Technical strong second album with fascinating short songs. 

With this first volume of ‘Phantom Rockers’, the Atomicat label launches a new series. The guitarist pictured on the cover is wearing a masquerade or Zorro mask, which immediately highlights the essence of this series. The ‘phantom rockers’ recorded both under their own names and under various aliases. The musicians who supported them in the studio also often fell into this category, shrouding many recordings in a strange haze. This first volume offers 30 tracks by artists who fit the description of ‘phantom rockers’. The first to appear is keeping their identity very well hidden. ‘Don't Bug Me Baby’, which is also the title of this first compilation, comes from an acetate recording, the name of which is not always clear. It's a smashing rock song, with excellent sound quality and already 68 years old. Incidentally, the song was written in the Nashville State Penitentiary. The next song is the well-known ‘Blue Suede Shoes’, here in Buzz Williams's version. Williams was actually Delbert Barker, who recorded under several aliases. Rightly so, a ‘phantom rocker’. A beautiful piano introduces the somewhat bluesy ‘Little Girl, Little Girl’ by The Fairlanes. They were founded by Rick Hall, who was also part of Bill Bowen & The Rockets' ‘Have Myself A Ball’, which can also be heard here. Jack Hammer became known to us with his songs featuring the twist. He also co-wrote ‘Great Balls Of Fire’. Here, he rocks out on ‘Girl, Girl, Girl’. Someone who also adopted multiple aliases was Daniel Flores, a member of The Champs. You hear him twice: first as Danny Boy with ‘Don't Go Pretty Baby’ and later as Chuck ‘Tequila’ Rio with ‘Bye Bye Baby’. Known as Don Covay, under his own name, James Randolph, he was part of The Rainbows, featured here on the doo-wopper ‘Shirley’. Pretty Boy was also a member of The Rainbows. He returns twice more on ‘Bip Bop Bip’ and in the raw, rocking ‘Rockin' The Mule (Back In Kansas), Swingin' Like A Young Gray Mare’.
Bob Kornegay's aliases are countless. Not only was he part of the vocal group Du-Droppers, but you can also hear him rocking as Dave & Bob on ‘Whoa Bessie’. Dave is better known as Dave ‘Baby’ Cortez.
The Rio Rockers also rock hard on ‘Mexicall Baby’. Rusty Isabell was a member of the Rio Rockers but also recorded ‘Stop’ under the name Red (Hot) Russell. Both songs are featured on this compilation. Just like Don Cole, also a member of the Rio Rockers, who can be heard here with Donnie Owens as Two Dons on ‘Funny Honey’, which is strikingly reminiscent of The Everly Brothers.
For a touch of cool country, you can check out The Tunesmiths and ‘Oh Stop!’, complete with steel guitar and fiddle.
‘Don't Stop The Rockin'‘ features Pat Richmond & The Fireballs. The ‘phantom rocker’ here is Billy Eldridge, member of The Fireballs. He would go on to enjoy further success with ‘Let's Go Baby’.
Rudi ‘Tutti’ Grayzell recorded for the Abbott, Starday, and Sun labels. As ‘phantom rocker’ Rudy Gray, he can be heard on the country rocker ‘There's Gonna Be A Ball’.
A fine example of an instrumental guitar song comes in the form of ‘Red Hot Red’ by Young Guitar Red, later known as Guitar Red with recordings for Checker. ‘Dancin' Wild’ is a song by Tom & Jerry. You'll undoubtedly hear the duo, who later became known as Simon & Garfunkel, in it.
A vocally powerful song is definitely ‘I'll Mess You Up’ by The Cliques. They consisted of Eugene Church, who later recorded for Modern Records, and Jesse Lorenzo Belvin, who also performed as Curley Williams and Jesse & Marvin, among others.
With this first volume, the Atomicat label is undoubtedly generating interest in artists performing as ‘phantom rockers’. That interest will soon be fueled by more ‘phantom rockers’, as the second volume, titled ‘Jake The Snake’, is already scheduled for release. It will be reviewed on this site soon.

