Inspired by and made in honour and celebration of my Grandmother, Philomena ‘Phyl’ Gallyot (née Scott), my musical roots and cultural heritage, this album is made up of 5 cover songs, 2 reworked originals from my catalogue and a brand new song which is also the title track. 

In between a lots of shows the band find the time to record their debut album ‘Borrowed Time Bonanza’, that will be released on Off Label Records. It shows a growth in sound and dynamics that reflects their ever-closer bond as a group of musicians and friends. 

During 5 volumes, or in this case visits, we stayed in ‘Sadie’s Gentlemen’s Club’ or perhaps better called ‘The House Of Sin’. You can’t just walk in, because the sturdy doorman anxiously guards the door that leads to the coveted entrance. He checks your membership card with an eagle eye and when he opens the door for you with a slight gesture of his head, Sadie’s world opens up for you. A world where you encounter the most peculiar characters. Some are extremely self-confident and almost immediately seek out their ‘sweetheart’, while for others the alcohol has to do its work first. The music you hear there has only one goal, namely to give the atmosphere and ultimately the attendees a boost. Incidentally, that music is thoughtfully and carefully chosen, just like on this compilation that was given the title ‘Weird’. Roray Reid immediately sends the attendees towards ‘Mad Lovin’’, an rousing track with minimalist instrumental accompaniment. Bobby Peterson started in the local clubs with imitations of Ray Charles. Ray's influences can clearly be heard in 'Irresistable You'. With the rocking rhythm & blues 'Gettin' Ready For Love' Barry Lane makes his intentions more than clear. We go on the country tour with Bobby Hardin in 'I'm Loving You Baby'. Hardin also formed The Hardin Trio together with his two sisters. Bluesy and doing the title justice Bob Vidone does in the title track 'Weird'. Hot Lips Page was an American jazz trumpeter, singer and orchestra leader. His jazzy rhythm & blues, winking at Louis Jordan, 'I Wanna Ride Like The Cowboys Do' will certainly not need any further explanation in Sadie's Club. In the direction of fantastic soul, with a dash of gospel, Phil Flowers steers his 'I Need You Baby' a little later. That some of the ladies in Sadie's Club also have singing qualities, is proven by jazz singer Pat Morrissey in the sultry 'Why Don't You Do Wright'. Another lady who convinces is Diane Maxwell in ‘Love Charms’. The girl group The Shirelles convinces again and again, here with ‘Boys’. We have already met the vocal group The Du Droppers on several compilations. Here they once again show the best of themselves in ‘Can’t Do Sixty No More’, with a wonderfully smooth lead vocal. The Versatones also operate in the same genre, with the uptempo ‘Tight Skirt And Sweater’. For a nice piano riff you can go to The Toppers and their 1954 ‘(I Love To Play Your Piano) Let Me Bang Your Box’. A more than pleasant instrumental comes with Emily and ‘Hoppin’ With Emily’. An equally nice instrumental number is the guitar-driven ‘A Little More Wine, My Dear?’ by The Hawks. Not everyone falls for an alcoholic drink, certainly not Hal Case. He makes that clear in ‘The Cola Song’, a beautiful big band rhythm & blues. Authentic rockabilly is served up a little later by Sonee West in ‘Sweet Rockin’ Baby’. Wynonie Harris was a singer and guitarist who, with his upbeat songs, was one of the founders of rock-‘n-roll. His lyrics were often on the edge. Here he keeps it calm and civilized in ‘Don’t Take My Whiskey Away’. An artist who also guarantees great songs was Wilbert Harrison. He performs the formidable bluesy ‘Cheating Baby’. Al and Nettie formed a rock-‘n-roll duo. You can enjoy the blending of their voices on the rocking ‘Move, Baby, Move’. Beautiful harmonies also characterize ‘Lovers’ by The Leaders. Ocie Smith, professional O.C. Smith was mainly active in the soul genre. This also resonates in ‘Bad Man Of Missouri’. Ernest Tucker presents a wonderfully straightforward rock-‘n-roll song with ‘Mirror, Mirror’, just like Al Hendrix in ‘Monkey Bite’.
The album ends with the emotional ‘Love Again’ by Eddie Cochran.
And so our sixth visit to ‘Sadie’s Gentlemen’s Club’ comes to an end. Those present will undoubtedly have enjoyed themselves… if not, they still enjoyed 30 songs recorded between 1951 and 1962.

