Excellent album to relive the folk hype of the seventies. Love the title track A River Runs.

Authentic fingerpicking blues from the deep south, with roots in slavery but it touches your soul.

Use your imagination during listening to this piece of art.  I was almost bewitched. Great album indeed!

On July 25, 2025, Stef Paglia played at the Open Air Festival in Brezoi, Romania. Stef's band consisted of Tom Eylenbosch on Hammond and backing vocals, Carlo Van Belleghem on bass and Sven Bloemen on drums and backing vocals. The band had such a great time that it turned into a fantastic performance. Stef and his bandmates immediately decided to immortalize this performance on a CD. The album contains eight songs, six of which are originals from the EP ‘Light & Darkness’ and the album ‘Never Forget’. The other two tracks are The Meters' ‘Cissy Strut’ and Neil Young's ’Old Man’.
Opener ‘Stand Up!’ immediately reveals a well-oiled band, where the musical pieces fit together seamlessly. Stef is a master at coming up with catchy riffs, as can be heard on ‘The Unknown’, after which the accelerator is pressed a little less with ‘Take Away’ and ‘Warmth Instead Of Cold’. Things get funky when Sven’s drums put the instrumental ‘Cissy Strut’ on the rails, featuring a superb performance from Tom on Hammond. Stef then gets to showcase his impressive guitar playing on the inspiring, eight-minute instrumental ‘Mystery Heaven’, reminiscent of the first formation of Fleetwood Mac. The album closes in crescendo with the beautifully constructed ‘Old Man’.
‘Live’ is an album that offers plenty of variety. Alongside solid blues rockers are instrumental highlights that fully showcase Paglia's talent and craftsmanship.

Something between dreampop, jazz and folk; call it nordic charm!

​On the Continent, Welsh proggers Man hand a minor hit with their debut single ‘Erotica’, a four-minute fake female orgasm. Well done though a bit cheesy, but the rest of their first album sounds completely different. Opener ‘In the Beginning’ is a sound line with a narrative, followed by raw blues, nice harmonies with underlying organ [Empty Room], ting-a-ling folk [Love], boogie woogie, etcetera.
Second album ‘2 Ozs of Plastic with a Hole in It’,  is of a similarly varied nature, but with just six songs. In fact, it opens with 12 minutes of symphonic rock, followed by 8 minutes of raw blues. If you are wondering where this goes, be ready for a nice chunk of Americana-folk in ‘My Name Is Jesus Smith’.
Though prog is sometimes entirely absent, most songs are trenched in a variety of prog, rock, psych and symphonic sounds.
If you like this wide range of first row prog, this band is, eh, your Man.
Man’s first two albums, both from 1969, are remastered by BGO Records as a 2-in-1, and come with an informative booklet.
Radio 68 ​ plays choice tracks on Wednesday 14 January, from 11 a.m. GMT onwards. 

One of many UK prog bands to appear on record at the onset of the 1970s and, regretfully so, one of many failing to make it commercially, Gravy Train fully deserve this remastered and extended release of their third and fourth albums ‘Second Birth’ and ‘Staircase to the Day’ [originally Dawn, 1973 and 1974]. Why? Led by singer, guitar-player and songsmith Norman Barratt, Gravy Train infuses their prog with funk, jazz, rock and harmonies! Adding pop influences from the sixties, attention to hooks & tunes and committed lyrics about ecology, hypocrisy, repression, and the hope for a better world [e.g. Second Birth’, ‘Strength of a Dream’, ‘Tolpuddle Episode’ of ‘Fields and Factories’], Gravy Train deserves its own spot under the Prog Sun.
This 2-in-1 release comes with a booklet that draws a clear and in-depth picture of the band. Radio 68  plays choice tracks on Wednesday 14 January, from 11 a.m. GMT onwards. 

Cross-border music as inspiration for the world.  So, music lover, break the walls!

Fantastic (neo-)soul music that makes you happy!