No full albums from the psychedelic label Fruits de Mer before the end of the year — but three 7” singles, each limited to 300 copies on colored vinyl, will be released on December 15. Since the label was named “the most collectable”, we recommend you act fast. I was lucky enough to hear the songs on a promo CD, and I was deeply impressed by their quality.
The Chemistry Set deliver a few strong tracks that (according to Record Collector) could easily have come from the mind of Syd Barrett under different circumstances. “The Tragic Fridge Magnet” swirls past the collection of holiday magnets on guitarist Paul Lake’s refrigerator — a retro vibe that gives you goosebumps! And on “STP”, they play with LSD effects through bizarre hallucinations: Space Time Perception with a beautifully twisted edge.
New to Fruits de Mer is the English band Behind The Sun Collective. They shone live at the Dr. Sardonicus Festival 2024 with a mix of psychedelia, grunge, and jazz. For their first single on the FdM label, they brilliantly limit themselves to two covers: Marc Bolan’s “Children Of The Revolution” and Funkadelic’s “Maggot Brain”. Each is instantly recognizable, yet transformed with cosmic soundscapes.
Last but not least, the alternative folk band The Owl Service seduces us with the sweet “The Sea”, a song by folk singer Sandy Denny from the Fotheringay repertoire. Singer Dorothy Chappell, the band’s new member, proves to possess an illustrious voice and does full justice to the song. On the flip side, they cover Fairport Convention’s “Genesis Hall”, enriched by the harmonious accompaniment of bandleader Steven Collins. This is what folk rock should sound like — a cover that outshines the original. Folk(rock) fans: this is pure emotional delight!

Relax on the sofa and enjoy the virtuosity of this international company. Strong album!

When country and western artists in the 1950s created a crossover between their genre and rock 'n' roll, the result was brilliant songs. Songs that, just like those in rock 'n' roll, had ‘drinking’, ‘dancing’, ‘love’, and ‘lying and cheating’ as their themes. What they also had in common with rock 'n' roll was that they drew you to the dance floor. Just as in the two previously released volumes, the third volume is also full of this.
This volume opens with a swing, ‘I Want A Bowlegged Woman’ by Jimmy Ballard, a song Bull Moose Jackson recorded in 1948. Ballard is followed by Jimmy Boyd. Boyd was 13 years old when he recorded the classic ‘I Saw Mama Kissing Santa Claus’. Here you hear Jimmy with the 1956 country-rocking ‘Crazy Mixed Up Blues’. Lattie Moore first recorded ‘Juke Joint Johnny’ in 1953. The song already exuded a rockabilly vibe. During the genre's heyday in 1956, Lattie re-recorded it. Besides a career under his own name, Billy Strange was also a sought-after session musician. He shines under his own name on ‘Let Me In There Baby’.
Fine performances on steel guitar and fiddle can be found on ‘Tom Cattin' Around’ by Speedy Noris & His Radio Rangers. ‘You Got The Right Number’ by ‘Rusty’ McDonald certainly sounds swinging. McDonald also sang for Bob Wills and The Texas Playboys. Incidentally, you'll get them later on the energetic ‘Miss Molly’. In her heyday, Ann Jones earned the title ‘The Hillbilly Girl’. Not surprising when you hear her on ‘I've Had It’. A song with a tremendously high rock 'n' roll feel arrives with Howard Crockett and his ‘If You Let Me’, complete with an impressive clean-sounding guitar solo. Jimmie Piper also rocks later in ‘Don't Play Around (With My Heart)’. And doesn't that guitar sound a lot like Johnny Cash's accompaniment? ‘Sweetie Pie’ by Johnnie & Jack sounds delightful and cheerful. The backing vocals by The Jordanaires certainly contribute to this feeling. This duo returns once more with the unique and excellent ‘Uncle John's Bongos’, drenched in impressive bongos.
Sublime harmonies come this time from New Zealand, featuring the Apaapa Sisters along with The Downtown Boys and ‘Guess Things Happen That Way’. Wonderfully merging voices also define the follow-up single ‘Leroy’ from ‘Nita, Rita & Ruby’.
In previous series, we saw that acetate recordings often contain beautiful songs. Well, someone who made a ton of such recordings with the hope that someone would one day record his songs was Sandy Rivers. He proved he had a knack for catchy songs in ‘A Woman Is Like A Guitar’. Not much is known about Red Romine. We do know that ‘Money In The Bank’ is a cool country rocker. Country, rockabilly, and even a touch of bluegrass can be found in ‘Rock-A-Billy Baby’ by Johnny Duncan & The Blue Grass Boys. A great version of ‘Tweedle Dee’ is provided by Pee Wee King featuring Redd Stewart & The Trio. You can immediately hear where Little Jimmy Osmond drew his inspiration back then.
This compilation concludes with the slow ‘Tomorrow Night’ by Carl Smith.
The great thing about series like this is that the artists successfully blend two genres. This is reflected not only in the songs but also in their use of instruments. Besides the guitar, you'll naturally also hear the steel guitar and the fiddle. Wonderful third volume!