On this set he is joined by Michael Blair on percussion, Mark Lewis on bass and Chris (CJ) Hillman on pedal steel.  In a frank confession Martin says that the title track ‘Morning Sun’ “relates to the fact I’ve given up drinking in the past couple of years. His sound is never so down to earth!  

Their brand of blues, rock and soul is heavily influenced by the sounds of the 60s and 70s. American rock and roll and British soul are unmistakable hallmarks

It is always nice when a new volume is released in a good series. This also applies to the ‘Hi-Strung R & B’ series, of which the fifth volume has now been released. Now you get 28 danceable tracks to feast on.
Vocal group The Du-Droppers can start right away with the uptempo doo-wop title song. They are followed by another vocal group of size, namely The “5” Willows with ‘So Help Me’. Great song with a creative sax solo. Quite a lot of vocal groups on this compilation. The Gaylarks are also present with ‘Mr. Rock-N-Roll’ and pay special attention to that beautiful intro. Kripp Johnson and Chuck Jackson were members of the vocal group The Del Vikings. You can hear that they also make it as a duo in ‘Woke Up This Morning’, a more than fantastic version of the B.B. King song. They are followed by The Deep River Boys with ‘Not Too Old To Rock And Roll’. As accompaniment they could count on the superior Sid Phillips and his band. Don & Dewey, once founders of The Squires, also do a fantastic job as a duo. The duo shows its best side in ‘Miss Sue’. The Shells also shine vocally in ‘Pretty Little Girl’ and The Jivers with ‘Ray Pearl’. ‘Walkin’ After Midnight’ became famous through Patsy Cline. How that song sounds when a vocal group tackles it, you can hear here by Otis Williams and His Charms. Someone who tried it solo was Larry Harrison. He was once part of The Four Buddies, The Barons and The Ravens. That he can score on his own without any problems, you can hear in ‘Move Baby Move’.
 
Chris Allen provides an infectious rhythm & blues with ‘Lonely’. Co-writer of the song was Phil Flowers. We will certainly hear Phil at work on future compilations. More formidable rhythm & blues comes with Bobby Adams in ‘I Want My Lovin’’, June Bateman and ‘Yes I Will’. Teddy McRae was a saxophonist, arranger, composer and bandleader. In the latter capacity he is present on Jerry Mar’s ‘’Sittin’ On Top Of The World’, where Teddy extensively displays his skills on the sax. Some instrumental rocking rhythm & blues comes with ‘Wiggle Tail (part 2)’ by Googie Rene and his orchestra.
The list of famous artists is opened by Johnny Otis. Together with Marci Lee he brings the well-known ‘Telephone Baby’. Later Nappy Brown would reap success with his impressive blues numbers. Here you hear him in ‘Oh, You Don’t Know’, a rocking rhythm & blues song. Many famous artists follow one another. The next track is for The Platters in the heavenly cheerful swinging ‘Darktown Strutters Ball’. Ivory Joe Hunter is also not unknown. This pianist and singer admired Elvis, who also recorded six of Hunter's songs. When Hunter was diagnosed with cancer, Presley helped pay for the medical costs associated with the disease. Talking about solidarity and respect! You can hear Ivory Joe here with the bluesy 'Old Gal And New Gal Blues', in which he serves up a fine example of his piano playing. A name that also often comes up when you talk about excellent authentic rhythm & blues is Chuck Willis. He puts down a 'What's Your Name' that belongs to that genre. Roy Milton could be heard on many recordings as a bandleader. On the well-known 'You Got Me Reeling And Rocking', which is actually his own composition, he stands behind the microphone himself. In 1955, when she recorded as a 17-year-old girl 'That's All' with the orchestra of Maxwell Davis, blues diva Etta James still had a whole career ahead of her. That was predictable, as you can hear from this recording. Roy Hamilton had noticed that a new musical direction was coming in 1962, in which rhythm & blues also got a somewhat poppy edge. Just listen to ‘If Only I Had Known’.
It should be clear by now that volume 5 ‘Honey Bunch’ is once again a bull’s eye. That is only possible if you, as a compiler, have the necessary ‘know-how’. A quality that Mark Armstrong clearly has. Talent for excellent artwork is another quality that applies to Gito Lima. Magnificent edition!