Jackie Lee Cochran was born one of two twins on February 5, 1934. However, Jackie's twin brother died at the age of two, resulting in a grief-stricken, unstable relationship between Jackie Lee's parents. When Jackie Lee was six, his father gave him an acoustic guitar. Because his father was serving a lengthy prison sentence, Jackie Lee was raised by his grandmother. Jackie was fascinated by roots music and in the 1950s, he recorded explosive rock songs for the Decca, Viv, Sims, and Jaguar labels.
It's no surprise, then, that Bear Family Records has dedicated a volume to him in its ‘Rocks’ series. This volume contains songs spanning Jackie's career that peaked in the mid-1950s and experienced a resurgence during the rockabilly revival of the 1970s and 1980s.
Many of his songs have since become true classics of the genre. Just think of ‘Riverside Jump’, ‘Hip Shakin' Mama’, ‘Mama Don't You Think I Know’, and ‘Georgia Lee Brown’.
During the rockabilly revival, he recorded for Ronny Weiser's Rollin' Rock label. As can be heard on this compilation, Cochran still possessed that passion, rhythmic feel, rawness, and emotionality that also characterized his recordings from the 1950s. These qualities are the common thread running through all the tracks. Not only was Jackie Lee Cochran incredibly strong vocally, but he also perfectly captured the spirit of the rockabilly era in his compositions. Jackie Lee Cochran and Merle Travis clearly knew each other, although Merle was already an established name in country music and Cochran had made his mark in rockabilly, Travis backs Jackie Lee on some tracks. Ray Campi, also active in rockabilly, also does so on a few tracks. The 31 tracks offer a sublime glimpse into a charismatic rockabilly artist from the mid-20th century. Four of the 31 tracks are appearing on CD for the first time. To top it all off, ‘For You Baby’ is a previously unreleased rockabilly song that Cochran recorded for Decca in 1956 during the legendary ‘Ruby Pearl’ session. Incidentally, ‘Ruby Pearl’ features excellent guitar work by Merle Travis, as well as a beautiful piano solo by Jimmy Pruett.
The cover of this compilation depicts Cochran standing in front of a life-size black cat, which served as his stage decoration during his early shows at the ‘Big D Jamboree’.
As is tradition, Bear Family Records also accompanies this album with a beautifully produced, 31-page booklet, illustrated with rare photos, containing all the information about Jackie Lee Cochran and the tracks. If you're a fan of authentic, emotional, raw, and dynamic rockabilly, then you can't miss this passionately and expertly remastered release. Highly recommended!

Flamenco like you’ve never heard it before: richer and more sensitive than ever before.  So beautiful!

​Powerful vocals on raw storytelling, really enjoyable album.

Warm and tender songs to dream of a better world. Nice!

