken & The Goldtones’ ‘If Somebody Loves You’ still clearly bears the traces of rocking rhythm & blues.
The young, driven artists from Arkansas clearly managed to distinguish themselves. Be sure to listen to Bobby Brown’s ‘Please, Please Baby’, as well as Chuck Comer’s ‘Little More Lovin’’, a track featuring incredibly skillful guitar work.
Of course, there were covers too, but in a fiery manner. ‘A Whole Lot Of Shakin’’ by The Thunderbirds is a fine example of this, in which the guitar duels beautifully with the piano. Sonny Deckelman presents another very personal cover with ‘Lonely Weekends’, the ending of which leans somewhat towards The Blues Brothers. Eddie Bond also delivers an excellent rendition of Jimmy Reed’s ‘Big Boss Man’. Beautiful harmonies form the foundation for ‘Johnny Come Lately’ by The Morgan Twins. The Arkansas ladies also held their own, such as Sylvia Mobley, who beautifully blends rockabilly with country in ‘Everytime I See You’. Pure and unadulterated rockabilly is the genre for Tonya Dee in ‘Shake This Town’.
Charley Maybee was active in both rock and roll and country. You can experience his delightful country voice for yourself during ‘Little Judy’. Country influences can also be found in ‘You’re In Love With Yourself’ by Johnny Tolleson. A Johnny Cash rhythm, in turn, forms the basis for ‘Moonshine’ by Montie Jones. Raw and authentic are the keywords that certainly apply to ‘Spinning My Wheels’ by Chuck Brooks.
‘Arkansas Rocks’ rightly focuses on the often overlooked rock and roll and rockabilly scene from Arkansas. What this volume makes clear is that Arkansas had a great number of excellent artists and songwriters. It is just a shame that a large portion of them had to make do with only local fame.
This compilation is so immensely good and convincing, regarding both the songs and the sound quality, that we are already eagerly looking forward to the second volume of ‘Arkansas Rocks’.

​​Just like the ‘Phantom Rockers’ series, this series centered around the ‘Black Phantom Rockers’ will eventually comprise five volumes. With ‘The Dance’, we have reached the second volume, and we can already say that this album contains gems waiting to be discovered. The title of this second volume is well chosen, as the energetic opener ‘The Jump’ by Richie Richardson with Charlie Cuevas And The Jaguars will ensure the dance floor is overcrowded in no time. A personal favorite comes with Lord Tennyson, and rightly so, the title track. ‘The Dance’ is a delightful rocking rhythm & blues with a sax riff that gives the song extra shine. Downhome blues forms the basis of ‘Goin’ Back To Orleans’ by Jesse and Buzzy. What makes the track special is the addition of the blues harp. In ‘Comin’ Around The Mountain’ by Johnny Two-Voices, the backing vocals add clever gospel to the rhythm & blues. For a touch of New Orleans blues, you can turn to The Jokers Orchestra’s piano-driven ‘Love Money’, featuring vocals by Johnson Boudreaux. No wonder, as Boudreaux hailed from Louisiana, and ‘Love Money’ is immediately his most famous song. Little Papa Joe, present here with ‘Looking For My Baby’, was actually Jody Williams. Jody used this alias for his first solo recording. Norman Sands was an artist who remained obscure. Here you hear him together with the vocal group The Valiants on the rare and, apart from a few shouts, mainly instrumental ‘Don’t Wanna Leave The Congo’. The same applies to ‘Work With It’ by Jesse Pipkin and Band. On the country blues ‘Little City Woman’ by Big Bill & His Guitar, the phantom musician is none other than Big Bill Broonzy.
The duo Henry and Mamie did not make many recordings. But those they did make were undeniably convincing. Experience it for yourself during the cheerful ‘Two Big Feet’, the B-side of their most famous song, ‘Soap Suds’. The phantom rocker on ‘Strollie Bun’ by The Blond Bomber is none other than rockabilly pioneer Ronnie Dawson. Another phantom rocker who registered as Big Ed and His Combo for the recording of ‘Biscuit Baking Mama’ was Eddie ‘Guitar’ Burns. Also impressive is ‘Rock And Roll Baby’ by Mercy Baby, a performance that is somewhat reminiscent of Big Joe Turner.
For delightful vocal work, Tippie & The Clovermen offer the solution with ‘Gimme, Gimme, Gimme’. Hearing pumping piano sounds makes you think of Little Richard or Esquerita. On ‘Gettin’ Plenty Lovin’’, it is Esquerita who is said to have served as the model for Richard. The latter would achieve the most success, although Esquerita paved the musical way for him. Over a cool blues melody, Blue Charlie showcases the largely spoken ‘I’m Gonna Kill That Hen’. The impressive guitar work comes from Blue Charlie himself, aka Charles Morris.
Well-known, perhaps more so among true enthusiasts, is the sublime ‘Love Blood Hound’ by K.C. Mojo Watson. Little Jessie Smith sings her heart out on ‘My Baby Has Gone’. Jessie Smith would later become part of the Ikettes, backing vocalists for Ike and Tina Turner. The phantom rocker on ‘Say You’ll Be Mine’ by The Ecuadors is Chuck Berry, and you can hear that clearly in the guitar part.
We started with a dance and we end with one too. The closing track is ‘Du De Squat’ by Little Luther.
The second volume in the ‘Black Phantom Rockers’ series once again provided striking recordings.
In June, you can expect the third volume, titled ‘Hallelujah Rock And Roll’. Fans know that it is best to consult our site regularly for this.