The release ‘Rise and Shine’ was recorded with Dutch band The Rhythm Chiefs shortly before he died in 2015. Now, almost 10 years after his passing, these 9 songs where (as in many of his songs) his Mexican roots shine through, will be released on an album that will hopefully add to the legacy of his work.

It has been a year and a half since volume 5, entitled ‘Audrey’, was released in ‘The Rockin’ Spot’ series. With ‘Belinda’, the new volume in this series, compiler Mark Armstrong once again serves us 30 tracks belonging to rock-‘n-roll, country and doo-wop.
Not much is known about Patsy Clark, who opens with ‘Watcha Do To Me’. What we do know is that Hillous Butram, bassist for Hank Williams, wrote this catchy rocker. Patsy is followed by Red Williams with ‘Walkin’’, which also has some country in its genes. A good dose of pop is more likely to be found in ‘Start Movin’’ by Loren Becker and The Zig Zags. Hopeless Homer provides a good dose of hillbilly with ‘The Girl In The Red Blue Jeans’.
You will find nice rock-‘n-roll with Rocky Storm in ‘Every Night’. Western Swing and rock-‘n-roll form the basis for ‘Big Foot Annie’ by Don Boots and The Western Swing Band. Also nice is the rock-‘n-roller, with excellent sax drenched ‘Fireball’ by The Rocket-Tones.
Formidable country presents the well-known Dave Dudley in ‘Under Cover Of The Night’. Number that had Garland Perry Cochran as producer. He recorded as The Cochran Brothers with Eddie Cochran. You also get more country during ‘Ride Jesse Ride’ by Merle Kilgore.
Del Shannon is not unknown. Here he is present with the uptempo ‘You Never Talked About Me’. Shannon is followed by the British Cliff Richard, as always accompanied by The Shadows. ‘Choppin’ ‘n’ Changin’’ is such a typical Richard song, with magnificent lead guitar by Hank B. Marvin. Despite the fact that the number was released in the States, Cliff could barely get a foothold there. Another legend who is present on this compilation is Carl Perkins. In ‘Lend Me Your Comb’, a duet, Carl is vocally assisted by brother Jay. Another great artist who is present is Ronnie Hawkins with the well-known ‘Baby Jean’.
Chuck Miller was a boogie pianist. That genre still resonates in the rocker ‘Bright Red Convertible’. Pianist was also Darryl Vincent, who goes wild here on ‘Wild Wild Party’. What a great song!
Bonnie Fussell came from North Baton Rouge, Louisiana and his origins are clearly reflected in ‘Too High Class’. Some artists do not get further than one recording. That happened to guitarist and singer Hunter Watts, also from Baton Rouge. Incomprehensible because ‘Wild Man Rock’ is a more than worthy song.
Vocal group The Spindrifts is responsible for the title track of this album. Member of the band Frederick Picariello can later be heard as Freddy Cannon in the top rocker ‘Patty Baby’. We know Cannon from ‘Buzz Buzz A-Diddle-It’ and ‘Tallahassee Lassie’. The Sunbeams also serve up more fine vocal work with ‘Come Back Baby’ and so do The Selections in the uptempo ‘Guardian Angel’. Certainly not to be forgotten in this genre are Billy Huhn and The Catalinas with ‘Baltimore’ and The Four Cheers who close this album with ‘Fatal Charms Of Love’.
Just like the previous volumes in ‘The Rockin’ Spot’ series, volume 6 is also one that you can hardly get out of your playback device.

Amsterdam-based band Doctor Velvet presents their first full-length album: “NEW BREED”. Band leaders and high school buddies David Grutter and Jerome de Vijlder have gathered a group of talented musicians like Alex Figueira (Conjunta Papa Upa) and Sam Ghezzi (The Hi-Stakes, The Roaring Cats) to create a hypnotic listening experience. The band has managed to create a fresh take on the rhythm ’n blues genre by bringing elements of (latin) soul and 50’s rock ’n roll together with a 60’s vintage sound and feeling. The album is just as dark, brooding and moody as it is danceable. This makes Doctor Velvet stand out from the crowd whilst taking you on an all-night ride through swamps, hazy nightclubs and cursed roads filled with heartbreak.


