With ‘Do It’ the third volume in the ‘Hi-Strung R & B’ series is announced. Traditionally, we once again dive into the rich treasure chest of rocking rhythm & blues that was recorded between 1951 and 1963. Once again, there are a number of well-known names among them, but just as interesting and captivating are the songs of lesser-known and even obscure artists.
This album starts off immediately with the title track, performed by The Adventurers, who gave the steaming rhythm & blues a touch of doo-wop. More doo-wop follows later with the rocking ‘Please Love Me Baby’ by The Five Jets, ‘Look At Me’ by The Sharps, as well as in ‘Little Turtle Dove’ by Otis Williams and His Charms.
‘Get On The Right Track Baby’ is certainly familiar to you in the version by Ray Charles. Here you get the original version by Titus Turner, who also wrote the song. Fats Domino and Dave Bartholomew are inextricably linked to New Orleans. Fats is present with ‘Don’t You Know’, which the two gentlemen wrote together. Bartholomew also worked on the recording as a trumpet player. Dave Bartholomew was also co-writer of the cheerful ‘Give It Up’ by The Hawks. He also acted as bandleader during that recording. More New Orleans sound can be found in ‘Oooh-Wow’ by Roy Montrell, as well as in ‘I’m Wise’ by Eddie Bo. You undoubtedly know the song, because Little Richard recorded it as ‘Slippin’ And Slidin’’. The launch of the ‘twist’ was stolen from Hank Ballard & The Midnighters by Chubby Checker. The Midnighters present the catchy ‘Rock, Granny, Roll’ with Hank behind the microphone. Rawer and winking at Little Richard, things get rougher during ‘Switchin’ In The Kitchen’ by Pretty Boy and the orchestra of Lee Simms. Incidentally, Pretty Boy also recorded as Don Covay. Jay McNeely was one of the very best saxophonists. Here you can hear him, together with his orchestra, at work on Jesse Belvin’s ‘Don’t Cry Baby’. Dinah Washington always guaranteed brilliant interpretations. She also does this on ‘Such A Night’, which was previously known in Presley’s version. More famous people pass by with Clyde McPhatter and the soulful ‘High School Social’, just like The Drifters, including Ben E. King with ‘Hey Senorita’. Clarence ‘Frogman’ Henry also needs no introduction. Here he delivers another beautiful piece of New Orleans rhythm & blues with ‘It Won’t Be Long’. Screamin’ Jay Hawkins was responsible for the original ‘Susie Q’. An instrumental version is provided by saxophonist Billy Carson and The King Bees. Formidable version! Linda Hayes also sounds formidable in ‘Hubba Hubba’. Apparently the singing talent ran in the family, because Linda was the sister of Platters’ lead singer Tony Williams. With the closing track ‘The Party’s Over’ by the vocal group The Fiestas the party really is over, although nothing prevents you, just like yours truly, from immediately pressing that ‘repeat’ button. What a hit is ‘Do It’, the third volume in the ‘Hi-Strung R & B’ series, which was once again provided with beautiful artwork by Gito Lima.

As we are used to from the ‘Atomicat Rockers’ series, all these volumes guarantee excellent ‘old school’ rhythm & blues. This line is of course continued on the sixth volume ‘The Juke Box Man’. The title track comes from Mel Tills, originally a country artist and those influences are also in the song, which makes a nice link with rockabilly. But before Mel gets his turn, there is more to enjoy. For example with Cecil Bowman and The Arrows who start off rockabilly-style with ‘Blues Around My Door’ that also winks at country because of the steel guitar. Rockabilly in its purest form can be found in ‘Shake It Up Baby’ by Frankie Dee and The Carter Rays, including a nice clean guitar solo. ‘Chug-A-Lug’ by Bobby Doyle and The Ideals and ‘Sleep Rock-A-Roll Rock-A-Baby’ by Alvis Wayne sound just as pure and clean. Jimmie and The Night Hoppers provide a ‘top-notch’ instrumental song driven by handclaps and sax in ‘Cruisin’’. We know ‘Book Of Love’ from The Monotones, who released the song in 1958. Here you get the version by The Blazers, a cover group that recorded the song that same year. John Fred and His Playboys scored a world hit with ‘Judy In Disguise’ in 1967. ‘Shirley’ here is at least as good, but did not bring John Fred the same success. It is not immediately clear how often ‘Whole Lot Of Shakin’ Going On’ has been covered. One cover is better than the other. The cover that is certainly one of the better ones is this one by The Centurys. Excellent vocal performances and great guitar parts characterize this version. Carl McVoy, present here with the formidably rocking ‘Little John’s Gone’, was none other than Jerry Lee Lewis’ nephew. It sounds like he listened very carefully to his cousin's songs. Jeff Barry may not have been into rock-'n-roll, but he still managed to deliver a great rocker with 'Hip Couple'. The twist gained popularity through Chubby Checker. Here Chubby shows his rock side with 'Schooldays, Oh, Schooldays', including a cool sax solo. The sound of The Coasters can clearly be heard in 'Don't Wake Up The Kids' by Otis Williams and His Charms. You wouldn't immediately say it, but Bobby Pedrick Jr. was only 12 years old when he recorded the great rocker 'White Bucks And Saddle Shoes' in 1958. Joey Michaels, misspelled as Joey Micheals by the label, can also rock really well. On his 'Sixteen Cats' it would be Bill Haley and His Comets. That could very well be the case, from the sound of it. A cracker of a recording! Lucky Millinder's orchestra always offers sublime songs. That is no different on 'Goody Good Love'. Number that also has beautiful vocal harmonies. Eddie Gaines clearly found inspiration for his ‘Be-Bop Battlin’ Ball’ in ‘Shake, Rattle and Roll’.
Compiler Mark Armstrong has once again brought together 28 sublime songs from the fifties and early sixties. Rock-‘n-roll, rockabilly and authentic rhythm & blues at the highest level. Give that volume knob a good turn to the right, throw all the brakes loose and enjoy this sixth volume in the ‘Atomicat Rockers’ series. You won’t regret it!

The 2024 comeback within the blues and rhythm & blues can be placed behind the name of the Swede Greger Andersson, better known as Knock-Out Greg. After all, with 'Serves Me The Right To Suffer', he presents his first album since 2004. Greg takes care of the vocals, harmonica and guitar. For the other instruments he surrounds himself with top Scandinavian blues musicians, The Blue Flames. On guitar we hear, besides Greg, Tomi Leino, the electric and acoustic bass were entrusted to Jaska Prepula, drummer on duty is Marcus Anderson and on the piano and organ we find Fredrik Humlin. The album has 10 tracks, including 'Suprovox Mood', an original song by Tomi Leino. As opener Greg chose 'Midnite Blues', a song by Charlie Rich. In the hands of Knock-Out Greg it becomes a rhythm & blues while retaining the country slant. Contemporary rhythm & blues of the best kind! It gets even better when Greg takes out the blues harp for the intro of the title track, a song by Jimmy Dawkins. The same harmonica also sets the Texas shuffle ‘More Than Meets The Eye’ on track. With Eric Bibbs ‘Same Well’ the slow blues makes its entrance. A song that can also count on excellent backing vocals and a wonderful organ solo by Fredrik Humlin. A version that is definitely worth it. The next song is the slightly more uptempo ‘Suprovox Mood’, an instrumental where Knock-Out Greg can go all out on the chromatic harmonica. Later, with ‘Whiskey Heaven’, another great sung slow blues follows. With ‘Bad Mouthing’ the band gives an example of how real downhome blues should sound. The addition of the blues harp gives ‘When The Birds Begin To Sing’ a somewhat zydeco atmosphere. Uptempo, Knock-Out Greg and The Blue Flames can pull out all the stops one last time for the closing track ‘Tight Skirts’. We said it more than once that the Scandinavian blues artists are no less than their American colleagues. That is proven once again here. Throughout the album, The Blue Flames manifest themselves as a band that knows the ropes of the blues. Add to that Knock-Out Greg’s beautiful vocals and ditto harp work and you have one of the blues albums of 2024 with ‘Serves Me The Right To Suffer’.