Very special French folk album, a fusion of traditional and modern songwriting, played with a balkan, classic or jazz twist!  Recommended!

As we mentioned in previous reviews of the ‘Right Hand Man’ series, this series highlights the sidemen who put their talents and craftsmanship at the service of renowned and well-known artists. Many of them never received the attention they deserved, while others were able to gain a piece of the pie by recording under their own name. An influential figure in this series is finally featured: guitarist Robert Lockwood Jr., who played a key role in bridging the gap between Delta and Chicago blues. Lockwood's career spanned five decades. He played both traditional Delta blues in the style of his stepfather, Robert Johnson, and Chicago blues and rhythm & blues. Robert is widely considered the ideal sideman for both piano players and harmonica players.
Robert Lockwood Jr. was born in 1915 in Turkey Scratch, Arkansas. He began his musical career playing the organ in his father's church. After his parents divorced, Robert Johnson spent time with Lockwood's mother on and off. Robert Johnson undoubtedly influenced Lockwood Jr..
In the 1930s, Robert Lockwood Jr. was already working with blues giants like Sonny Boy Williamson II, Johnny Shines, and Elmore James. His musical career truly took off in 1941 when he played on the influential King Biscuit Time radio station.
In July 1941, he made his recording debut with Dr. Clayton. These recordings also form the starting point of this album and are categorized as piano Delta blues. Clayton is listed here as Peter Cleighton. It's worth noting that, although these songs were recorded in 1941, they are heard here in excellent sound.
On July 30th, Robert recorded four songs under his own name, and all four are featured on this release. You can hear his magnificent slide guitar performances on ‘Little Boy Blue’. He also delivers similar performances fingerpicking on acoustic guitar on ‘Take A Walk With Me’, ‘I'm Gonna Train My Baby’, and ‘Black Spider Blues’.
In 1951, he appears on recordings by Alfred Wallace, also known as The Fat Man, and on albums by the Sunnyland Slim Trio. These songs are also heard here and clearly demonstrate the evolution Robert Lockwood Jr. had already undergone in those few years. He swings with verve on ‘Glad I Don't Worry No More’. He also appears on the brilliant ‘Rhythm Rockin' Boogie’ by John Lee (Healey) in 1952, a song that wasn't released until 1958. A fantastic track!
He made his Chess Records debut in 1952 alongside Eddie Boyd, and here you hear Lockwood Jr. perfectly at ease in the role of a more sophisticated guitarist, who knows what the frontman wants. Be sure to listen to the instrumental ‘The Tickler,’ as well as ‘Nothing But Trouble’ and the slow blues ‘24 Hours’.
A year later, in 1953, we find Robert again on St. Louis Jimmy records, three of which can be heard here, including the sublime slow blues ‘Your Evil Ways’.
He also replaced Louis Myers in the band of blues harp virtuoso Little Walter in 1954. Little Walter is present on four tracks, including the instrumental ‘Teenage Beat,’ where Little Walter's blues harp perfectly matches Lockwood Jr’.s guitar playing. Superb! At that time, Robert Lockwood Jr. was a respected and sought-after session musician and co-responsible for creating that characteristic Chicago blues guitar sound. Jimmy Rogers also called on Robert for ‘You're The One’ and the well-known ‘Walking By Myself’. This first volume covers the period 1941-1956 and features, in addition to recordings he made under his own name, magnificent recordings by artists on whom Lockwood Jr. accompanied.
A follow-up volume, covering the period 1951-1961, is coming soon. Definitely worth keeping an eye on!