The Charcoal Sunset, or T.C.S. for short, is a Berlin-based Americana band led by Juri Member (vocals, acoustic and electric guitars, harmonica, and banjo). Other band members are Norman Haase (drums and percussion), Dirk Flatau (piano, Fender Rhodes, organ, and accordion), Florian Kolditz (upright and electric bass, backing vocals), Stefan Roller (pedal steel), Tobias Thiele (Spanish guitar), and Kyla Linnenkohl (backing vocals). The band was founded in 2007 and has since evolved into one of the best-kept, most authentic gems of the German roots scene.
With their earliest recordings, they managed to win the enthusiasm of even international music critics. For instance, the famous Rolling Stone once awarded the band the title ‘Demo of the Month’. But The Charcoal Sunset also earned its stripes through live performances. T.C.S. supported acts such as The Avett Brothers and Seth Lakeman. Through this, the band proved that Americana from Berlin can be just as authentic, raw, and compelling as Americana from Nashville or Austin.
After some wandering and artistic growth, the band now is ready for a fresh start. They are taking this step with ‘Souvenirs’, their debut on the Bear Family Records label.
The album contains 10 songs. Nine of them were written by frontman Juri Member. The remaining track is a cover of Neil Young’s ‘For The Turnstiles’.
The album opens with ‘If Jesus Was American’. What immediately stands out is the beautiful structure of the song, the stunning arrangement, and Juri’s impressive voice, which reminds me of Lou Reed’s here—and that is not just because of the phrase ‘Take a walk on the wild side’. This is undeniably top-level Americana.
The band moves between Americana, folk, and roots rock. That latter genre expresses itself sublimely in the title track ‘Souvenirs’, including a nice harmonica section. Later, the band works its way through ‘Statue Of Liberty’ in a roots-rock style, served up wonderfully with mandolin. Blues, in turn, is the breeding ground for ‘Basement Blues’, a track that also boasts delightful harmonies. Those excellent vocal harmonies are also present in the uptempo ‘Rolling Like A Wave’. ‘Monkey Tonk’ announces itself with an authentic honky-tonk piano, in which that amazingly sounding harmonica pops up once again.
The used riff elevates ‘Sweet Harsh Winds’ to a rock level, and once again that incredibly skillful harmonica makes itself heard. Self-reflection is no stranger to Juri, as he demonstrates in ‘The Kind Of Man I Am’.
T.C.S closes the album with the quiet ‘Lullaby’.
The Charcoal Sunset, and Juri Member in particular, has a talent for setting atmospheric stories to the accompanying music and expertly selected arrangements.
‘Souvenirs’ contains impressive musical memories from a band that holds Americana in high regard. Authentic yet contemporary, making the album simply timeless. Just as timeless as the cover photo of the bleached skull on the barren, overgrazed ground in Badlands, South Dakota in 1936.

The original songs sound artistic and oh so cool. Stylistically, it is a varied collection, ranging from traditional blues to hard-hitting blues rock. Piper's original songs are thematically quirky, often humorous, and offer a bold, unique perspective on relationships and intimacy. Add all this that tight rhythm section, her fine vocals, and deep and energetic bass lines. That is why this is a highly recommended release....