James Cotton was born in 1935 and died in 2017 at the age of 81. Cotton was certainly one of the most talented and groundbreaking harmonica players. James grew up with the blues giants of his time. They were singers, guitarists, pianists and saxophonists. Sonny Boy Williamson taught him the basic techniques on the blues harp, but the sax players would definitively shape his playing. Cotton modeled his way of playing after the sax parts in rhythm & blues and jazz. Moreover, these were the years that preceded the birth of rock 'n' roll. Naturally, in addition to the blues, he embraced the emerging new music genre, as is evident on this compilation. The album contains 27 tracks, all recorded between 1953 and 1968, including 4 from his very first recording session, 9 songs with the Muddy Waters Band, of which he was a member for a time, 2 tracks from rare British EPs with Chris Barber and Alexis Korner and 12 recordings with Cotton as bandleader, of which 1 Verve recording for the first time here on CD. In addition, you hear creative and innovative musicians such as Pat Hare, Otis Spann, Willie Dixon, Paul Butterfield, Fred Below and Otis Clay. So you can say that James Cotton belonged to the top of the Chicago blues musicians. In addition to his membership of the Muddy Waters Bluesband, James founded his own band in the mid-sixties, with which he also performed at many European blues festivals and continued to record.
James Cotton scores almost immediately with the Jackie Brenston-originated ‘Rocket 88’, here in a superior rhythm & blues version. No wonder, because besides Cotton on vocals and harp, you hear Otis Spann on the piano, James ‘Pee Wee’ Madison on the guitar and the drum skins are played by S.P. Leary. The next number is immediately a Cotton composition, namely the well-known ‘Hold Me In Your Arms’, which he recorded for Sun in 1954. Incidentally, there are classics in abundance on this compilation. For example, you will find ‘Don’t Start Me Talkin’’ from his first solo LP here, as well as the often covered ‘Feelin’ Good’. A first slow blues comes with ‘Cotton Crop Blues’, a number that also closes this album in a remake, after which Muddy Waters is featured for the first time in ‘She’s Got It’, immediately followed by ‘Rock Me (All Night Long)’. Later, Muddy is also present in ‘You Don’t Have To Go’, which Muddy and James wrote together, ‘Short Dress Woman’, ‘I Won’t Go On’, probably with Fred Below on drums, ‘Meanest Woman’, ‘Elevate Me Mama’, ‘I Feel So Good’ and ‘My Dog Can’t Bark’.
A beautiful example of James’ craftsmanship on the Mississippi saxophone is heard on the instrumental ‘Off The Wall’, a composition by Little Walter Jacobs. James also recorded the cool instrumental ‘Jimmy’s Jump’ in England in 1961 with pianist Keith Scott, Alexis Korner on guitar and bassist Chris Barber. The ‘harmonica blowout’ on ‘Three Harp Boogie’ is certainly formidable, where the harpists are on duty alongside Cotton, Billy Boy Arnold and Paul Butterfield. Note that the guitarist is the equally well-known Elvin Bishop.
With ‘Lovin’ Cup’, James honours a composition by Paul Butterfield. Number in which guitarist Luther Tucker is also at his best.
Whether you hear Cotton as an accompanist in the Muddy Waters Band or on his solo projects, you always hear a harper at the top level, who also convinces vocally under his own name.
‘James Cotton Rocks’ is a formidable compilation with recordings of a rightful Grammy Award winner.

The 'Black Pearls' series is almost complete, because with 'Let's Have Some Fun' we have already reached the ninth volume. It is best to take the title of this volume literally, because there is a lot of beautiful music to listen to. Jesse Thomas and his orchestra open the list with the swinging title track. Mahalia Jackson was not only an impressive artist but also had a nose for talent. That's how she discovered Johnny Sellers, who brought him to Chicago. You can hear Sellers here with 'Heavyweight Mama', a beautiful rhythm & blues song. The fact that Big Duke got his inspiration from Big Joe Turner is clearly noticeable in 'Baby Beat It', which is bursting with Turner influences and yet he could not achieve commercial success. Another person influenced by shouter Turner was Allen Thomas. Listen to 'Blowing My Horn' and then you will know. Blanche Thomas' 'You Ain't So Much A Much' reminds me of Big Mama Thornton. George 'Mr. Blues’ Jackson provides a fine example of New Orleans rhythm & blues with 'Hold Me'. Jimmy Nolen made his mark as a guitarist in the bands of Johnny Otis and James Brown. He was a member of the latter for almost twenty years. He proves that he can also be enjoyed as a solo artist in 'I Can't Stand You No More'. Peppermint Harris had a number 1 hit with 'I Got Loaded'. The 'Hey Little Schoolgirl' recorded here will undoubtedly also sound familiar to you. Mr. Bear, real name Teddy McRae, was not only a bandleader and composer, but also a renowned saxophonist who worked with Chick Webb, Lionel Hampton, Ella Fitzgerald and Champion Jack Dupree, among others. He made solo recordings, including the exciting 'Mr. Bear Comes To Town' was one. Sublime guitar work undoubtedly characterizes 'Sleepwalkin' Woman' by Smilin Joe. Completely unknown to me is Dorothea Fleming. Perhaps the fantastic rhythm & blues 'I'm Glad You're Leaving' was on the only single she ever recorded. Other unknowns who grace this album are Carl Matthews and Fercy Welch, who serve tasteful rhythm & blues with 'Big Man' and 'Back Door Man' respectively. H-Bomb Ferguson is well known, who you get here with the jump blues 'She Don't Want Me'. Little Sylvia collaborated with guitar legend Mickey Baker. Together they had a huge hit in 1956 with 'Love Is Strange'. She would later find herself in the spotlight as the founder and CEO of the hip-hop label Sugar Hill Records. Here you can hear her in the somewhat jazzy sounding 'Drive Daddy'. Ray Charles had his first hit with 'Mary Ann'. The song was about Mary Ann Fisher, who came into contact with Charles as a dish washer and started touring with him as a vocalist from 1955 to 1958. Not surprising when you hear what a singer she was on 'Wild As You Can Be'. Roy Brown was an inspiration to many such as B.B. King, Bobby Bland, Elvis, Jackie Wilson and Little Richard. Hear Brown at work here in the rather rare 'She's Gone Too Long'. The bridge between post-war blues and the legendary Tamla Motown sound was pianist Joe Weaver. In Motown's early years, Weaver was also heard on many of their recordings. Weaver also worked with legends such as John Lee Hooker and Marvin Gaye. Here you get Weaver with the instrumental 'Too Hot To Trot' with which the album also closes.
Just like the previously released volumes in the 'Black Pearls' series, volume 9 is also one to cherish. It should be clear by now that this series is full of excellent rhythm & blues. You probably won't know many of these songs, but the motto 'unknown is unloved' applies here more than once.

It is generally known that rhythm & blues was the breeding ground for the advancement of rock 'n' roll. While the transition was initially labeled as rocking rhythm & blues, it would eventually become rock 'n' roll. A number of artists, although they were usually unable to capitalize on this, laid the foundation for rock 'n' roll with their rocking rhythm & blues. One of them was certainly blues shouter Roy Brown, whose work is now being spotlighted by Bear Family Records. The CD contains 30 tracks that Brown recorded for the DeLuxe label, where he scored his biggest hits between 1948 and 1951. You also get his recordings for the King label (1952-1955) and those for Imperial Records (1956-1958) when legendary New Orleans artist Dave Bartholomew helped launch Brown's comeback.
It is also remarkable that in addition to being an impressive performer, Roy was also a memorable songwriter. No fewer than 25 of the 30 songs on this compilation came from his pen, or he was involved as a co-writer. His 'Good Rockin' Tonight' from 1947 opened the door wide for the rock 'n' roll that was in the starting blocks. Opener 'Saturday Nite', which Roy recorded in 1956, the heyday of rock 'n' roll, also proves this. Other sublime rockers are certainly 'Rockin' At Midnight', 'Boogie At Midnight' and closing track 'Ain't No Rocking No More'. The 'Hip Shakin' Baby' and 'We're Goin' Rockin' Tonight', you would rather expect performed by a white rocker, are impressive. Just to say that Roy Brown was a great artist who could embody any form of music with verve. Also noteworthy is 'Butcher Pete', which you get here in parts 1 and 2, a total of 5 minutes. Fats Domino may have had the greatest success with 'Let The Four Winds Blow', written by Dave Bartholomew and Fats himself, but Brown’s version sounds purer and more authentic. Real blues fans certainly know 'Ain't Gonna Do It' in a cover version by Kim Wilson. Here you hear Roy's version, which sounds a lot more convincing. For a nice piece of guitar work from Jimmy Davis, you can go to 'Letter From Home'.
 'I've Got The Last Laugh Now' and 'Gal From Kokomo' lean more towards rocking rhythm & blues. ‘Mr. Hound Dog's In Town' is very similar to Big Mama Thornton's 'Hound Dog', which was recorded in 1952, a year earlier than Brown's song. Roy's talent as a blues shouter comes to the surface with class in, among others, 'Riding High', 'Good Man Blues' and 'Cadillac Baby'.
'Roy Brown Rocks' takes you in a formidable way to the time when rocking rhythm & blues was the precursor to the emerging rock 'n' roll and Roy Brown is the most suitable artist for that. Let that be clear!