There are no less than 27 songs on this remastered collection, all from Donovan’s troubadour time, that’s to say the mid-sixties. Together with a most instructive booklet covering the singer-songwriter’s career till the present day, this is a comfortable way to discover – or rediscover – Donovan’s early work issued on EPs in countries such as the UK, France, Spain and Sweden. The ‘EP Collection’ treats you to some hits, like ‘Cath the Wind’ and ‘The Universal Soldier’, plus a wide variety of tunes that you may not know or may have forgotten about. Have a look at the track-listing. Of course, everything is now available on some record or platform somewhere. The EP angle is such is of less interest, but a great many tracks have led a hidden existence up to the present day, e.g. ‘The Summer Day Reflection Song’. One can only regret that the booklet pays so little attention to the EPs themselves and that the wonderful sleeves are here reproduced in a most tiny format. 

The fact that the Netherlands has released a considerable number of excellent albums by talented roots bands in a short time is once again proven here. After Supersonics, PJ Taylor Band, and Tennessee Drifters, we can add The Men From Nowhere to the list of unmissable roots bands from the Low Countries.
The band was formed around guitarist Jelle ‘Joe Sixpack’ van Atten. Between 2022 and 2024, he recorded a large number of instrumental tracks with various lineups. Twelve of these tracks have now found their way onto The Men From Nowhere's eponymous album. Joe Sixpack has performed extensively live over the past decades, taking him across Europe and even the USA, including with Miss Mary Ann and as the opening act for Brian Setzer. Influences that are clearly audible on this album. Joe found great inspiration in the work of the recently deceased super guitarist Larry Collins, known for his work with The Collins Kids, as well as in the many obscure instrumental tracks from the 1950s to the 1970s.
The number of musicians who contributed to this album is impressive. Here we go…, Arjan Spies (drums, percussion), Peter Kroes (bass), Sietse Heslinga (drums), Donné La Fontaine (upright bass), Benjamin Herman (tenor sax), Joe Rivera (trumpet), David Rockenfeller (trumpet, trombone), Carl Sonny Leyland (mellotron, harpsichord, piano), David Gram (pedal steel guitar), and Franky Gomez (drums).
All the songs, with the exception of ‘The Man From Nowhere’, flowed from Sixpack's pen. High-quality instrumentals with brilliant melodies, bathed in an authentic 1950s sound. It goes without saying that this required an impressive list of guitars, amplifiers, and microphones. Joe has handled this with expertise. You can find that extensive list on the inside of the four-piece sleeve.
Surf, rockabilly, rock 'n' roll, country, jungle beat, and space sounds; with this album, they all blast through your speakers.
If you love the formidable instrumental tracks of the 1950s, then this disc, packed with original work by The Men From Nowhere, is definitely for you.
Finally, Joe makes a statement with "catchy pop songs without vocals are a forgotten musical style”. Something we wholeheartedly agree with, but something The Men From Nowhere are decisively changing with this album. Fantastic, and we'd love to hear more of this!

God=Dog is the collective formed by Belgian pop icon Rudolf Hecke. Hecke has already built an impressive career in various fields. In 1989, he released his first solo album, ‘God Is Dog Spelled Backwards,’ but Rudolf has also established himself as a songwriter in genres such as psychedelic pop, soul, R&B, and folk. ‘God Is Dog Spelled Backwards’ was named the best Belgian album of the year by De Morgen, and Humo crowned Rudolf ‘The Nick Cave of Flanders.’
And as if that weren't enough, he is also a gifted author. His books on Serge Gainsbourg, Roy Orbison, and the Sixties have garnered widespread critical acclaim.
On this album, Hecke is surrounded by Yassin Joris, Nikkie van Lierop, Klaas Tomme, and Toon Derison. These musicians have already made their mark in various genres and ensembles. With 10 original songs, 9 of which Rudolf penned, supplemented by ‘Heroin Eyes,’ co-written with P. Taes, Rudolf Hecke + God=Dog create an exceptionally atmospheric album. Guest artists for lead vocals are mezzo-soprano Marianne Vliegen, baritone Joris Stroobants, and Elsje Helewaut. The latter makes a deep impression on ‘Let's Not Give A Damn’. We also hear Hecke and Yassin Joris on lead vocals.
Each song is unique and, thanks to the alternating lead vocals, clearly gains a charismatic edge.
This album further confirms that Rudolf Hecke can still claim the title of ‘The Nick Cave of Flanders’.
During their live shows, Rudolf Hecke + God=Dog are often accompanied by authors Herman Brusselmans, Elvis Peeters, and Delphine Lecompte.
The album that Hecke is releasing together with God=Dog is without a doubt unique.