A few months ago we were introduced to the three-CD box set around Jimmie Dolan. That was also the first release in the series ‘The California Acetates And More’, created by the Atomicat label. For more information about ‘acetates’, we would like to refer you to the review of the Jimmy Dolan release, which you can read again here https://www.keysandchords.com/album-review-blog/jimmie-dolan-stingy.
‘The California Acetates And More’ series now gets a nice sequel with the also 3-CD box ‘Billy Barton And Friends’. In total you get 97 songs, of which no less than 37 previously unreleased ‘acetates’. Barton also wrote songs for others. These friends, who you will also find on this three-part box, are Johnny Horton, Barton's second wife Wanda Wayne, Carlyn Johnson, Cousin Herb Henson, Fuzzy and Bonnie Owen, Carolyn Bradshaw, Herb and Kay, The Maddox Brothers and Rose, Webb Pierce, Lefty Frizzell, The Variatones, Bob Miller, Benny Martin and Wynn Stewart. The common thread between these artists is, as previously indicated, that they all recorded songs that flowed from Billy Barton's pen. Among them were a number of crucial songs in the history of country music. Think of 'Forgive Me John', 'I Love You', 'Silence', 'Somebody Cries', 'You Got To Bite To Catch On', 'I'll Find Her', 'Donna On My Mind' and 'Done Done It'. To make it even more extensive, Billy Barton did not always record under this name. He also used pseudonyms such as Johnny Grimes (his real name was John Ralph Grimes), Hillbilly Barton, Billy Boy Barton and Laurel London.
Billy Barton was born on November 21, 1929 in East Bernstadt, Laurel County, Kentucky. In his teens he studied to be a tobacco auctioneer, a title he was allowed to claim at the age of 16. However, World War II threw a spanner in the works and after Billy had completed his military service, he started a career in the music industry. In 1951, in an unidentifiable studio in California, he became friends with Johnny Horton during his demo recordings, who was the first artist to be signed to the Abbott label. The second artist to be signed there was Billy Barton. In March 1952, Barton made his first commercial recordings as Hillbilly Barton with ‘Strange Affection / She’s A Good Ole Gal’, ‘No Interest / Never Satisfied’ and ‘My Darlin’ Liza Lou / You Made Me Love You (With A Twinkle In Your Eye)’. In 1953, he recorded as Billy Barton With The Circle O Ranch Boys. As Hillbilly Barton, he was also the lead singer on ‘No Help Wanted / A Heartbreak Ago’ by Bill Woods and His Orange Blossom Playboys. Later that year, he also went into the studio as Johnny Grimes, and together with Wandy Wayne for the King label. In 1957, Grimes or Barton, as you prefer, went to an unknown California studio where he recorded for Stars, Inc. Records. A year later, in June 1958, he recorded ‘Crazy Lover / Day Late And A Dollar Short’, two rockabilly numbers written by himself. For the Fire label, which was re-launched in 1958, Barton also served as band manager, producer, songwriter, mixing manager and most likely instrumentalist. There is even speculation that Barton may have been the owner or co-owner of Fire, which ceased to exist in 1960. In the sixties, Barton could often be found in Gulf studios, Sim's studios and those of the Quartercash label.
Just as Billy Barton recorded under various names, he also married several times. In addition to all the information about Barton, you can also read all the details about this in the 14-page booklet written by Mark Armstrong. Billy Barton passed away on October 8, 2011.
What is striking is that all three CDs contain songs that abundantly demonstrate Billy Barton's songwriting talent. Whether it's uptempo hillbilly, country, duets, rockabilly or swinging teenage rock-'n-roll, Barton always had the ears to package those genres in a nice melody. For example, the waltzing 'Betty Lorraine' by Johnny Horton is a song that not only captures the zeitgeist in two minutes, but is also immortal. Horton and Barton shine together vocally a little later in 'Somebody's Rockin' My Broken Heart'. Wonderful harmony! They repeat that together by the way. When Barton does the vocals alone, you only hear what a beautiful and dynamic voice he has. There are plenty of examples of this. You can already hear the first traces of Barton's rockabilly in 'A Lying Tongue', a first 'acetate' on this box, which he recorded as Hillbilly Barton. Later on, beautiful 'acetates' follow by Barton of course, but also by Wanda Wayne and Johnny Horton. A very fine 'acetate' is certainly Barton's country tearjerker 'I'm Through With Your Love'. Barton and Wanda Wayne shine together several times. It is difficult to choose a topper, because the duo always knows how to get the best out of each other to get. Billy Barton pulls out all the stops solo in the fast ‘Why Don’t They Leave Her Alone’ that he recorded for King in 1955. But also in a slow number like ‘What God Has Put Together, Let No Man Tear Apart’ Barton’s talent effortlessly comes to the fore. Billy goes in the direction of rockabilly with ‘So Called Friend’, ‘Crazy Lover’ and ‘Date Late And A Dollar Short’. He conducts a bit more teenage poppy as Billy Boy Barton in ‘Blue Lover’ and certainly also in ‘Two Kids In Love’ on which he can be heard together with Carlyn Johnson.
And then there is the third CD, on which most of the ‘acetate’ recordings can be found. Recordings that are all more than worth listening to.
It is beyond doubt that Barton, Grimes or under whatever name he recorded, had a feel for the prevailing music of his time. Even more, he succeeded with flying colors in adapting to new emerging styles such as rockabilly or even pop.
And yet I am still left with one question. Why did Billy Barton become no more than a footnote in American music history? A question that should not have been asked, because these 97 tracks show that Barton is worth more than that simple footnote.
What also deserves a mention is the superior sound in which this box bathes. The fact that these songs are three quarters of a century old can only be seen on the track listings. You certainly do not hear it!