In the 'Juke Box Pearls' series, Bear Family Records pays attention to Lillian Briggs this time. The fact is that Lillian Briggs did not actually get the fame she deserved. The 32 largely uptempo songs on this album were recorded between 1955 and 1961 and cover the genres from rocking rhythm & blues, rock 'n' roll to more pop-oriented songs. As you will soon hear, Lillian had an extremely powerful voice, but she could also handle the trombone quite well. In her youth she mainly listened to jump blues and jazz and you can hear that in her songs. You undoubtedly know opener 'I Want You To Be My Baby', but perhaps in Louis Jordan's version. Here you get the song in Lillian's 1955 version, but also as an instrumental by the Lillian Briggs Orchestra and finally in a more twisted version that Briggs recorded in 1961. You also get the Lillian Briggs Orchestra a second time with the equally instrumental 'Delilah'. On both instrumental tracks you can hear Lillian as lead trombonist. Her jazzy side is reflected in, among others, 'It Couldn't Been Me'. That rocking rhythm & blues also goes well for her is evident from 'Rock 'n' Roll-y Poly Santa Claus' and 'Follow The Leader'. She rocks even more in 'Come Here'. She is a bit softer in the rather poppy 'Eddie My Love' and she also shines in the emotional 'Mean Words' and 'Will We Meet Again'. But also her cover versions of 'Hey! Ba-Ba-Re-Bop' and 'Rag Mop' she knows how to provide them with the necessary dynamics. Bluesy Lillian comes out in 'Sugar Blues'.
In short, Lillian Briggs was not only blessed with a powerful, clear voice, but could also handle various genres, whether it was rocking rhythm & blues, blues, rock 'n' roll, jazz or rather pop, she always knew them all to perform in the right way.
In the 36-page colorful booklet you receive an extensive biography, as well as all recording information for the tracks and beautiful photos, on which you can also see Lillian at work as a trombonist.

Things are going well with the 'Black Pearls' series, of which the eighth volume entitled 'Down In The Basement' has already been released. Compiler Ronni Boysen once again collected 28 tracks that cover all corners of American roots music. Bunker Hill can start off with 'You Can't Make Me Doubt My Baby'. Bunker started his musical career with the gospel group The Mighty Clouds Of Joy and you can hear it in his powerful voice. Here he plays an energetic rhythm & blues with minimal accompaniment. With The Contours and 'Whole Lotta Woman', a composition by Motown boss Benny Gordy, we get a great combination of rhythm & blues and doo-wop. Rhythm & blues is previously linked to soul by Cookie Jackson. Together with The Zeke Strong Band she performs a beautiful 'Do You Still Love Me'. Rhythm & blues and soul are also included in 'Your Letter' by Willie Wright & His Sparklers. Even more soul contains 'I Won't Be Your Fool' by Little Joe Hinton. Someone who has had several songs covered is Arthur Alexander. Here you can hear his debut 'The Girl That Radiates That Charm' and he is labeled as June (for Junior) Alexander. Johnny Torrence was the founder of the vocal group The Jewels. He also receives backing vocals support on 'Your Lover Man'. Raw and lived-in rhythm & blues is Gino Parks' trademark. Listen and convince yourself during 'Same Thing'. The Metallics also show more beautiful harmony vocals in 'Get Lost' and The Originals in 'Little Lonely Girl'. This certainly also applies to the well-known The “5” Royales in 'They Don't Know' and to The Clovers in 'One More Time'. The title track of this album comes from King Coleman and pay particular attention to the beautiful backing vocals that give the song a very special twist. Who will blow your socks off with steamy rhythm & blues is Helen Troy with 'I Think I Love You'. Also pay attention to the impressive horn section. 'I'm Going Home' by Prince Conley sounds very special, with the horns providing a somewhat ska atmosphere. A rare recording is 'Playboy' by Billy Ray. He recorded it in 1961 for the Kent label. Fortunately it is on this compilation because it is a more than fantastic song. Little is also known about the vocal women's group The Vonns. The fact is that with 'So Many Days', their only recording by the way, they had a hell of a danceable song. For blues fans, the name of singer and harmonica player George Harmonica Smith will certainly ring a bell. Smith also worked with Muddy Waters and Big Mama Thornton. Here he can be heard under the name George Allen with 'Come On Home', a beautiful rhythm & blues song, where he solos cleverly on the blues harp. Another blues great is bassist and composer Willie Dixon. Here he backs with his band Billy Emerson in 'I'll Get You', a composition by beauty gentlemen, in which Dixon's influence is clearly audible. Closing is reserved for Jimmy Lewis, who delivers an excellent Northern Soul song here with 'Feelin in Mah Bones'. Lewis' songs were covered by Bobby Bland, Little Richard, Solomon Burke and Bobby Womack, among others.
Just like the previous volumes in this series, volume 8 is another hit. Still 2 volumes to go, of which volume 9 'Let's Have Some Fun' will be released next month. Looking forward to it!

You could recently read the review of 'Rock House' on this site, the first volume in the new series 'Hi-Strung R & B' released by the KokoMojo label. The series continues with 'Chop Chop' and once again we get 28 tracks that contain both rocking rhythm & blues and beautiful doo-wop. We immediately start with Ralph Wilson's 'What's Shakin'', a high-flyer within rocking rhythm & blues. Song that contains beautiful sax and guitar solos. Wilson is followed by Pearl Bailey with 'I Can't Rock 'N' Roll To Save My Soul'. We get our first taste of door-wop with The Fleetones in 'Your Lover Man'. The Chimes serve more in that genre in the title track and Jimmy Ricks with The Suburbans also operate in that genre during 'Bad Man Of Missouri'. The Treniers also serve up exciting harmony vocals, in the handclaps-embellished 'Go! Go! Go!. You will also find wonderful vocal performances in 'IFIC' by The Chantels. He would later build a formidable career with immense record sales and dazzling live shows. Here you hear James Brown on vocal bass in The Jewels' 'Goin' Goin' Gone', recorded in 1956 for the Imperial label. Other well-known people together provide 'Little Richard's Boogie'. The piano virtuoso's name was already in the title and the accompanying band was that of Johnny Otis. And the legendary performers follow each other in rapid succession. For the blues this is John Lee Hooker, who you hear here in a style that is unique to him. His trademark, the boogie, is fully present, but also gets a Southern touch in 'She's Mine'. A name that you often come across when you browse through American roots music is Piano Red. He delivers formidable rock 'n' roll in 'Rock, Baby'. Rock 'n' roll, but with inspiration sought in Spain, comes in 'Rock 'N' Roll Espanole' by Mad Man Taylor. Nappy Brown became a name in the blues and rhythm & blues. Here you can hear him with 'Land I Love', a song he recorded in 1958. For a swinging big band rhythm & blues you can later visit Buddy Johnson and his orchestra in 'Rock On!'. Lovers of decent popcorn will certainly enjoy 'Chills And Fever' by Ronnie Love and his orchestra. Very nice instrumental work awaits you with 'Shake Walkin'' by Mickey 'Guitar' Baker and his House Rockers. About George 'Mr. Blues' Jackson is little known. What we are certain of is that his 'Uh-Huh' is a gem of New Orleans rhythm & blues. 'My Baby's Tops' by The Gardenias could count on support from Ike Turner's Kings Of Rhythm, which provides an excellent setting. From 1955 to 1973, Billy Guy was part of The Coasters. The fact that he also tried it solo is evident in '(She's A) Humdinger', which he recorded for ABC-Paramount in 1963. Big Joe Turner is still one of my favorite artists. It is nice that he can close the list with 'I Love Ya, I Love Ya, I Love Ya', which is traditionally expertly accompanied. Pete Johnson's orchestra takes care of that here.
This second volume in the 'Hi-Strung R & B' series again contains some of the best of the best rocking rhythm & blues and doo-wop. 'Hi-Strung R & B' is a series that certainly deserves a place in the collection of fans of these genres.

The new KokoMojo series 'Hi-Strung R & B' is immediately launched with 'Rock House'. The album has 28 tracks that explore all corners of rhythm & blues. This first volume to be called 'Rock House' shows that there are still many rocking rhythm & blues gems to be discovered. This immediately becomes clear when Jimmy Breedlove covers 'Whole Lot-Ta Shakin' Goin' On' and the song is embellished with a scorching sax solo. 'Walk Right In' is a classic that is served here by Bonita Cole accompanied by Bill Harvey's orchestra. Big Maybelle started out as a gospel singer, but she soon chose rhythm & blues. She always delivered them with enormous power, as here in the title track of this album. What a fantastic song! 'Land Of 1000 Dances' was immortalized by Wilson Pickett. Yet it was the song's composer Chris Kenner who recorded it first. Here you can hear Kenner with 'Don't Make No Noise'. 'Wow Wow' by Willie Eggins certainly sounds familiar. He also plays an excellent piece of piano. Jackie Wilson needs no further introduction. In his well-known style he serves 'Why Can't You Be Mine'. Michael Clark only had one hit, 'None Of These Girls'. Incomprehensible when you hear this song, because talent was abundantly present. Mabel Lee was a celebrated dancer and as an actress she appeared in many films. That she was also convincing as a vocalist is proven by 'He's My Guy', where she is accompanied by the Tee Joe orchestra. When you talk about rocking rhythm & blues, it would be unforgivable to overlook Chuck Berry. That doesn't happen, because here he is present with 'Let It Rock', performed in his inimitable style. Saxophonist Sam Taylor and guitarist Mickey Baker played on many well-known rhythm & blues recordings. Both gentlemen are also present on 'I Don't Know' by the vocal group The Keynotes. Little Esther scored in the fifties as a rhythm & blues singer. Here you can hear her in 'Cupid's Boogie', a stunning duet with Mel Walker. The duo receives musical support from Johnny Otis and his orchestra. Otis and his men also back Billy Robbins in the swinging 'Bring Her Back To Me'. New Orleans was the birthplace of Big Boy Myles. This is also reflected in 'That Girl I Married', which he recorded with The Sha-Wees. The 'duck walk' was Chuck Berry's trademark during performances. Here you get a formidable instrumental 'The Duck Walk' by Chuck Higgins.
Furthermore, this album contains wonderful harmony vocals. This is represented by The Wanderers with 'Heh Mae Ethel', 5 Johnson Brothers in 'Happy Rock And Roll', The Spiders with 'I Didn't Want To Do It', Bobby Day in 'The Bluebird, The Buzzard And The Oriole ', Charlie White And The Playboys in 'Honeybun', The Wonders with 'Bop-Bop-Baby' and certainly in 'My Hi-Fi Baby' by Castaleers with lead vocals by Richard Jones.
The new series 'Hi-Strung R & B' will certainly be one that many fans of authentic rhythm & blues from the middle of the last century will cherish. We are already eagerly looking forward to the second volume entitled 'Chop Chop'.