What a beautiful rich concept album. A real masterpiece to discover!

​Eljuri doesn't shy away from the world's problems and she gives us a kick in the conscience while we dance to her songs.

​With this album, Roomful Of Blues brings something new. After 19 albums with male singers, Steppin’ Out! is their first-ever album featuring a female vocalist, the masterful D.D. Bastos. Her powerhouse, soul-stirring voice and her charismatic stage presence bring a whole new spirit to the Roomful sound. 

With every album, Stef Kamil Carlens manages to surprise. Each time, he manages to steer himself in a new direction, a direction he consistently executes with exceptional skill.
For this album, he's surrounded himself by Nel Ponsaers (keyboards and vocals) and Rahmat Emonds (keyboards, violin, mandolin, percussion, and vocals). Incidentally, the name, The Poem, is formed by combining the first two letters of both female singers' last names. These ladies are also part of the seven-piece The Swoon, Stef Kamil's energetic backing band, with which he surprised everyone last year with the funky album ‘Be(e) Who You Wanna Be(e).’
Fortunately, Carlens hasn't lost his love for the narrative, as this album testifies.
The album contains 14 tracks, featuring both originals and covers. With ‘The Old Blue House,’ the Carlens/Ponsaers/Emonds trio proves that creating an atmospheric song that inspires dreaming comes naturally to them. Giving a traditional song a beautiful and typically ‘Carlens makeover’ is what the trio achieves with ‘I Saw Cecilia Coming.’ Covering songs isn't always a rewarding undertaking. The way they do it here is simply breathtaking. For example, ‘The First Time I Ever Saw Your Face,’ originally by Ewan MacColl, receives a formidable arrangement and performance, effectively transforming it into a new song. This is echoed in Matt Watts' ‘With Every Healing Mile,’ Prince's ‘Katrina's Paper Dolls,’ Springsteen's ‘All I'm Thinkin' About,’ and Leonard Cohen's ‘A Thousand Kisses Deep.’
The trio's sublime vocal harmonies, which take center stage here, are incredibly captivating. Stef Kamil's husky tenor blends beautifully with Nel's velvety alto and Rahmat's soulful soprano. Just like on his previous productions, Carlens's penchant for using countless instruments is once again evident here. The use of various guitars, basses, organs, analog synths, and automated percussion gives the impression of an extensive backing band at work, ensuring that all the songs, with sublime arrangements, are bathed in an inspiring, full sound.
With this album, SKC & The Poem deliver an undeniable masterpiece. Discover it!

One of the best contemporary psychedelic bands with Balkan roots.  Dance and enjoy!

Be surprised of the metal skills on lead guitar and drums of musicians all around the world.

What a revelation to hear so much talent in different styles based on the musicians roots.
Not to be missed.  See you next year in Nürnberg.

Dallas Burrow's upcoming album, "The Way The West Was Won," is a collection of cowboy songs set in the Old West. Produced by Lloyd Maines, it features guest appearances from Ray Wylie Hubbard, Kelly Willis, and Jim Lauderdale. The album, set to be released on September 26th, 2025, is a tribute to Burrow's "trail-riding heroes" and his love for Texas, its traditions, and its tall tales. 

This eclectic trio composed an enchanting instrumental album. Listen several times and enjoy the melodic lines.