‘Sunland’ marks the beginning of a new trilogy and takes the listener on a journey through nine songs in the introspective and cinematic style that is characteristic of the band. At the crossroads of Americana, slowcore and indie rock, Templo Diez's music draws its inspiration from travel, landscapes, true stories and dreamed memories, from films, novels, poetry,

It was quiet for a while around this Stockholm trio with singer and guitarist Daniel Kordelius as frontman. In the meantime, the gentlemen are touring again, and they did not forget our country. As far as songwriting is concerned, the gentlemen did not take a break, because for ‘Bring It On!’ Daniel and bassist Tobias Einestad have written a number of beautiful songs again. Together with drummer Johan Svensson they recorded 10 songs, of which no less than 7 are original. These songs are still deeply rooted in the roots genres such as rock-‘n-roll and rhythm & blues. With the opener, the firmly rocking and rolling ‘Will You Please Leave’, the pace is immediately good. And the title track ‘Bring It On’ also keeps the Bumblebees train on track without any problems, including a scorching guitar solo by Kordelius. As a guest we also hear pianist Thorbjorn Eliasson. ‘Old Town Blues’ provides an ‘old school blues boogie’, on which the slide is brought out. Beautiful number! More blues comes with the Ray Charles-made famous ‘It Should Have Been Me’. The Bumblebees make it a ‘straightforward blues’, winking at Muddy Waters, after which ‘You Turn Me On’ announces itself as a rocking rhythm & blues, with that wonderful slide guitar again. ‘The Deacon Don’t Like It’ is of course known to us by Wynonie Harris, but in the hands of The Bumblebees it gets a pleasant contemporary ‘make over’. To close, we get a rocking version of ‘Hold On Tight’ by Jeff Lynne’s ELO.
With ‘Bring It On!’ The Domestic Bumblebees once again show that they are among the top bands operating in the roots genres. ‘Bring It On’ is without a doubt class!