It is common knowledge that the American roots genres inspired each other. For example, new genres such as rock 'n' roll and rockabilly were based on rhythm & blues and country. While white artists sought inspiration in these genres, it also happened in the other direction when black artists turned to country. We get to hear 29 songs of this on 'Shotgun Boogie, Rhythm & Blues Goes Country'. We start straight away with Wynonie Harris who delivers a beautiful rhythm & blues version of Louis Innis' 'Good Morning Judge'. Later he does the same with 'Bloodshot Eyes'. For the title track 'Shotgun Boogie', Eddie Mack, accompanied by the Cootie Williams orchestra, consulted Tennessee Ernie Ford. Mack is also featured a second time with Merle Travis's 'Divorce Me C.O.D.' Blues'. Hank Williams was not only often covered in rock 'n' roll and rockabilly, but the rhythm & blues artists gave his repertoire a very original twist. You can convince yourself of this with Fat Man Robinson and Sonny Knight, in 'My Bucket's Got A Hole In It' and 'Lovesick Blues' respectively. More Hank Williams to come with The Griffin Brothers, feat. Margie Day in 'Move It On Over'. Vocal groups also returned to the country repertoire with great fondness. The Crows delivered a beautiful presentation with the Bill Carlisle composition 'No Help Wanted' and also note the boogie-woogie-inspired piano part by Viola Watkins. You will later get that same song in a solid rhythm & blues version by Bob Gaddy and His Alley Cats. Cole Porter's 'Don't Fence Me In' was given a well-fitting crooner suit in the hands of Tommy Edwards. Such a typical country song is 'Ghost Riders In The Sky'. That changes when 'Scat Man' Crothers gives it a jazzy bluesy twist. Country with a New Orleans rhythm & blues feel presents Smiley Lewis in Link Davis' 'Big Mamou'. Another frequently covered song is Merle Travis' ‘Sixteen Tons’, a song immortalized by Tennessee Ernie Ford. The Platters give the song the depth it deserves. You can also listen to 'Sixteen Tons' later in the blues version of B.B. King. 'Cherokee Boogie (Eh-Oh-Aleena) comes in two versions. The first is the swinging one by Joey Thomas and the second by Moose Jackson. 'Crying In The Chapel' gained enormous fame through Elvis. The Orioles kept the gospel feel and supplemented it with delicious doo-wop. Johnnie Lee Wills gave 'Rag Mop' that typical country feeling. Joe Liggins together with his Honeydrippers transformed the song into a catchy rhythm & blues. Dazzling guitar work awaits you in the instrumental 'Steel Guitar Rag' by Earl Hooker, in which the country is still clearly audible. Country can also be heard in 'Pick Me Up On Your Way Down' by Guitar Jr. Hal Singer presents another beautiful instrumental, but now on sax, with 'Indian Love Call'. 'Pistol Pickin' Mama' is certainly well-known, here in the beautiful doo-wop rhythm & blues version by The Hurricanes.
Closing is reserved for the previously performed 'Shot Gun Boogie' by Eddie Mack and Cootie Williams, which you now get in Cecil Gant's version.
The interaction between country and rhythm & blues produced many beautiful versions of well-known and lesser-known country songs. On this first volume in 'Rhythm & Blues Goes Country' you will hear 28 gems.

Last year the first volume of 'Destination Jail' was published and since there are still many songs within blues and rhythm & blues that are related to this, a second volume is now being released. Once again you get 24 songs that all relate to life behind bars. A subject that was often part of lyrics in the blues and rhythm & blues. The black community was initially victims of slavery and that would haunt this community for a long time. There was still no question of equal rights. For example, blacks were referred to prison more quickly than whites and they also served longer sentences for the same offenses committed by whites.
The songs on this compilation date from the 1950s and 1960s and are performed by both well-known and lesser-known and sometimes completely unknown artists. The album starts with 'But Officer' by Sonny Knight. A very special song, in which the voice of the 'officer' is performed by sax and Sonny tries hopelessly to defend himself with 'but officer'. A large number of well-known names can be found on this album. You will find Wynonie Harris with 'Good Morning Judge', a beautiful swinging rhythm & blues. Dave Bartholomew is generally and rightly regarded as the architect of New Orleans rhythm & blues. He did this on the basis of clever compositions. You can hear one of these from Smiley Lewis with 'Jailbird'. New Orleans rhythm & blues is also the basis for Sonny Knight's rocking 'Jail Bird'. One of the most famous performers of New Orleans rhythm & blues is Fats Domino. He showcases that again here during 'Prisoner's Song'. Blues musician Lonesome Sundown is certainly also well known. With 'My Home Is A Prison' he creates a compelling blues. Eddie Boyd and Ottilie Patterson also do this, in 'I'm A Prisoner' and 'Jailhouse Blues' respectively. Blues pianist Roosevelt Sykes is also present, with the extremely beautiful 'Jailbait', which contains both rhythm & blues and a pinch of jazz. The well-known artists follow each other in rapid succession. For a wonderful mix of rhythm & blues and soul, Billy Boy Arnold is the right one, here with 'Prisoner's Plea'. Josh White serves a beautiful 'down home blues' with 'Ball And Chain Blues'. T-Bone Walker was and still is an example for many guitarists, but he also knows how to impress vocally, such as in 'Prison Blues'. More famous people will later appear with Magic Sam in '21 Days In Jail'. A formidable, somewhat hilarious version of 'Riot In Cell Block No. 9' you get from The Robins. Group that would later be transformed into The Coasters. You get a nice example of harmonica blues with Willie Nix and his 'Prison Bound Blues'. Nix was accused of murder and therefore experienced prison life first-hand. 'Chain Gang' was immortalized by Sam Cooke. Here you get a female version of Theola Kilgore, as 'Chain Gang – The Sound Of My Man'. There is beautiful singing with the vocal group The Prisonaires, all of whom also stayed in the Tennessee State Penitentiary. The Larks close with doo-wop and a bit of gospel in 'When I Leave These Prison Walls'.
The second volume of 'Destination Jail' again has a lot of beautiful blues and rhythm & blues to offer. Definitely worth it!

The title 'Oh! What A Wonderful Time' from the 7th volume certainly applies to the entire series, because you as a reviewer get a wonderful feeling with every release of a volume. The reason for this is that compiler Ronni Boysen delves deeply into the black rhythm & blues from the middle of the last century. The 28 tracks, some of which are obscure, take you back to the heyday of the genre. You will of course also find a large number of well-known artists.
Ervin Rucker can start off with 'Done Done The Slop', a wonderfully danceable rhythm & blues. Rucker also worked with Johnny and Jimmy Liggins and Johnny Otis. Jimmy Liggins will be featured later on this compilation. Rucker is followed by the funny uptempo 'Jess' One More Time' by 'Madman' Jones, who also toured with Johnny 'Guitar' Watson, also present on this album. For a beautiful sultry blues, Etta Jones signs with 'Moolah! Moolah!'. What a voice that lady had! One of the greatest songwriters within the genre was Otis Blackwell. He wrote hits such as 'Fever', 'Great Balls Of Fire' and 'Don't Be Cruel!'. Songs that became eternal in the renditions of Little Willie John, Jerry Lee Lewis and Elvis Presley. Here Blackwell records the title track, which is also his composition. You also get Little Willie John with the energetic 'Don't Play With Love'. We previously met Marie Adams as a member of the Johnny Otis Band. Here she does it in her own name with a wonderfully changing tempo 'Boom Diddy Wa Wa', a song on which she and Otis are listed as co-writers. Johnny Otis is also featured later as a backing band for blues diva Big Mama Thornton in 'My Man Called Me'. You could actually say that Johnny Otis runs like a common thread through the history of rhythm & blues, because he also discovered the vocal group The Midnighters, which Hank Ballard joined in 1953. The Midnighters perform 'Don't Change Your Pretty Way' . Johnny 'Guitar' Watson is also well known. You can hear him in his own composition 'The Bear', where you hear that the seeds of the funk that emerged later in his career were already present. Jackie Brenston was at the forefront of the birth of rock 'n' roll with 'Rocket 88'. He also works dynamically through 'Gonna Wait For My Chance'.
'Feels So Fine' by Harold Barrage is compelling rhythm & blues. No wonder when you see that the backing band consisted of Chicago legends Willy Dixon, Lafayette Leake, Fred Below and Lee Cooper. You can dance into a sweat to the boogie 'Rhythm Rockin' Blues' by Rollee Mcgill.
You get a slice of popcorn within rhythm & blues with Neal Johnson in 'True To You Baby'. Big Bob Dougherty shows a fiery sax in 'Why'. The Lamplighters serve up rhythm & blues mixed with doo-wop with 'Bo Peep' and 'Rumblin' Tumblin' Baby' by Emeralds. Also worth mentioning is Eddie Banks with 'Sugar Diabetes', which also contains some 'Fever' influences. These influences are also rhythmically present in Angel Face's 'Listen Baby'. You get a good dose of jump blues from the grandmaster of the genre, Jimmy Witherspoon in 'Big Daddy'. And the list of well-known figures continues with Jimmy McCracklin. He ends the album instrumentally with 'The Swinging Thing'.
As you can see, the seventh volume again contains fantastic rhythm & blues. These songs collected on one album are of inestimable value and therefore highly recommended.