A few months ago, the Atomicat label launched its new series, ‘Rockin' Country Style’. The first volume was an immediate hit, showcasing country and western artists blending their own genre with the new one, rock 'n' roll.
On the second volume, compiler Mark Armstrong once again brings together 33 tracks that showcase the beautiful blend of both genres.
The album opens strongly with Jack Cardwell and ‘Whiskey, Women And Loaded Dice,’ featuring excellent collaboration between steel guitar and harmonica. The presence of sax and piano then makes ‘I Ain't Got Time To Rock’ by Glenn Reeves & His Town And Country Playboys lean more towards rock 'n' roll. What follows is a delightful and danceable version of the classic ‘Oh Lonesome Me’ by Luke Simmons & His Blue Mountain Boys. Fiddle and percussion simulating the sound of horses' hooves then grace Roger Miller's ‘Poor Little John’. Rockabilly then leads Carmol Taylor's ‘Free As A Breeze,’ complete with a beautiful echo-drenched guitar solo. Rockabilly is also the key ingredient in Bill Flagg's ‘Doin' My Time’. Late last year, a sublime three-CD box set featuring Billy Barton recordings was released. This box set included several acetate recordings. On ‘Country Style, Vol. 2,’ Billy is billed as Hillbilly Barton with ‘You Make Me Cry’. This is also an acetate recording. Another acetate recording is featured later on with ‘On the Rhythm Range’ by Sons of the Pioneers. Also on acetate is the instrumental ‘Virgil's Juke Box Boogie,’ by an unknown artist. An extensive search for the identity of the guitarist who delivers formidable work here brought no solution. Despite this, it's an extremely enjoyable track! Sheb Wooley was both an actor and a singer. His exceptional performance in the latter is evident in the up-tempo ‘Oklahoma Honky-Tonk Gal’. Beautiful harmonies can be found in the country rocker ‘So Called Friends’ by Billy Barnoski & Bill Woods. Beautiful harmonies also feature in ‘Finger Poppin' Time’ by the Stanley Brothers, as well as in ‘Hamburger Hop’ by Johnny Hicks & His Troubadors. It's remarkable how well music from the mid-20th century has been preserved. This is why Eddie Noacks' ‘Shotgun House’ still has a brilliant sound today. The backing in ‘The Road To Your Heart’ by Bob Roark & ​​The Country Band feels distinctly Johnny Cash. Brothers Floyd and Dennis of the Blankenship Bros. were originally active in bluegrass. In ‘That's Why I Am Blue,’ they clearly flirt with rockabilly and country. Betty Jo of Betty Jo & Johnny Starr became the national yodeling champion in 1953. You won't hear any yodeling in ‘Eskimo Boogie,’ but it's definitely a danceable number. Johnny Tyler became famous with his version of ‘Okie Boogie’. Here you can hear him telling stories in ‘Hillbilly Preacher’. Clay Eager's ‘Helen Jo’ is also stirring. A well-known figure is Skeets McDonald. He's best known for his ‘You Oughta See Grandma Rock,’ featuring a young Eddie Cochran on guitar, but ‘Fingertips’, featured here with excellent backing vocals, is just as great. Sublime swinging fiddle work can be heard on Jack Cardwell's rocking ‘Day Done Broke Too Soon This Morning’.
Closing is reserved for the great George Jones with ‘Don't Stop The Music,’ which he recorded in 1957 for the Armed Forces Radio and TV Broadcasts to boost military morale.
That country artists impressively combined their country & western music with the prevailing rock 'n' roll is once again evident in this second volume of ‘Rockin' Country Style’. Look forward eagerly to the third volume. Luckily, you won't have to wait long, as its release is already scheduled for October.

BGO Records rereleased remastered versions - with bonus tracks – of two albums with Irish singer, songwriter and multi-instrumentalist Jackie McAuley as protagonist: Trader Horne’s ‘Morning Way’ [1970] with Judy Dyble and his only, self-titled solo album from a year later.
By then, McAuley had made a name for himself as a member of Them and The Other Them aka Belfast Gypsies [1965-1967], while Judy Dyble’s claim to fame included co-founding Fairport Convention. The McAuley -Dyble duo under the name ‘Trader Horne’ turns out to be a winning combination: both are skilled song-writers, with Dyble adding her unique voice and McAuley showing his talents on a range of instruments.
Both albums mainly consist of original compositions and both feature an array of instruments such as celeste, harpsichord, flute, congas, violin, clarinet, etc.  Both start from the softer side of folk and blues, slightly veering into acid folk and psychedelia, thanks to particular arrangements, Eastern influences, [the raga-like ‘Bangerine’], unusual instrumentation, and, of course, Dyble’s unique singing.
McAuley is still very busy and this lovely set reminds us of his versatility.
Radio 68  plays choice tracks from both albums on Wednsday 24 September from 11 a.m. till 11 p.m. 