Harrell “Young Rell” Davenport Announces Full‑Length Debut on Little Village A new generation of blues takes the stage. Little Village proudly announces the full-length debut from Harrell “Young Rell” Davenport, the 19-year-old Mississippi phenom whose rapid rise has electrified the blues world and reaffirmed that the tradition is not only alive — it's evolving in real time. Raised in Vicksburg, Mississippi and steeped in the cultural memory of the Delta, Young Rell represents the rarest combination: a deeply rooted traditionalist with the instincts and imagination of a modern songwriter. A standout guitarist of striking maturity, a fat-toned harmonica player with a signature attack, and a vocalist who sings with unforced authority, Davenport has already emerged as one of the most compelling young voices in contemporary blues. One of Davenport's greatest strengths is the breadth of his musical vocabulary. His repertoire moves effortlessly from deep Mississippi Delta blues to acoustic country blues, from Chicago electric grit to southern soul. He understands the connecting tissue between these styles because he has studied them — not casually, but obsessively. His knowledge of blues history is astonishing: legendary recordings, obscure B-sides, forgotten innovators, regional variations, and the overlooked artists who shaped the music from the shadows. Young Rell's songwriting is extremely impressive and his taste in covers is impeccable; he wrote all the songs on this album except two, and they aren't the usual standards — they're deep cuts, songs most musicians never touch, like his unique, fascinating and timely take on Bob Dylan's “Masters of War” and Fenton Robinson's should be classic “I Hear Some Blues Downstairs!” And he doesn't just play them; he inhabits them, reshaping each tune with a sense of ownership and emotional clarity far beyond his years. Highly recommended! 

With The Rhythm Rockets, Bear Family Records takes a look at rockabilly from Miami. You might raise an eyebrow at the link ‘Miami and rockabilly’, but upon listening, it quickly becomes apparent that Miami, although located far from the musical center, gave The Rhythm Rockets a distinct identity of their own.
The core of The Rhythm Rockets was formed by brothers Ray and Donnie Pate. Two enormously talented teenagers who grew up with gospel, country, and rhythm & blues, which they absorbed through radio programs. From those influences emerged their own energetic and impressive sound.
When rock and roll spread to Florida, The Rhythm Rockets quickly became part of the local scene. Performances at jamborees and in the legendary shows of DJ Milt ‘Mr. Rock & Roll’ Oshins followed, and they even shared the stage with grandmaster Carl Perkins. Brothers Donnie and Ray wrote all the songs, and once in the studio, they blossomed into confident and dedicated musicians. Unfortunately, many of their songs remained unreleased for decades and could only be found sporadically on obscure releases or acetates. Their only official release took place in 1958 on the Gulfstream Records label. Collectors have since discovered the band and earned them the status of a ‘cult band’. It is therefore commendable that Bear Family Records is now paying attention to The Rhythm Rockets as well as their contribution to rockabilly.
What stands out immediately is that the Pate brothers had the talent to compose catchy songs. Songs that, through their power, get stuck in your head, and Donnie’s distinctive guitar sound and Ray’s powerful and convincing vocals certainly play a part in that. This is immediately evident in the first track, ‘My Shadow’. Raw, energetic, and delivered with immense personal flair, just as rockabilly should be. In ‘I’ve Got That Feeling’, Ray uses the well-known ‘voice break’, but he manages the boundaries; not excessive but measured use undoubtedly adds value to the track.
Donnie’s talent on the six strings is sublimely on the instrumental ‘Donny’s Boogie’. A track that also closes the album in an ‘alt. take’.
The fact that The Rhythm Rockets were not at the epicenter of rockabilly certainly paid off. Young and talented as they were, they sought a way to distinguish themselves from other musicians. They did this by composing powerful songs with structures that often varied. For instance, guitar solos could open a song, drop in the middle like in classical way, or even close the track. Moreover, their attitude in the studio testifies to enormous professionalism, something other rockabilly groups often fell short of. In short, anyone who thinks that Memphis or Nashville produced only excellent rockabilly will be forced to revise their opinion after listening to this band from Miami.
The authentic, raw, original, and long-unreleased compositions by the Pate brothers have invariably put Miami rockabilly on the map. It is just a pity that it took several decades for this to happen. Nevertheless, this album is a ‘must-have’ for rockabilly fans, although you need to be lightning fast once again, as this album is also limited to 500 copies. So don't hesitate!