With this volume we have also come to the end of the 'Blues Meets Doo-Wop' series. Over the course of 4 volumes, compiler Little Victor, aka The 'Mojo' Man, proved that doo-wop not only comes into its own during Christmas, but also that doo-wop and blues have many similarities. Both genres are about emotions and when those genres come together in one song, it creates fireworks. We were able to enjoy this in an exceptional way during this series. But as already mentioned, this unfortunately comes to an end, but not before we take a closer look at volume 4. Once again it is striking that both well-known and lesser-known artists have miraculously merged both genres into one song. Blues artists who hired doo-wop backing vocals, or doo-wop groups who gave their songs a blues or rhythm & blues feel. Was that mixing conscious or rather coincidental? No one will be able to say for sure. What is a fact is that the merger has been a great success.
We start with a legend, namely B.B. King. With 'Please Accept Me' he brings a more than beautiful soul song. Willie Dixon was heard as bassist on many blues recordings. He also has many hits to his name as a composer. Here he takes place behind the microphone for the bluesy '29 Ways'. Vocally he is supported by The Moonglows. Dixon is followed by another celebrity, guitarist Tarheel Slim. He collaborated with The Wheels on the exciting rhythm & blues 'Let's Have A Ball'. With The Larks he later closes this album on acoustic guitar and with handclaps with 'Eyesight To The Blind'. Superior number! Pianist Memphis Slim was known in both boogie-woogie and blues. Here, seated at the black and white keys, he creates a fantastic blues song with 'Mother Earth'. A pleasant song is certainly the slow blues 'Front Page Blues' by the vocal group The Solotones. Another vocal group, The Del Vikings, also scores immensely with the uptempo 'Woke Up This Morning', a formidable remake of B.B. King's number. Someone you immediately recognize by his style is Jimmy Reed. He does not deny that style on 'Close Together'. Hank Ballard is the uncrowned king of the twist, from which Chubby Checker reaped the benefits. Ballard is present with his inseparable The Midnighters in the shuffle 'I'm Crying Mercy Mercy'. 'Blues Stay Away From Me' has been covered repeatedly. Here you get a beautiful version of Otis Williams and His Charms. You undoubtedly know 'Linda Lu' in several versions. For Ray Sharpe it was his biggest hit, noted here as 'The New Linda Lu'. The list of well-known artists also includes Pee Wee Crayton, Albert King and Jimmy Witherspoon. The first has a beautiful slow blues with 'I Don't Care'. King scores rhythm & blues wise with 'Had You Told Me Like It was', a song that will not go unnoticed in popcorn circles. Witherspoon has a vocal group in The Lamplighters that takes 'Move Me Baby' to a higher level.
Furthermore, superior work by Baby Washington, The Enchanters, The Nic Nacs, Dorothy Prince, Henry Pierce and his Five Notes, The Chanteclairs, The Clovers and Camille & The Creations.
Unfortunately, the statement 'all good songs come to an end' also applies to the 'Blues Meets Doo-Wop' series. However, I am firmly convinced that compiler Little Victor will surprise us again in one way or another in the foreseeable future.

This fifth volume in the 'Whip Masters Instrumentals' series once again shows that many attractive instrumental songs were recorded within the roots genres. The album traditionally contains 30 tracks, all recorded between 1952 and 1963. You will find little or nothing of many of the artists brought together here. However, the music they made has undoubtedly stood the test of time. Give that volume knob a good push to the right and let your neighbors enjoy the scorching tracks. Jerry Neal can start with the very special, slightly Eastern sounding 'Scratchin''. Later, 'Ali Baba' by The Satellites also sounds very Eastern. Neal is followed by Bob Moore And The Temps, who spice up their rocking 'Braggin'' with harmonica and organ. Zydeco artist Clifton Chenier is unique on the accordion. An instrument that rocks in his hands like no other. You will get a taste of this during 'The Big Wheel'. Carl Newman shifts things up a gear. Pounding drums form the basis for the exciting 'Tom-Tom'. The East also inspired Walkin' Charlie Aldrich and The Way Outers, as can be heard in 'Hot Sake'. In the blues you will find many great instrumental songs. Usually they have either the guitar or the harmonica in the front. In 'Chicken' Baby Boy Warren does it with the harmonica. And also pay attention to the percussion on the washboard. Blues is also one of the ingredients of 'The Grunt' by The Fifty Milers. The organ, supplemented with guitar, is the lead instrument on 'Tarantula' by The Tarantulas. Wonderful instrumental guitar rock 'n' roll comes with 'Ad Lib' and The Galaxies. Byron Gosh Group presents a song that contains both a portion of rhythm & blues and rock 'n' roll in 'Disgusting'. Genres that are also part of 'Rock! Rock! Rock!' by Willis 'Gator' Jackson and his orchestra, including a fantastic performance from the horn section. Rhythm & blues is also the basis for Dave Hamilton's 'Cooter Bug' and 'Walking The Beat' by Ernie Freeman. 'Tickle Toe' by Paul Gayten sounds playful, partly due to the piano. The race to conquer space inspired many artists. This includes Young John Watson, who creates a nice space sound in 'Space Guitar'. An impressive song is the hillbilly-influenced 'Aungalala' by Tex Carman, with a lightning-fast intro on the six strings.
Surf is rather the genre in which The Pyramids, Chiyo and The Crescents, Manuel and The Renegades, The Nite Sounds and The Losers shine.
In his uniquely recognizable style, Link Wray and his Wraymen close with 'Slinky'.
Clean sounding guitars, refreshing organ sounds, drums that provide a solid beat and creative horns, you get it all on one plate on the fifth volume in the 'Whip Masters Instrumentals' series. It's up to you to devour it eagerly.

With 'Deadlines' Joakim Tinderholt is on his third album. He explores all corners of the roots genres, from rhythm & blues to rock 'n' roll and soul. 'Deadlines' contains 10 songs, 5 of which are original songs and the rest are carefully selected covers. In addition to his regular band, Joakim called on a number of guest musicians. For example, 'Sax' Gordon Beadle can be heard on tenor sax, Frederik Mustad is on the Hammond B3 organ, Daniel Eriksen takes care of the slide guitar and Christoffer 'Kid' Andersen, together with his wife Lisa Leuschner, provides backing vocals. Kid Andersen also plays keyboards and Lisa provides percussion.
Rocking and rolling, the climax kicks off with the title track. That genre later also formed the basis for the original 'Too Late'. 'Don't Look Now' is a compelling rhythm & blues, after which 'I Ain't Rich' leans more towards the contemporary blues genre and gives a little nod to Robert Cray. With 'Love Is Amazing', a song by Robert Ward, Tinderholt resolutely plays the soul card. Soul can also be found in 'Can I Change My Mind', 'How I Got To Memphis' and closing track 'Love Is A Four Letter Word'.
Eddie Clearwater's 'Hillbilly Blues' remains a beautiful example of rocking rhythm & blues in Tinderholt's version, which, Juust like the original, is somewhat reminiscent of Chuck Berry.
With 'Deadlines' Joakim Tinderholt proves that he is on edge. Whether it's rocking rhythm & blues, rock 'n' roll or deep soul, the genres fit him like a glove.
'Deadlines' is already one of the first high-flyers of the new year.