The tropical summer temperatures are behind us again. Nature is gradually transforming into beautiful autumn colors, immediately suggesting that another year is drawing to its end. Before that happens, however, several annual events are still on the agenda. The first event that will soon be announced is Halloween, which has come over from America and has been enjoying a great deal of popularity here for several years now. The fact that Halloween has long been celebrated in America has also inspired artists to create songs about it, usually including horror cries. The Atomicat label previously released three volumes in the ‘Hallowscream!’ series, packed with songs that form the soundtrack for the terrifying celebration. However, because there were still quite a few songs left on the shelves, the fourth volume in this series is now available.
Once again, you'll find 30 songs from the mid-20th century that will undoubtedly get you in the Halloween spirit. Merv Griffin immediately introduces you to the primarily instrumental ‘House Of Horrors’. A fine guitar-driven rocker arrives later with The Metropolitans' ‘Screaming (Part 1)’. It's odd, though, that the second part of the song was released on a different 45 rpm. Voodoo, of course, is a must-see. The vocal group The Kingsfive, backed by The New Redtops Orchestra, provides that on ‘Voodoo Man’. The spoken ‘Count Drunkula,’ a private, one-off pressing by The Starlits, is also enjoyable. Leroy Bowman & The Arrows rock out, including a catchy piano solo, on ‘Graveyard’. Rod Willis presents more brilliant rock on ‘The Cat,’ with Big John Taylor on the six strings. The Verdicts doo-wop their way through the up-tempo ‘The Mummy's Ball,’ as do The Combinations on ‘Voodoo’. More formidable doo-wop comes from The Monotones on the captivating ‘Zombi’. A truly impressive track is Jim Burgett's ‘Jekyll and Hyde’. It's a song that uses minimal screams, yet precisely because of that, it blossoms into a timeless rocking number. John Sowell also touches on classic rock in ‘Nightmares’. Halloween can be found in all roots genres. Popcorn lovers will definitely find something to their liking in ‘The Vampire's Ghost’ by Jimmy Bowers. More popcorn can be found in ‘Igor's Lament’ by Tony & The Monstrosities. A song that, aside from a few vocal interventions, is mainly instrumental, noting the sublime sax. The Cre-Shells are instrumental, surfing, and nodding to the great Link Wray in ‘Dracula’. Other impressive instrumental work can be found in Pete Drake's ‘The Spook’. With minimal use of instruments and the jungle drum as a foundation, Darrell Glenn invokes ‘Hoo Doo The Voo Doo’. For a song-long, challenging laugh on an organ-driven instrumental, skip to The Madmen and their ‘Haunted’. A touch of steel guitar can be found in the surprising ‘Skeleton Bookie’ by Abe Link & The Western Spotlighters, a song that also has a country feel. ‘The Howl’ by the powerfully vocal Johnny Eager will appeal to both rhythm & blues and popcorn fans. Cool harmonies and swing then characterize ‘Frankenstein's Party’ by The Swingin' Phillies, marinated in a fine sax solo. ‘Monster Dinner (Seven Corpse Dinner)’ by Roger Sherman sounds special, even a bit jazzy. A bass intro sets the tone for ‘Voo Doo Twist (Voo Doo Voo Doo)’ by the French band Les Pingouins, performed in their native tongue. The song was a classic for LaVern Baker, but here it gets a more rock-inspired twist. With ‘Surfer Smash,’ a vocal surf track, it's time for one last ‘scare and shiver’ with Johnn (Boris) Jones.
‘Hallowscream! 4,’ like its three predecessors, offers an impressive mix of Halloween-themed songs. ‘Frightening and shivering,’ the 30 tracks will definitely guide you through Halloween. Highly recommended!