In the 52nd volume of the ‘That'll Flat...Git It!’ series, Bear Family Records delves into the archives of the Mar-Vel Records and Glenn Records labels. Mar-Vel Records was a small independent label in the industrial heart of Northwest Indiana, just across the state line from Chicago. Both labels were founded by Harry Glenn, an entrepreneur with enormous energy and a vision for the future. Glenn was a special character because, besides being a producer and idealist, he also personally promoted his releases. To do so, he filled his old Rambler station wagon with thousands of singles and crisscrossed the South. He would drop in unannounced at radio stations and charm DJs into pushing his latest singles. His visionary nature can be summed up in a single line: ‘Tomorrow's hits, recorded today’. In the 1950s and 1960s, Mar-Vel produced a roster of raw, unpolished rockabilly and country. Numerous artists caught Glenn's attention. For example, there was Jack Bradshaw, who briefly found a home at Decca, and Bobby Sisco recorded rockabilly for Chess. Most notable was the teenage Sherry Lee, who would later become world-famous as Jackie DeShannon. Herbie Duncan, on the other hand, was the best at translating the Mar-Vel concept into songs. His 1958 single ‘Hot Lips Baby’, as you can hear on this compilation, is a wild, uninhibited, and somewhat chaotic rockabilly number, yet highly representative of the genre. The songs that followed this hit were equally intense and raw, earning him cult status as a true rockabilly pioneer. ‘Little Angel’ (the flip side of ‘Hot Lips Baby’) and its successors ‘Escape’ and ‘That's All’ grace this album.
Harry Glenn's musical vision was, in short, phenomenal. Young artists, often working-class, with enormous potential, found a listening ear in Glenn. This resulted in gems of songs, 36 of which made it onto this album.
The authenticity is immediately evident in the opener, ‘Jump Baby Jump’, by Harry Carter of The Rock 'N' Roll Apache. Carter returns later with three more tracks. Jack Bradshaw was originally a country artist. His ‘Naughty Girls’, however, leans more towards rockabilly, though it still bears country influences. A magnificent song with an inspiring guitar solo appears on Bill Ferguson's sophisticated ‘Dark And Stormy’. Glenn's knack for talent is also evident in the recordings of Billy Nix, who delivers a magnificent song with a ripping sax on ‘Moon Twist’. Nix returns later with two more songs, including the formidable, beautifully arranged, and twisting ‘Get With The Beat’.
Blues influences undoubtedly characterize Paul Parker's ‘Rockin' For Goldwater’. Guitar solos are practically obligatory in rock 'n' roll and rockabilly. Mel Kimbrough takes a different approach in ‘Ha, Ha, Hey, Hey’, replacing it with a clever drum solo. The Law Brothers also sound original in ‘Root Beer’. Emotional harmonies, a wonderful twang guitar, and a dose of humor complete the song.
Bill Hall veers more towards honky-tonk in ‘Move Over Rover’, as does Bobby Sisco's ‘Honky Tonkin' Rhythm’. Hall later delivers the cool riff-driven ‘I Need Some Lovin'‘. Bob Burton adds a touch of country in the steel guitar and fiddle-infused ‘Tired Of Rocking’, while The Gaye Sisters provide beautiful harmonies in ‘Oh Ricky’. Burton also returns with ‘Boogie Woogie Baby’. Country also forms the basis for Jim Gatlin, present here with ‘The Way You're Treating Me’ and ‘Would It Matter At All’. It's once again clear that many independent labels delivered incredibly talented songs. Major labels usually prioritized big profits. While profit is essential to keep things afloat, the potential of young, unknown artists is just as important. And Harry Glenn had this in mind like no other.
As we've come to expect from Bear Family Records, this volume also includes a beautifully designed booklet, complete with rare photos, and all the information about the tracks and artists.