The German Bear Family Records started the 'Rocks' series in 2002. More than 70 CDs have now been released in that series, each spotlighting a rhythm & blues or rock legend. The new series 'Bear Family Rocks', of which the first volume has now been published, brings an anthology of songs from that immense 'Rocks' series. A series that is still not at its end, because new releases in this series regularly come onto the market. You will soon be able to read the reviews of 'Rocks' releases dedicated to Benny Joy and Eddie Bond on this site. However, let's not get ahead of ourselves and first pay our full attention to 'Bear Family Records Rocks, Vol. 1', which contains rock 'n' roll, blues and jump rhythm & blues. Naturally, artists with well-known names can be found here. Fats Domino, Lloyd Price and shouter Smiley Lewis provide impressive New Orleans rhythm & blues. Pioneering and influential guitarists are featured with Bo Diddley with his trademark the 'diddley beat' and Clarence 'Gatemouth' Brown, here with the formidable instrumental 'Boogie Uproar'. Chuck Berry and Little Richard are widely regarded as pioneers of rock 'n' roll, but without Big Joe Turner, Amos Milburn and Roy Milton paving the way for rock 'n' roll before them, the genre would more than likely not be to arise. They are all represented on this compilation. You can expect rocking rhythm & blues from top performers such as Jimmy McCracklin, Jimmy Reed, Little Junior Parker, Arthur Crudup, Champion Jack Dupree, Ella Mae Morse, Piano Red, Screamin' Jay Hawkins and Slim Harpo. The fifties were also the years of the vocal groups, who made wonderful recordings with their mix of doo-wop and rocking rhythm & blues. These voice giants are represented by The Coasters, The Midnighters, The “5” Royales, The Platters and The Cadillacs. Heavenly harmony also characterizes 'No Sweet Love' by The Drifters, as well as 'Poon-Tang' by The Treniers. They are followed by Louis Prima and the swinging 'Jump, Jive An' Wail'. For rhythm & blues in a soulful way you can count on 'Deep See Ball' by Clyde McPhatter. Amos Milburn provides a moment of rest with 'One Scotch, One Bourbon, One Beer'.
The album contains 29 tracks from 29 different artists. Artists who were all featured individually on a volume from the 'Rocks' series. As Johnny Otis he already got his 'Rocks' volume, but not yet with The Johnny Otis Show. You now get them as a plus track with 'Good Golly'.
In the 34-page booklet, in addition to information about the artists and the songs, you also get photos of the covers of the 'Rocks' releases on which they were featured.
Collectors who own all previously published volumes in the 'Rocks' series will not have much use for this new series. However, if you don't have all the volumes or are taking your first steps into the world of excellent fifties rock 'n' roll and rhythm & blues, 'Bear Family Records Rocks, Vol. 1' is an excellent choice.

Dion Di Mucci, usually referred as Dion, features on the recent volume of the 'On The Dancefloor With...' series. Dion was the lead singer of The Belmonts. Together they scored hits with 'I Wonder Why', 'A Teenager In Love' and 'Where Or When'. Dion also did well as a solo artist. There he managed to storm the charts with 'Lonely Teenager', 'Runaround Sue', 'Ruby Baby', 'The Wanderer' and 'Donna The Prima Donna'. Born in 1939, he started in the fifties, the heyday of doo-wop and rock 'n' roll, with The Belmonts and immediately profiled himself as one of the pioneering artists of that time. Dion's strength was that he managed to fuse doo-wop, rock 'n' roll and even rhythm & blues in such a way that a unique 'Dion sound' was created. He left the group around 1960 to pursue his solo career. As a solo artist he evolved to such an extent that in addition to pop, he also recorded songs in the blues and folk genre.
This album contains all the hits that Dion made together with The Belmonts, as well as the hits that he recorded as a solo artist. In addition to the well-known tracks, there are songs that may not be immediately known to the general public. But let us be clear, all songs are of equal quality. The covers of well-known songs are just as interesting. Listen to him work his way through the Leiber/Stoller composition 'Kansas City' and also Little Willie John's classic 'Fever'. Not to mention his energetic cover of 'Shout'. Later Dion would record blues songs. You get a taste here with 'I Got The Blues', where he showcases the wonderful raw edge in his voice. In the closing song, the slightly jazzy 'North East End Of The Corner', he once again shows his versatility.
Dion is not only a wonderful performer, blessed with a beautiful voice, but he also scores effortlessly as a songwriter and co-writer.
Bill Dahl based the liner notes on an interview with Dion, in which the latter describes his career from the rock 'n' roll years in the fifties to the 1960s, the years where he achieved success in pop. A nice addition to a great release.

The name Sylvester Bradford will more than likely not mean anything to you. Yet as a songwriter or co-songwriter he was responsible for a lot of wonderful material and million sellers. Bradford was born on January 7, 1942 in Manhattan. He was visually impaired and his first apparente was in 1952 in a meeting place for the blind and partially sighted. He was then part of The Bradford Boys. In addition to himself, the vocal group consisted of Chris Killer (bass) and Wayne Durham (tenor) who were both blind. Like Sylvester, the fourth member, tenor Gregory Shankowitz, was also visually impaired. In 1955 the group recorded two songs. In the meantime, Sylvester's talent as a pianist was also discovered, which earned him a place in another band, which would emerge as The Ivories. For this group, Sylvester wrote 'Alone' and 'Baby Send A Letter', which The Ivories recorded for the Jaguar label. Johnny Earl Jackson, the driving force behind The Ivories, left the group and set up a new group with the same name. The original The Ivories transformed into The Love Notes. Sylvester Bradford, together with Chris Killer, then formed The Suburbans. These recorded under their own name, but were also asked as a backing group for studio worg. In that capacity they could be heard on recordings by Ann Cole and Jimmy Ricks. In mid-1957, the members of The Suburbans went their separate ways. In 1957, Sylvester recorded his only single as a solo artist with 'I Like Girls / I Live Just To Love You'. After that, Sylvester concentrated on songwriting. 'Ific', the title of this compilation, is taken from a song that Sylvester wrote together with Al Lewis, with whom he would later write many songs. 'Ific' was first recorded by Lucy Rivera in 1959. Two years later, The Chantels would record it for their LP 'There's Our Song Again'. By the way 'Ific' was an acronym for 'It's Flavor-Ific', which in turn was a beechnut flavored chewing gum. 'Ific' was also the slogan in Dick Clark's broadcast 'American Bandstand'.
So much for the introduction regarding Sylvester Bradford. All previously mentioned songs can be found on this compilation, as well as a serious number of other songs, 30 in total. The album starts with the rocking 'Little Boy Blue', the very first recording by The Bradford Boys, with Shankowitz and Bradford on lead vocals. Bradford's songwriting talent and diversity immediately come to the surface in 'Alone', a formidable slow that he recorded with The Ivories. The group scores uptempo in 'Baby Send A Letter'. Bradford shows evolved and formidable uptempo doo-wop with The Suburbans in 'Leave My Gal Alone'. The fact that they functioned well as backing vocals on recordings by other artists in both rhythm & blues and rock 'n' roll is proven on the recordings of Ann Cole and Jimmy Ricks. Sonny James provides a good example of Bradford's talent as a songsmith on 'Uh-Hum-Mm', which has both rock 'n' roll and doo-wop in it. It's a shame, however, that Sylvester's solo recordings were limited to that one single 'I Like Girls / I Live Just To Love You'. After all, he is also very strong vocally in these uptempo songs. As mentioned earlier, Bradford wrote many beautiful songs together with Lewis, such as 'Walkin' Home From School' and 'Right Now', which Gene Vincent and His Blue Caps recorded for Capitol. The duo Bradford / Lewis, together with Fats Domino, were also responsible for creating Domino's hit 'Im Ready'. Bradford and Lewis scored instrumentally with 'Vodka' by The Golden Highlights. The duo is featured humorously in their composition 'Roaches', performed by Jack Larson. Only Sylvester signed Bill Haley's 'Spanish Twist'. The versatility of Bradford/Lewis once again comes to the surface in Chuck Jackson's 'Tears On My Pillow', an impressive soul song. The duo's compositions could also be found outside the USA, including with the French rock 'n' roll band Les Chaussettes Noires with 'Le Temps Est Lent'.
In short, if you like sublime doo-wop, rhythm & blues and rock 'n' roll, then make sure that 'Ific' by Sylvester Bradford can be found in your CD player as quickly as possible.