Beautiful collection of nordic world music at a bargain price.  You won’t be disappointed!

When rockabilly was born in Memphis in the 1950s, probably no one could have predicted that the genre would conquer all of America—and indeed the entire world—in no time. Record labels sprang up like mushrooms, all trying to cash in on the genres success. Not all labels succeeded with flying colors, and some therefore remained more or less under the radar. That was the case for Nau-Voo Records, founded in Ohio in 1958 by Glenn McKinney. Glenn was passionate about rock and roll, and in the two years that Nau-Voo and its sub-label Mack existed, McKinney recorded only 10 singles. Singles that are extremely difficult to find but highly sought after by collectors.
Fortunately, you no longer have to search for them, as Bear Family Records is now releasing a 10-inch vinyl featuring the very best tracks.
At the center of the label was Billy Adams, born in 1940. He was strongly influenced by the Carter Family, Hank Williams, and Bill Monroe. Together with his Rock-A-Teers, Billy shines in the sharp-guitar-embellished ‘That’s My Baby’, as well as in the title track, which provides a surprise thanks to the ‘stops’. A pumping bass, excellent clean guitar work, and echo-drenched vocals make Bobby Lawson’s ‘Baby Don’t Be That Way’ and ‘If You Want My Love’ absolute top tracks.
For the more explosive work, the label could count on Deacon and The Rock & Rollers. And they make that clearly audible in ‘Rock It On The Moon’. They prove that they can also take a different direction on the country-tinged ‘I Don’t Wanna Leave’.
Beautiful harmonies can be found in ‘I Didn’t Do It’ by The De Villes and in the doo-wopper ‘Hey Little Girl’ by The Jades.
There are instrumental tracks as well. With a scorching sax, The Untouchables conjure up ‘Blue Chip Bounce-part 1’. For a guitar-dominated instrumental, skip to ‘Jim-Jammin’’ by The I-V-Leaguers.
In the beautiful and brilliantly illustrated supplement, you also get all the info regarding the artists and the tracks.
‘You Gotta Have A Ducktail! Nau-Voo Rockers From West Portsmouth, Oh’ contains 12 extremely rare tracks. Tracks that not only breathe the rockabilly of the 1950s but also rightly put the importance of Nau-Voo Records, which existed for only two years, in the spotlight. If you love raw, authentic, and energetic recordings, this album undoubtedly belongs in your collection. It is an absolute shame that these stunning recordings could not count on the hoped-for success.
However, do not hesitate too long to get your hands on this formidable release, as this 10-inch vinyl is being released in a limited edition of only 500 copies. Keep on rockin’!