In the mid-1960s, Chicago bands like the well-known American Breed were regularly found in the charts. Long before that, however, musical activity was already brewing in the Windy City. The then-emerging rock 'n' roll, doo-wop, rockabilly, teenage pop, and rhythm & blues inspired many bands. Through energetic performances in clubs and high schools, these bands tried to gain a foothold in the overcrowded rock 'n' roll scene. Some succeeded, while others had to remain local or were sometimes forgotten as quickly as they emerged.
With this new series, Bear Family Records highlights both well-known and lesser-known rock artists. No fewer than 35 tracks guide you through the history of Chicago rock 'n' roll, which is brimming with authentic rock 'n' roll, rockabilly, doo-wop, rhythm & blues, and teenage pop. Chicago's answer to Elvis, Ral Donner, kicks things off with ‘I Got Burned’, and indeed, Presley's style is very recognizable here. His successor, Ron Haydock, clearly modeled his style on his great example, Gene Vincent. Together with The Boppers, he delivers an excellent Vincent-inspired ‘99 Chicks’. A simple yet incredibly effective riff later drives ‘Satan Is Her Name’ by Steve King and The Echelons. Also, pay attention to the creative guitar work.
As Eddy ‘The Chief’ Clearwater, he would become a legend in the blues world. Here, he rocks Chuck Berry-style through ‘Cool Clear Water’. For an authentic rock 'n' roll song, you can turn to Benny Ingram and the bopping ‘Jello Sal’. Eddie Cochran, on the other hand, is more prominent in George Torrens' ‘TR-3’. Phil Orsi even covered Eddie Cochran, choosing ‘Come On Everybody’. Robby and The Troubadours, on the other hand, turned to Little Richard and ‘Long Tall Sally’, recording a tremendously powerful version of it.
Penny Smith sounds distinctive on ‘I've Got News For You’, a song that can be described as ‘big band rock’. Incredibly enjoyable!
Although limited to a ‘local hero’, Ronnie Rice still had a gem of a song with ‘T.N.T’. We've said it so often that it's incomprehensible that some artists could only release one single. That's certainly the case for Billy Prager, because with the partly self-written ‘Do It Bop’, he had a song with definite hit potential.
For a touch of teen pop, you can check out Tony Bellus and ‘Robbin' The Cradle’.
Energetic rockabilly is presented by J. Mikel with The Hepcats on ‘Bettyjean Rock’, as well as Wayne Worley and His Worly Birds with Sonny Burgess' ‘Red Headed Woman’.
Doo-wop fans will be delighted by The Deltones' ‘Early Morning Rock’. Dynamic doo-wop rock 'n' roll also features ‘Were Wolf’ by Cat Bonafede & The Gem-Tones.
Well-known artists on this compilation include Hank Mizell with his well-known ‘Jungle Rock’, which became a hit twice, in 1958 and on a reissue in 1976, as well as Hayden Thompson on Chuck Berry's ‘Brown Eyed Handsome Man’.
Instrumental work features The Tazmen's ‘Easy Pickin'‘ and The Millionaires' stunning ‘Rock And A Half’.
In the closing track, The Regulars and The Galaxies, score with their ‘Ride Your Horse’, spoken over a delightful beat.
The 40-page booklet, illustrated with charming vintage photos, tells you all about the artists and the tracks. This first volume demonstrates that the Windy City had a great deal of appealing music to offer between 1956 and 1963. It's therefore worth looking forward to the next volume.

A strong voice, good musicians and an interesting culture; it’s fun to listen (and dance).

In 2014, the German band Cherry Casino and The Gamblers surprised rock 'n' roll and rockabilly fans with their album ‘Hi-No-Love’. They prove they're still a force to be reckoned with with ‘The Automatic Fool’, their fourth album.
The album features 11 original songs, all written by Axel Praefcke, aka Cherry Casino. On this album, Cherry Casino is surrounded by saxophonist Ike Stoye, guitarist Michael ‘Humpty’ Kirscht, drummer Gregor Gast, and Kevin Weber on upright bass. Co-producer was the talented German rockabilly guitarist Randy Richter, who sadly passed away on September 23, 2025.
What also makes this album so compelling is that it was recorded at Lightning Recording Studio in Berlin using original vintage recording equipment, giving the album an unmistakably real fifties sound. This is immediately apparent in the opener, ‘Sugar Sweet Baby’. An utterly delightful sound that quickly makes you think Cherry and his band are giving a private concert in your living room. The smooth guitar, the handclaps, the backing vocals, the steady rhythm section, and Cherry's beautiful vocals immediately put you in a rocking mood. In the title track, ‘The Automatic Fool’, the sax provides a catchy, early sixties sound. That sax, by the way, is a huge asset throughout the album. The band presents rock 'n' roll with a swinging touch in ‘Shake Me Up Baby’. That swinging feel also characterizes the B-side opener, ‘This Is My Dance’. The A-side concludes with a rocking ‘Street Party’, complete with a beautiful guitar solo. Diversity is no stranger to Cherry Casino and The Gamblers. ‘Easy Baby’, for example, has an underlying smooth jazzy feel, further enhanced by the partially spoken passage. A generous dose of jump then characterizes the only cover, the Elvis-made-famous ‘It Ain't No Big Thing (But It's Growing)’. ‘Baby Malonka’ is a slow track with a poppy edge. The quintet closes with a fierce rocking performance of ‘You Tell Me’.
Besides the exceptionally talented musicianship, the excellent original songs, and the authentic fifties arrangements, the sound achieved here is of a staggeringly high quality. Just before 2025 ends, Cherry Casino and The Gamblers release a awesome album with ‘The Automatic Fool’.