The 'Black Pearls' series will contain a total of 10 volumes. We are currently just over halfway done with 'Get Your Enjoys!' The 10 volumes are certainly justified, after all, there are a lot of undiscovered gems of songs waiting to be released. You can take 'Get Your Enjoys!' literally, because compiler Ronni Boysen has once again collected 28 songs that will certainly delight you. The Williams Brothers can start with 'Young Girl', a song that also boasts catchy harmony vocals and that will certainly be enjoyed by popcorn crowds. A little later the well-known T-Bone Walker provides a slow, extremely soulful song in 'Evening'. Walker first recorded the song in 1945 for the Rhumboogie label. In 1959 he recorded it again for Atlantic and turned it into the hit verson you hear here. Soul is also clearly part of 'I Want To Love You' by Kenny & Moe. The wonderful 'As Quiet As It's Kept' by Billy Guy is also situated in that genre. From 1955 to 1973 he was also the lead singer of The Coasters, who scored a world hit with 'Yakety Yak'. The title track 'Get Your Enjoys!' is taken from Eunice Davis, who creates a sexy rhythm & blues. 'So Blue' by Bobby Williams is more of a rhythm & blues song that also exudes a somewhat New Orleans atmosphere. You can expect an excellent doo-wop track from The Lamplighters in 'Hug A Little', which was written by Johnny Otis. Billy 'The Kid' Emerson is certainly not unknown, billed here as Billy Emerson with 'If Love Is Believing'. Songs by Emerson have been covered by Billy Riley, Elvis Presley, Robert Gordon and Link Wray, among others. Little Buck was part of Huey 'Piano' Smith's band The Clowns. Smith’s influences can also be heard in 'So Fine, So Sweet', which Buck recorded for the Duke label. Buck is followed by Priscilla Bowman who delivers a wonderful popcorn song with 'Sugar Daddy'. Bowman is best known for 'A Rockin' Good Way', which she recorded in the original version. The song then found its way to the general public in the version of Shakin' Stevens & Bonnie Tyler, among others. Popcorn is also in the genes of 'Nobody's Gonna Hurt You' by Annie Laurie. Young Jessie was a versatile artist, active in rhythm & blues, rock 'n' roll and jazz. With 'Do You Love Me' he chooses rocking rhythm & blues. You can't say about Smoky Hogg that his rhythm was average. He also displays his characteristic exciting and special rhythm in 'Good Mornin' Baby'. 'Bon Ton Roula' gave Clarence Garlow a big hit. Here you get 'Sound The Bell', the other side of that single with the double A side. Female artists and rhythm & blues are always a good match. Convince yourself with Varetta Dillard in 'That's Why I Cry'. Jimmy McCracklin was an indispensable part of West Coast blues and rhythm & blues as a pianist, songwriter and orchestra leader. Rightly so if you hear him here on 'Beer Tavern Girl'. Completely unknown, to me anyway, is Quinton Kimble. Fortunately, I got to know him here through 'My Mojo and My Loadstone', a gem of a song. We know Big Maybelle as one of the great female rhythm & blues artists. She realizes this 100% in the sultry 'Goin' Home Baby'. What a voice! Closing is reserved for Sonny Thompson. Thomspon was an arranger, session pianist, orchestra leader and songwriter. In the latter capacity he also often collaborated with blues giant Freddie King. As a pianist he gives the best of himself in 'Loco Limbo'.
As you can see, volume 6 in the 'Black Pearls' series has a lot to offer again. Go on a journey of discovery and convince yourself. You will be amazed!

With 'Quiet Whiskey' the 'Rhythm & Blues Hell Raisers' series got off to a flying start in 2023 and now the second volume entitled 'Jail Bird' has already been released, in other words 30 songs that are all to a lesser or greater extent related to life behind bars. It becomes clear when going through the tracks that both well-known and lesser-known artists found their inspiration in this. The Crawford Brothers already express their innocence on the first track in 'I Ain't Guilty', a wonderful partly spoken rhythm & blues. A nice anecdote is that their father was the first African American FBI agent and in that capacity was also J. Edgar Hoover's personal driver for many years. The title track of this volume is taken from Sonny Knight, who gives it a New Orleans rhythm & blues sauce. Saxophonist Clyde William Lynn plays a swinging 'Rampaging Mama' as Blow-Top Lynn together with his House Rockers, with vocal input from Melvin Smith. Also note Lynn's sublime part on the sax. Everyone knows Cab Calloway from his mega hit 'Minnie The Moocher'. Here he is present with the equally high-quality 'Papa's In Bed With His Britches On'. Also worth mentioning is 'Who Slammed The Door' by Little Caesar together with Eddie Beal and his orchestra. A great uptempo song with a nice backing choir. Caesar was originally an actor and appeared in the films 'Bird On A Wire' and 'Lady Sings The Blues'. New Orleans rhythm & blues gets a face with Fats Domino and 'You Done Me Wrong', performed in his recognizable style. New Orleans also resonates in Bobby Mitchell's 'No No No'. The fantastic Wilbert Harrison shows that 'Women And Whiskey' can put you in tricky positions, a song he recorded for Savoy in 1955. Harrison is followed by the inimitable Varetta Dillard and the scorching 'Scorched', a song that she incidentally herself wrote. John Greer and His Rhythm Rockers provide piano rhythm & blues with 'You Played On My Piano'. Greer shares the vocals with Dolores Brown and in addition to the piano you also get inspiring horn parts. Pianist Hadda Brooks was assigned the title 'Queen Of The Boogie'. Definitely deserved, listen to her lightning-fast work on the black and white keys in the instrumental 'Hip Shakin' Boogie'. If you like top doo-wop, then you will definitely enjoy 'I'm Gonna Run It Down' by The "5" Royales. 'Pass The Gin' by The Meadow Larks is also in the same genre. It's nice that the song was written by a non-drinker. More of that will come later with The Spirits Of Rhythm in 'Junk Man'. Doo-wop can also be found in 'All That Wine Is Gone' by Big Jay McNeely, who can count on Jesse Belvin and Three Dots And A Dash vocally. Pig Meat Markham provides a funny note in the spoken 'You Wires Have Been Tapped'. Songwriter and pianist Jimmy Williams delivers a more than formidable rhythm & blues song with 'Big Legged Woman'. You get rocking work from Harold 'Thunderbird' Ward with 'How Wild Can A Woman Be'. We bet that 'The Big Break' by Richard Berry will remind you of a famous song......! Classy Smiley Lewis can close with the impressive 'Down The Road'.
The second volume in the 'Rhythm & Blues Hell Raisers' series once again strings the high-quality songs together. It is now more than clear that the KokoMojo label does not rush into compiling compilation albums. Several series have already testified to this. To discover!

With 'Let's Rock And Roll', the fifth volume in the 'Black Pearls' series, compiler Ronni Boysen lets us once again enjoy 28 gems of songs that black artists recorded around the middle of the last century. Once again, the names of some artists will not be unknown to you, but this compilation also contains artists you may have never even heard of. With Little Shy Ghy we immediately start with the title track, a wonderful blues with an impressive performance on the blues harp. With successor 'Kansas City Dog' by Little Cameron we move a bit towards Little Richard. The same Richard was clearly also a source of inspiration for Willie West in 'A Man Like Me'. Joe Hudson & His Rockin' Dukes came from Baton Rouge, Louisiana, a region that produced a typical bluesy rocking sound. You also experience this in 'Oooh Wee Pretty Baby'. You can then listen to beautiful guitar work by Willie Johnson on 'Lazy Dizzy Daisy' by Mc Kinley Mitchell. V & BB serve up a wonderfully rocking duet on 'They Just Rockin' and Rollin''. 'Saturday Night Fish Fry' is a Louis Jordan classic. But as you hear the song here in a doo-wop rocking version of Blue Dots, you've probably never heard the song before. Well-known people will certainly come with Big Mama Thornton. You undoubtedly know some of her songs from her impressive repertoire. But are you also familiar with the 'call and response' 'Don't Talk Back'? The name H-Bomb Ferguson will certainly also ring a bell. You get a beautiful song in the 'blues shout' genre with the raw 'No Sackie Sack'. Little Miss Jessie sounds just as raw in the rhythm & blues song 'My Baby Has Gone'. This is also the sound of Frank Motley’s 'New Hound Dog', which clearly follows in the footsteps of 'Hound Dog'. Etta James called Jesse Belvin the best singer of her generation. Here Jesse delivers a pearl of a jump rocker with 'Deacon Dan Tucker'. The following 'Ain't That Right' by Marvin & Johnny clearly floats on a Diddley beat. That beat is also somewhat the undertone in Mel Smith's 'Pretty Plaid Skirt' and pay particular attention to the not bad percussion here. Sometimes you can't understand why an artist only recorded one single. This certainly applies to Big T-Tyler who delivers a perfectly rocking 'Sadie Green' here. You can count on Jimmy Lewis for sublime work on the six strings. Just listen to 'Last Night (I Was In Heaven)'. A little later, Rhythm & blues at top level brings Modest Showstopper Clifton with 'Reelin' & Rockin'', just like Eugene Isom & His Van Glorians Featuring William French in 'Hey, Hey Baby'. The Ike Turner Band has become synonymous with quality. Ike and his companions also ensure this on Willie King's 'Peg Leg Woman'. Classy Phillip Walker recorded with Clifton Chenier for Specialty at the age of 16. The list of artists Walker worked with is impressive. Some examples are Rosco Gordon, George Harmonica Smith and Eddie Taylor. On guitar, Walker creates a catchy instrumental song with 'Louisiana Walk'.
Just like the previous volumes in the 'Black Pearls' series, volume 5 is also a high-flyer. We are already looking forward to what the upcoming volumes in this series will offer us.