In the ‘Right Hand Man’ series, which highlights the importance of musicians who brought their employers to immense heights through their contributions, Lefty Bates is now featured.
A guitarist who is certainly not to be underestimated. The KokoMojo label is paying tribute to him through two volumes. This first volume covers the period 1939–1960. The second volume, to be released later, covers the period 1946–1962.
Bates was one of the most sought-after accompanists in Chicago. This certainly had to do with his versatility, as he made recordings with artists active in blues, rhythm & blues, as well as vocal groups. Occasionally, Lefty even ventured into jazz. As was often the case, recordings by session musicians were not always used or were even mixed into the background. This also happened to the left-handed Bates. On recordings he made with Arbee Stidham and Sunnyland Slim, his parts were replaced by those of Earl Hooker or Louis Myers. Matt Murphy was then approached to replace Lefty on lead guitar on Billy ‘the Kid’ Emerson’s recordings.
Bates was born in Leighton, Alabama on March 9, 1920. He grew up in St. Louis, and while still in school, he started his first band, The Hi-De-Ho Boys, which was very popular in the 1930s and 1940s. With that band, he also made his first recording, which opens this album: ‘That Cat Is High’ by ​​Tommy Powell & His Hi-De-Ho Boys. World War II signaled the end of The Hi-De-Ho Boys, and Lefty served in the army. After the war, he joined The Aristo-Kats, which unfortunately lasted only one year. In the early 1950s, he formed his own trio. He also made a handful of recordings for United, Mad, and Apex. From 1952 onwards, he did session work for the Vee-Jay and Club 51 labels.
On January 29, 1953, it was Lefty who played lead guitar for Jimmy Eager and his trio. Jimmy Eager was the alias Tampa Red used quite often. After that, Bates made numerous recordings in the previously mentioned genres. His musical versatility also gave him access to Vee-Jay’s house band. Versatility that he clearly demonstrates on this first volume.
On the slightly jazzy ‘Watch Yourself Baby’ by Aristo-Kats, you can immediately hear that Bates was an extremely talented guitarist through the coloring of the song. With that same band, he repeats this once again in the instrumental ‘Boogie In C’, which is elevated to a higher level by Bates’ smooth lead guitar work. But Lefty also feels right at home in rocking rhythm & blues. Examples of this are frequently present here. It is astonishing how Bates manages to impress on recordings by vocal groups such as The Flamingos, The Moroccos, The Dells, The Spaniels, and Danderliers. Although harmonies take priority, Lefty adds another level through his empathy.
As a brilliant blues lead guitarist, you can hear him on ‘Please Mr. Doctor’ by Jimmy Eager aka Tampa Red. He later delivers a stunning solo on the instrumental ‘Beale Street Stomp’ by Al Smith’s Progressive Jazz, as well as on the equally instrumental ‘Foolin’ Around Slowly’ and ‘One Two Cha Cha’, also by Al Smith.
For Bates’ work in the popcorn genre, you can skip to ‘Just A Little Bit’ by Tiny Topsy.
Under his own name, Lefty Bates can be heard on the instrumentals ‘Chicago Cha Cha’, ‘Background’, and ‘Rock Alley’, and the vocal and bluesy ‘Somebody Will Understand’. This first volume ends with ‘Sugar In My Tea’ by Piney Brown, once again featuring a sublime contribution from Lefty Bates.
What makes Lefty Bates so unique is the fact that he knows perfectly well what a song expects of him. Additionally, his creativity is inexhaustible, preventing him from falling back into the same patterns. As a result, he unconsciously steps to the forefront and elevates the recordings to a higher level.
We are already eagerly awaiting the second volume, the review of which will be on this site soon.

Blues Music Award–winning guitarist, singer, and songwriter Zac Harmon brings the excitement of the stage to fans with the release of the new live CD Zac Harmon & The Drive ‘Live’. Blues powerhouse Zac Harmon & The Drive bring the electricity of their legendary live performances straight to listeners with the release of their new live CD. Recorded in front of an enthusiastic crowd, the album captures the raw energy, deep grooves, and soulful storytelling that have made Zac Harmon one of the most respected voices in modern blues. Backed by his dynamic band The Drive, Harmon delivers a performance that reminds audiences why blues music continues to thrive on stages around the world. The CD features powerful renditions of fan favorites along with standout moments that highlight the band’s musicianship and Harmon’s commanding guitar work and soulful vocals. From slow-burning blues to high-energy grooves, Zac Harmon & The Drive Live showcases the passion and authenticity that have defined Harmon’s career.