Call it blues rock, southern rock or roots:  it’s just fantastic fun.  Love it and you wil too!

In 2023, the trio The Blue Velvets pleasantly surprised us with their album ‘Waiting For A Sign’, a review of which you can reread here.
Patrik Staffansson, owner of Enviken Records, was kind enough to provide us with two 7-inch vinyl EPs: this one by The Blue Velvets, and you can also expect a review of the 7-inch EP by Ed Cavin & The Blue Kings.
But first, our attention goes to The Blue Velvets, hailing from Germany. This band still consists of the Canadian-born Alistair Christl (guitar and vocals), Ralph Sommer (double bass and vocals), and Mario Wachsmann (drums and percussion). When a band releases its own songs, it's always a plus. And when those songs are also incredibly good, it's simply fantastic. Well, that's the case with this EP. Three of the four songs were penned by Alistair Christl. Ralph Sommer penned the fourth.
We open immediately with the title track ‘Anymore’, top-notch rock 'n' roll, which also incorporates a subtle poppy undertone. Wonderful rockabilly, in which the band nods to the legends in the genre, is introduced in ‘Candy Shop’. A fifties song of an exceptionally high caliber.
A superb clean guitar solo launches the bopping ‘Midnight Hour’, the first track on the B-side. The trio closes with an initially smooth-sounding ’In Years’, which gradually reveals itself as a rock 'n' roller of stature. And be sure to check out Alistair's excellent guitar solo.
‘Anymore’ proves once again that The Blue Velvets are versatile. Beautiful melodies, a driving rhythm section, creative guitar work and dynamic vocals are the ingredients that make this EP a 'must have'.

For Ed Cavin & The Blue Kings, we travel to Sweden, also the home base of Enviken Records, the label on which this EP, in transparent white vinyl, was released. And there are more links. Ed Cavin is none other than Emil Staffansson on acoustic guitar and vocals, and also the son of label owner Patrik Staffansson. The Blue Kings are formed by guitarist Harry Mellberg, Isak Wigander on double bass, and Olle Back on drums.
The EP contains four original songs, all written by Staffansson, who clearly has a great feel for authentic rockabilly.
The opener, the hard-rocking ‘Gonna Be A Ball’, immediately sets the tone for the classy rockabilly delivered in the genre's heyday. Cavin's enormously powerful voice and excellent guitar parts instantly catapult you back to the middle of the last century. That Cavin knows his classics is undeniable. You can hear this in ‘That's Why I Cry’, which evokes memories of Buddy Holly. Moreover, this song is pleasantly adorned with a formidable piano solo.
The B-side opens with a searing sax solo, which immediately gives ‘Honey Please’ that rocking sound of the early sixties. The closing track, ‘Bonfire Baby’, once again highlights the band's qualities. Excellent original compositions, a solid rhythm section, excellent work on the six strings, and Ed Cavin's wild, kicking vocals!
Ed Cavin & The Blue Kings are definitely worth considering. A band with these qualities has a promising future ahead of it.

Drummer, singer, producer and songwriter Tom Hambridge deserves his place in the Hall of Fame.