'Sloppy Drunk' is the second release after 'Booze Party' to highlight the 90th anniversary of the end of Prohibition in America. The Rockers were featured on the album 'Booze Party' and now on the 29 tracks on 'Sloppy Drunk' it is up to the R & B Rockers. The album immediately starts with a song from 1946, namely 'They Raided The Joint' by Hot Lips Page. In addition to being a trumpet player, Page was also a band leader. Not surprising that 'They Raided The Joint' was included in a big band arrangement. A little big band then supports saxophonist Louis Jordan in the swinging rhythm & blues 'House Party'. More Louis Jordan, but in the version of Gay Crosse and His Good Humor Six, comes Gay's version of Jordan's 'Saturday Night Fish Fry', which perfectly describes the atmosphere of an exuberant house party. You hear Gay Crosse a second time in 'Swallow Dollow', which starts with a wonderful piano intro. Piano also introduces 'Hootie's Ignorant Oil' with a long intro. Jay McShann is on the black and white keys and Walter Brown is responsible for the vocals. Together they can also be heard on the title track of this compilation. 'Thunderbird' is a synonym for cheaper wine. It gave Dossie Terry a good feeling and that undoubtedly inspired him for the beautiful blues of the same name. You get a nice piece of 'shout blues' from Roy Brown and His Mighty-Mighty Men in 'Bar Room Blues'. After the death of the original Sonny Boy Williamson, Rice Miller took over his name. The original Sonny Boy graces this compilation twice. The first time with 'Bring Another Half A Pint' and then with 'Whiskey Head Blues', with Sonny Boy on the blues harp and Yank Rachell on mandolin. Two great blues songs! Rufus Thomas is no stranger to the world of thundering rhythm & blues. In 1950 he took over as Mr. Swing to the catchy 'Beer Bottle Boogie' together with the Bobby Platters Orchestra. 'Drinkin' Wine Spo-Dee-O-Dee', originally by Stick McGhee, has been known in countless versions. Here you hear the version by Wynonie Harris who, like McGhee, recorded it in 1949. Wynonie can also end the album later with the energetic 'Down Boy Down'. Jimmy Lewis navigates strongly towards rock 'n' roll in 'Cherry Wine', the cause of the break in his relationship.
The Bel-Aires mix excellent doo-wop with rocking rhythm & blues in 'White Port & Lemon Juice'. This also applies to 'Empty Bottles' by The Robins, who would later record as The Coasters. In addition to doo-wop, 'Sweet Was The Wine' by Jerry Butler and The Impressions also contains a good dose of soul.
Beautiful harmony vocals are also present in 'Beer Barrel Boogie' by The Platters, just like the backing vocals do in 'Wine-O-Wine' by Willis 'Gator Tail' Jackson.
In short, 29 tracks that combine the very best of rocking rhythm & blues from the middle of the last century. If you also like brilliantly performing 'horn sections' then you will definitely enjoy 'Sloppy Drunk'.

The pleasant thing about releases in the 'Spotlight Series', such as this album around Leroy Kirkland, is that despite their valuable contribution to the development of certain music genres, artists are not known to the general public. And Kirkland was certainly one of them. There is some confusion about his date of birth. Some sources mention 1904 while others keep it as 1906. His name as a composer and arranger is listed behind more than 700 songs. Leroy Kirkland, also known as Claude Cloud, was initially a guitarist in jazz and rhythm & blues. But he also worked behind the scenes as a composer, orchestra leader, session musician and arranger. In the media, Leroy is often mentioned as a footnote and his contribution is not always fully recognized. This compilation hopes to change that. The 28 tracks on this album focus on Kirkland's talent as an orchestra leader and arranger. The music genres are very diverse and range from recordings in rhythm & blues, doo-wop to rock 'n' roll. The first track on which Leroy is present as orchestra leader and arranger is opener 'I Feel So Bad' by Chuck Willis. Song that was redone by Elvis in 1961 with almost the same arrangement. What follows is an extremely tasteful mix of rhythm & blues and doo-wop in 'My Baby's Gone' by The Barons. Delicious doo-wop is discussed later with The Dreams and their 'My Little Honeybun', The Carnations and 'Night Time Is The Right Time', The Roamers in 'Chop Chop Ching A Ling' and The Keystones with 'The Magic Kiss '. Nice harmony vocals can also be found in 'No Other Love (Like Yours)' by The Fi-Dells. A more than beautiful recording is 'It Should Have Been Me', an early recording by George Benson. Benson was only 11 years old when he recorded this King Curtis song. You can expect straightforward rhythm & blues from Varetta Dillard who delivers a catchy 'Promise Mr. Thomas’. In 1964, Jamaican Millie Small had a hit with 'My Boy Lollipop'. You get the original here from Barbie Gaye who recorded it in 1956 and which clearly has much more body than Small's version. Jaycee Hill provides a dose of raw rock 'n' roll with 'Bump!'. Rock 'n' roll is also the foundation for Dave Burton's 'Rock 'n' Roll Ruby'. We have often seen that former members of The Drifters also scored solo. This includes David Baugham, who presents the beautiful rocker 'You'll Pay' here as Little David together with His Harps. Before he would make a worldwide name for himself in blues and rhythm and blues, Nappy Brown could already be found in the studio. He shows that he already delivered excellent work in 1956 in 'Pleasing You'. A personal manager who started recording himself was Lloyd 'Fatman', who took on this position for Louis Jordan. You can hear that he mastered the tricks of rhythm & blues down to the last detail in the formidable 'Miss Mushmouth' and the subsequent title track 'Good Gracious'. We are used to the raw and wild of Screamin' Jay Hawkins. These trademarks are once again reflected in 'Frenzy' from 1957. As Leroy Kirkland's Rock-Chas, Leroy recorded an instrumental cover of Jimmy McCracklin's 'The Walk'. Rose Marie McCoy can close the list with 'Joy and Jubilation', a title that perfectly describes Kirkland's work.
Leroy Kirkland died on April 6, 1988.
Earlier this year, an album about Leroy Kirkland was also released in the 'Koko Mojo Songwriter Series'. You can read the review again here . Together with the now marketed release in the 'Koko Mojo Sportlight Series' Both editions give you a beautiful image of the usually underrated musician, Leroy Kirkland.

You could recently read the review of the album that Jesse Stone featured in the 'Koko Mojo Songwriter Series' on this site. In that review we also announced that Jesse Stone would soon be featured again, but in the 'Koko Mojo Spotlight Series'. Well that album is out now. For a short bio about Jesse Stone, we would like to refer you to the review in the 'Koko Mojo Songwriter Series' that you can find here https://www.keysandchords.com/album-review-blog/jesse-stone-crazy-crazy-party. Like Jesse Stone or Charles Calhoun, he shone as a musician, arranger, producer and songwriter. A number of the songs on which he contributed in one or more of these guises have now become 'all-time classics'. Consider, for example, 'Shake, Rattle And Roll', which he wrote for Big Joe Turner, but was sung into eternity by Bill Haley. As this compilation shows, Haley owes even more of his success songs to Stone, with 'Razzle Dazzle' and 'Flip, Flop And Fly' written by him. You get 'Shake, Rattle 'n' Roll' here in the catchy and pure Carl Perkins' version. But there's more. We immediately start with an 'Alarm Clock Boogie' by Odelle Turner, a rocking rhythm & blues where Jesse acted as bandleader. We hear Jesse Stone himself on guitar on the subsequent instrumental 'Runaway'. Behind the microphone he appears as Charles Calhoun on 'My Pidgeon's Gone'. Joe Turner may take office three times. First with 'Hide And Seek' and later with 'Well All Right' and 'Teen Age Letter'. On the first two you hear Jesse at the piano and for 'Teen Age Letter' he was the arranger. More fine instrumental work comes with 'Right Now, Right Now' by the Alan Freed Big Band, which provides a live atmosphere with handclaps. With 'Ward 13' by Frankie Brunson you witness a formidable jazzy soul blues. Janis Martin was one of the first female artists in rock 'n' roll and was regarded as the 'female Elvis'. She proves that this was not unjustified in 'Good Love', written by Stone. Jimmy Breedlove also continues with 'Oo-Whee, Good Gosh A-Mighty', fully rocking. The fact that Grady Martin was a top guitarist has been discussed here before. You can hear him again on 'Love Is A-Breakin' Out' by Roberta Sherwood. One of my personal favorites on the saxophone is King Curtis. Here he shines again on the instrumental 'Crawfish' by The Stone Crushers. Curtis is also present on 'Rack 'Em Back' by Walter Spriggs, who was once part of the doo-wop group The Five Echoes. The Clovers provide the necessary doo-wop in the sublime 'Old Black Magic'. There is also some great work with 'Don't Let Go' by the vocal group Frank Deaton and The Mad-Lads. Dale Hawkins is known for his 'Susie Q'. He is present here with the 'Money Honey', composed by Stone.
'The Stomp' once again makes it clear that Jesse Stone, as a singer, guitarist, songwriter, arranger and orchestra leader, left his mark with enormous craftsmanship on many songs in the fifties and early sixties. This album is the ideal addition to 'Crazy, Crazy Party', previously released in the 'Koko Mojo Songwriter Series'.