Germany's Cat Lee King and His Cocks present their latest album, ‘Shootin' Crap’. In 2018, tee band garnered excellent reviews for their debut, ‘Cock Tales’. When the coronavirus struck, the world went into lockdown, and performances were canceled, singer and pianist Cat Lee King locked himself in his studio. This resulted in his beautiful solo album, aptly titled ‘The Quarantine Tapes’. Fortunately, social life resumed, immediately giving Cat Lee King the opportunity to collaborate on new songs with his Cocks. They now are 14 in total. Cat Lee King and His Cocks are unique in the current landscape of rhythm & blues, rock 'n' roll and rockabilly. The genre they explore was previously performed by small big bands in the mid-20th century, in which the horn section played a prominent role. The band doesn't feature any horns, but this is certainly not a drawback. This shortcoming is more than compensated for by Cat Lee's sublime black and white keyboard playing, as well as the guitars of Tommy J. Croole and Sidney Ramone. The band also consists of Lucky Luciano on upright bass and René Lieutenant on drums. Guest musician on xylophone is that other well-known German, Ray Collins.
The band opens immediately with the title track, a boogie floating on a simple but effective riff. With the follow-up, ‘Headin' For The Cottonfield’, kicked off by a great guitar, the band takes a rock 'n' roll approach, complete with a catchy piano and guitar solo. The style of the former little big band surfaces in the swinging, partly declaimed ‘Sound 'n' Smoke’, where the intervention of the former horn section is perfectly complemented by guitar and piano. ‘Blame It On Elvis’ has a somewhat Latin feel. Brilliant song! The band's gift for composing original songs with a sense of a bygone era is evident in tracks like ‘Nobody’, written by drummer René Lieutenant, who, alongside F. Wirths, also has credits on several tracks. More stunning guitar work can be discovered in the beautiful rhythm & blues ‘Miss Bourbon’. Jump and swing come to the forefront in ‘Mr. Big Time,’ while ‘Tomorrow’ evokes a charleton atmosphere. For a cover of a classic, the band returned to ‘Pretend’, made famous by Nat King Cole. A cover version that can be considered one of the very best.
Swinging and full of atmosphere, Cat Lee King and His Cocks close the album with the well-known ‘Last Call For Alcohol’.
‘Shootin' Crap’ is an album of which far too few are made. Excellent compositions, talented musicians, and Cat Lee King, whose vocals are incredibly close to the legendary artists of this genre, are the ingredients used here.
There's only one band that can perform this age-old genre in a contemporary, original, and expert way. That band goes by the name of Cat Lee King and His Cocks.

The release ‘Luv in the New World’ was recorded live off the floor in Los Angeles with an all-star lineup, including Jay Bellerose on drums (Robert Plant & Alison Krauss, Willie Nelson) and Sebastian Steinberg on bass (Phoebe Bridgers, Lucinda Williams). Set for release in 2025, get ready—Joe Nolan is about to become a name everyone’s talking about. A virtuoso guitarist, elusive poet, and musical chameleon, Nolan was raised in the rural community of Sturgeon County, Alberta. Caught between two small northern towns, he found his place in this world at an early age, growing up alongside the North Saskatchewan River.

​It's been four years since the Swedish band The Kokomo Kings overwhelmed us with their formidable fourth album, ‘A Drive-By Love Affair.’ Anyone who thought the band had lost all their strengths with that album would do well to wrap themselves in shame. On the new album ‘Turbomouth,’ Jonas Holmberg, Martin Abrahamsson, Magnus Lanshammar, and Daniel Winerö convincingly prove otherwise. The 11 original tracks were all penned by bassist Magnus Lanshammar, who also serves as backing vocalist. Over the years, The Kokomo Kings have developed their own unique sound. A sound they thankfully remain true to on the new album, resulting in a new album packed with infectious roots rock of the highest order. They open immediately with the title track, a roots boogie driven by a delightful riff, built on a solid rhythm section where lead singer Martin pulls out all the stops. Another moving boogie follows later with ‘Third Class Second Hand Man.’ Catchy riffs have become The Kokomo Kings' trademark. This is also evident in their follow-up, ‘Between Nothing And Nowhere.’ The interplay between guitarists Jonas Holmberg and Martin Abrahmsson, who also handles lead vocals throughout the album, is also incredibly impressive. Apparently, fishing is a hobby of songwriter Magnus. This surfaces in ‘Fishing In The Deep Waters,’ which also serves as a metaphor. For a ‘love song’ in the Kokomo Kings' vein, skip to the striking ‘Something In Her Eyes.’ A track that will definitely resonate with audiences during live performances is the rocking ‘But I Like It.’ The gentlemen's intimate knowledge of roots genres is also evident in ‘Titanium Heart,’ which features subtle country influences. For a creative, slightly Eastern-sounding guitar performance, ‘At The Graveyard’ is the place to be. The Kokomo Kings close the album rocking in style with ‘Afternoon Tea.’
We want to reiterate: The Kokomo Kings are among the best contemporary roots rock has to offer. A rock-solid rhythm section, excellent guitar work, a dynamic lead singer, and incredibly clever compositions. See for yourself, because you simply don’t want to miss ‘Turbomouth.’