With ‘This Night’, we've already reached the third volume of this series. A series that dispels the mysterious shroud surrounding the ‘Phantom Rockers’.
Research often reveals many Phantom Rockers, but the artist behind the first track will remain unknown forever. The title track, ‘This Night’, comes from an acetate recording that only mentioned the song's title, yet is a straightforward, substantial rocker. The Noble Brothers were brothers only for the recording. They were actually Jimmy Noble and George Weston. Their voices blend beautifully on ‘Didn't It Rock’. They're followed by the instrumental surf number ‘Charge’ by The Renegades. The band featured several heavy hitters, including Bruce Johnston and Sandy Nelson. Both men return on Bruce & Jerry's ‘I Saw Her First’. Another great instrumental surf number comes from The Gigolo’s with ‘Night Creature’. That band consisted of Bob Taylor, Don Cole, Buddy Wheeler, and Zeke Zoeckler. Along with others, they formed Duane Eddy's backing band as The Rebels.
Rockabilly guitarist Johnny Powers had a hit with ‘Long Blond Hair’. Here, he presents himself as Johnny ‘Scat’ Brown, rocking wildly on ‘Mama Rock’. The name was invented to facilitate an Australian release. Another well-known artist who recorded under a pseudonym is Ronnie Dawson. He rocks over a Diddley beat as Commonwealth Jones on ‘Do Do Do’.
Someone who didn't stick to one alias was John Dee Abohosh. He recorded as Dick Bush, Johnny Jordan, and Charlie Flener. He appears under all these names on this compilation. As Dick Bush, he rocks in a very unique way on ‘Ezactly’. I think his singing style already hints at his future as a stand-up comedian. It's a fact that artists can also mislead you. In Cliff Rivers' ‘True Love’, you think you hear Elvis. Not true, because Cliff Rivers also appears as Joey Castle. On Jack Huddle's ‘Starlight’, you'll have to look for the Phantom Rocker among the accompanists. After all, the guitarist is none other than Buddy Holly, in his signature style. The connection with Holly is also present in Gary Dale's ‘Pretty Baby’. As Gary Toilett, he also recorded with The Crickets and, along with his wife, can be heard as backing vocals on Holly's ‘That'll Be The Day’ and ‘I'm Looking For Someone To Love’.
From Holly, we jump with Whitey Pullen and ‘Let's All Go Wild’ to Gene Vincent. Pullen was Vincent's road manager and was also a member of Gene's band, The Blue Caps. The Queen we hear with Eddie Chamblee and his orchestra on ‘Honky Tonky’ is the legendary Dinah Washington, who, as The Queen, became a Phantom Rocker for a one-time gig.
A pseudonym is not always hard to find . You spell your name backwards and you have one. Ike Turner did that, and as Icky Renrut, he provided the super-rocking ‘Hey---Hey’.
When you hear Scotty Wayne on ‘I'm Gonna Leave’, you get the feeling his voice sounds familiar. And indeed, it does, because Wayne is none other than Freddy Fender.
On ‘Pretty Jane’ by Mark Robinson, things get completely crazy. Lee Hazlewood is Mark Robinson, and the second Phantom Rocker here is guitarist Duane Eddy. The Fleas also features a fusion of familiar names. The Fleas consisted of Dave Burgess, Glen Campbell, Jerry Fuller, and Ricky Nelson. The band created a delightful doo-wop rocker with ‘Scratchin'‘.
‘Doctor Rock’, featuring the infectious ‘That's What You Do To Me’, is Herb Zane's debut. He was a drummer in the U.S. Army Band, and after joining his brother's Alan Zane's Orchestra, he formed his own in 1952.
The album closes with ‘Rock Me Baby’ by the Canadian band The Prowlers. They were led by singer/guitarist Les Vogt, who also fronted The Emperors.
It's no wonder the ‘Phantom Rockers’ series appeals to many fans of high-quality rock 'n' roll. After all, the Phantom Rockers are many well-known and talented artists.
Just like the previous volumes, ‘This Night’ is definitely worth buying. It sure will bring you many hours of great songs.

La Cumbia Chicharra invites you to listen or to dance in a poetic Colombian way: gentle and relaxed.  