Recently, you received the review of the first volume of ‘Black Phantom Rockers’, the new series from the KokoMojo label, here. The remaining Phantom Rockers, and there are still a large number of them, found a home with the Atomicat label, which is now releasing the fourth volume in this series. Once again, 30 tracks by rockers who are either unknown or chose to remain unknown through aliases.
The opener is immediately the title track and also a never-before-released acetate recording. It is served up by Nelda ‘Ned’ Fairchild. Probably unknown, yet she was the composer of Cochran’s ’20 Flight Rock’. Cochran was credited as co-writer, although it is assumed that Fairchild is largely responsible for the song, certainly after hearing ‘Who Baby’. Cochran is also the phantom rocker in John Ashley’s ‘Born To Rock’. In the follow-up, the rousing ‘You Oughta See Grandma Rock’ by Skeets McDonald, you get not one but two phantom rockers. On guitars, you hear Eddy ‘Edward’ Cochran and Joe Maphis.
Although Buddy Knox’s backing band is listed as The Rhythm Orchids on ‘Swingin’ Daddy’, it was actually Buddy Holly and his Crickets, and they clearly left their mark on the song. Buddy Holly and Cricket Jerry Allison later also act as the phantoms on Jack Huddle’s ‘Starlight’, in which Holly’s guitar style is undeniably present.
Paul Marvin, real name Marvin Gauthreaux, was a musician from the New Orleans region. You can certainly hear that typical sound in ‘Hurry Up’. Marvin appears later as Little Mummy with ‘Where You At Jack’. He kept the name Little Mummy because Marvin’s older brother pronounced his name as mummy.
‘Ham ‘N’ Eggs’ is at times reminiscent of Ray Charles’ repertoire. However, the performer is Skip Manning, who later made soul recordings under the name Phillip John Flowers. If Jett Powers’ voice in ‘Go, Girl, Go’ sounds familiar to you, that is not surprising, as Powers would later become known worldwide as P.J. Proby.
Sharon Lee Myers recorded as Jackie DeShannon and Sherry Lee. On the poppy rockabilly song ‘I’ll Be True’, she blends both names into Jackie Dee.
In the creepy ‘The Whip’ by The Creeps, the Diddley-riff-driven ‘Who’s Been Here’ by Commonwealth Jones, and ‘Pauline’ by Johnny & The Jills, the common thread is phantom rocker Ronnie Dawson. With The Creeps, he sits behind the drums; with Commonwealth Jones, he acts as singer and guitarist and with Johnny & The Jills, he combines drumming with vocals.
A song that has been covered quite often, sometimes with a few changes, is ‘What’s The Word – Thunderbird’. Here you get the original version by Bobby & Buddy. Bobby was Bobby Robinson, CEO of Fury Records, and Buddy was Buddy Barnes.
You get impressive harmonies with vocal groups like Bells and their ‘Let Me Love Love You’, The Four Ekko’s with ‘Toodaloo Kangeroo’, and certainly during ‘I’ll Be Gone’ by Ron-Dells. The founder and group member was none other than Delbert McClinton.
There is delightful instrumental work propelled by sax and guitar in ‘Tough’ by ​​Bill Smith Combo, but this was actually Tom Brown of Tommy & The Tom Toms, who worked with Gene Summers.
The album is packed with formidable tracks. For instance, there is ‘Bopper 486609’ by Donna Dameron. The song was written by The Big Bopper. Could The Big Bopper also be the vocalist? According to some sources, the song was recorded with a speed-up voice so that he sounded like a woman. We will probably never know for sure. However, this counts as a funny anecdote.
What is certain is that this fourth volume in the ‘Phantom Rockers’ series contains 30 impressive tracks. It is also interesting to know which artists were behind the Phantom Rockers. ‘Phantom Rockers’ is, without a doubt, a series to cherish.

Dedicated to the hope for a better world.  Lovely jazz compositions and excellent musicianship. Recommanded!

Lexie Blue continues to push the boundaries of blues music, infusing it with her own unique style and bringing a fresh perspective to the genre. Her passion for music and her talent make her a force to be reckoned with in the blues world, and her deep soulful voice is sure to leave a lasting impression on anyone who has the pleasure of hearing her sing. She has opened up for Tab Benoit, Derek St. Holmes (original Ted Nugent singer), Mark Farner from Grand Funk Railroad, Anthony Gomes, Coco Montoya and NightRanger. Writing and singing the blues is what she does best.  

2026…..It is a double celebration for the renowned band Boogie Beasts, a group that needs no introduction here. They are celebrating their 15th anniversary and the hundredth birthday of the legendary R.L. Burnside. R.L who was born in North Mississippi, was one of the leading representatives of the modern Delta juke joint blues sound. The timing is perfect for albums like ‘Don’t Be So Mean!’, which unfolds with eleven raw and unpolished songs. Jan Jaspers (guitar/vocals), Patrick Louis (guitar/vocals), drummer Gert Servaes, and Fabian Bennardo with his raspy harmonica have been the brains behind the sound for years. Now, in Duwayne Burnside, Kenny Brown (R.L. Burnside’s right-hand man on guitar for years) and Luther Dickinson (North Mississippi Allstars, ex-The Black Crowes) with his distinctive slide guitar are there ideal soulmates. Alongside these three key Mississippi figures, the section also features Pablo van de Poel of the Dutch psychedelic rock trio DeWolff and Belgian garage rocker Cedric Maes (The Sore Losers, The Sha-La-Lees), artists who bring a great deal of musical spirit as well. Audacious grooves, hypnotic riffs, and that spirit of Hill Country blues are immediately noticeable in songs like ‘Jumper On The Line’, ‘Skinny Woman’, and ‘Peaches’. The track ‘Going Down South’, the album’s second single and perhaps the most iconic song in Burnside’s oeuvre, receives a delightful contemporary twist. Boogie Beasts, carry on the tradition!

Bad dreams and broken loves won’t lift you up.  Very melancholic with cinematic textures.