This volume once again presents us with 33 excellent tracks, which you can label as rocking country or rock 'n' roll with country influences. Whichever description you choose, these are and remain infectious songs. True to tradition, the Atomicat label once again treats you to no fewer than three acetates by unknown artists. The first unknown artist presents ‘Scrap Book’, a fantastic, captivating country track, and what a voice he had. The second unknown artist presents himself with ‘With Enough Love (From You)’. A third time, an artist whose name remains unknown shines with ‘Itsy Witsy Bitsy Me’, which also features beautiful harmonies.
It's incomprehensible that these acetates were never commercialized. The songs are of such a high caliber, and the performers possessed incredibly powerful voices. It's a shame, and certainly a missed opportunity for the performers. We start with Thumper Jones and ‘Singing the Blues’, a beautiful crossover of country and pop, featuring excellent guitar and piano work. More crossover work comes later with the fantastic ‘Lookin' Around Downtown’ by Frankie Miller. A song with a lot of hit potential. A truly brilliant guitar part also features in ‘Can't Play Hookey’ by Tommy Wood. There are plenty of examples of ‘answer songs’. The artist takes a song by a colleague, usually with a question-like title, and then comes up with an answer. Margie Ward achieved this remarkably well with George Jones' ‘Who Shot Sam’, which was answered with the rocking ‘I Shot Sam’.
When Gene Greene and Charley Straight recorded ‘Frankie and Johnny’ in 1912-1913, they could not have imagined that their song would be covered so many times. Here's a wonderful version by Buffalo Johnson. The song combines hillbilly, rockabilly, and country. Brilliant! For beautiful harmonies, skip the York Brothers' ‘Sixty Minute Man’. Rosalie Allen was ‘The Queen of Yodelers’. However, she doesn't show that in her ‘It'd Surprise You’. A fun fact, however, is that she was the first woman inducted into the Country Music Disc Jockey Hall of Fame’. Gene Henslee led The Rancho Valley Boys. You can hear that he also excels as a solo artist in ‘Dig'n And Datin'‘, a more than successful mix of country and rock 'n' roll. ‘You Got The Money, I Got The Time’ was a hit for the early Lefty Frizzell. The song is covered here by Ernie Lee & His Southeners, and be sure to check out the fiddle solo. Another successful cover comes with Ray Moore's ‘That's All Right’, complete with sublime steel guitar. Wonderful! If you like a lightning-fast guitar, the intro to John Talley's ‘Shine, Shave, Shower’ is right up your alley. A great intro to this super-rocking song. If you enjoy solid harmonica work, you'll definitely enjoy ‘The Life We Live’ by Jimmy Renfro & His Memory Valley Boys, featuring vocals by Vernon Filler.
Rockabilly, on the other hand, is the genre Gene Morris explores in ‘If You Were My Love’. Hillbilly surfaces in Pete Pyle's ‘Mark Me Off Your List’. Chet Atkins and The Texas Troubadours provided the musical accompaniment.
This compilation concludes on a rather subdued note with Helen Hall and her ‘Honky Tonk Husband’.
Guitars, fiddle, piano, and steel guitar are the main instruments on this album. Sporadically, you'll also find some harmonica as a supplement.
This fifth volume in the ‘Rockin' Country Style’ series once again unearths some gems, and we can only applaud that.
And don’t forget to look at the fantastic and relevant artwork on the fold-out cover by Urban Zotel.

Waylon Jennings died on February 13, 2002, but left behind a large number of previously unreleased songs. His son, Shooter Jennings, delved into his father's archives of recordings, hoping to discover some songs that needed to be heard. ‘Songbird’ is the first of three volumes Shooter hopes to release in the coming years.
‘Songbird’ features 10 tracks that weren't included on any Waylon Jennings and The Waylors album at the time. Why that is remains an open question. Are all the songs of high quality? No, not at all, although there are a few gems among them. These include ‘I'd Like To Love You Baby’, a slightly up-tempo song with a delightful harmonica, Waylon's convincing delivery of ‘I'm Gonna Lay Back With My Woman’, complete with a superb guitar part, and ‘After The Ball’, which is enhanced by the addition of piano. Other songs often lack that perfect finishing touch. It seems these tracks weren't even in the final cut.
‘Songbird’ will certainly be a nice addition to Waylon's legacy for die-hard Jennings fans. Others might be better off searching for earlier work or a ‘Best of’ compilation.