In 2019, we were already very enthusiastic about Ray Allen's album 'Personally'. The somewhat sophisticated way in which this German approached rockabilly certainly appealed to us. For his new album 'Chains', Ray went to the Lightning Recorders Studio in Berlin. He recorded 13 songs by Mathias Arnold, as Ray's real name is. Lyrically, Ray sought inspiration in what each of us experiences. Love, happy relationships, failed relationships, searching for oneself to ultimately end up with true love. He packages all of this in danceable songs. In the opener and the title track, Ray does this in an infectious country and western way. Country also forms the basis for the warm piano-driven 'Walking Through The Mountains'. He goes more rocking on 'Don't Push Me', which deals with 'wasted time'. The life of an artist is not always a bed of roses. ‘Footlights, Fears & Fame’ are part of it. Dream subjects to pour into a catchy emotional song. The love-craving ‘The Only Thing That Matters’ is captivating, with a great piano part by Holger Niemeyer. Allen rocks cheerfully and enjoys the good moments on ‘Let’s Have A Good Time’. Ray also rocks on ‘Let Me Be The One’, including a wonderful clean guitar moment, which he repeats on ‘I’ll Have My Way’. Ray drifts towards blues mid-tempo on ‘Get Down With The Blues’. Ending a relationship with ‘No Hard Feelings’ is not always self-evident. Ray shows that it is possible in a cheerful melody, with another nice piano part.
That it doesn’t always have to be doom and gloom is demonstrated by the final track ‘You Move Me’, which also has a somewhat summery undertone.
With ‘Chains’ Ray Allen proves once again that he has mastered writing ‘catchy’ songs and that you don’t have to kick around wildly to make rockabilly sound catchy. Add a good dose of country and you know that Ray Allen keeps the fire of the roots genre burning in his own way.

Si Kahn & George Mann’s ‘Labor Day’, is a tribute to hardworking people everywhere. Kahn is the only artist in the history of Folk Music International to have been awarded both the Triple Crown and Spirit of Folk awards, 2024 sees Si Kahn celebrate his 80th birthday and the 50th anniversary of recordings. Si Kahn and George Mann sure know what theyre singing about. Having both spend many years as close-to-the-ground union organizers, they know firsthand the hardships and challenges everyday working people face - but also how with courage and hope we can organize together to realize our dreams. 

India Ramey blazes a trail through cinematic spaghetti western landscapes to wood floored Honkytonks and the Appalachian foothills. India’s musical journey was not typical.  “Having grown up poor, there was a lot of pressure for me to ‘go to college and make money’ so I convinced myself that music was a hobby”. Ramey, a domestic violence survivor graduated college, got a law degree and became a domestic violence prosecutor. “I thought if I was helping people like my Mom, I would like being a lawyer more”. Despite her love of helping people, Ramey’s love for music won in the end. She gave up her law career to become a full time musician and songwriter and has never looked back.  

This album is the first album in a series on which the KokoMojo label puts artists in the spotlight who, as accompanists, made famous artists shine. These accompanists undoubtedly played a crucial role in music history. Unfortunately, their contributions were often overshadowed by the artists in the spotlight and they have been forgotten over the years. The name of Lafayette Thomas, born on June 16, 1928 and died on May 20, 1977, will not immediately ring a bell. However, there is a good chance that you have already heard him, even if not under his own name, on recordings of other artists. For example, he worked with Jimmy McCracklin, Jimmie Wilson, Sammy Price, Memphis Slim, Little Brother Montgomery, L.C. ‘Good Rockin’’ Robinson and Sugar Pie DeSanto. Lafayette probably first came into contact with the blues through his uncle Jesse ‘Baby Face’ Thomas. Together with T-Bone Walker, he would have a great influence on Lafayette's musical development.
An article in the renowned magazine Living Blues labeled him as the best guitarist from the San Francisco-Oakland blues scene, as well as a guitarist to whom many artists are indebted. Thomas' creativity on the six strings often led to sometimes strange, not obvious, but always sublime licks. It often seemed as if the ideas for his playing simply flowed from his hands. This will also have contributed to the fact that Lafayette could effortlessly switch from a down-home blues to a blues ballad. Moreover, he knew how to find suitable guitar parts for every song he played on. Sometimes dynamic and subdued, and other times solid and distorted.
In 1948, Lafayette Thomas was heard for the first time on a wax recording. That was on the B side of a recording by the Shermans Trio, namely the instrumental and swinging ‘Jumpin’ For Julia’, which this compilation also starts with. It is important to mention that this record was released by Bob Geddins. He was the owner of several record labels and Bob would play a major role in Lafayette’s further career. Lafayette remained closely connected to Bob Geddins and played on his releases from the debut in 1948 until the mid-sixties. Thomas’ first solo record was the single ‘Sam’s Drag / Baby Take A Chance On Me’. It was released under the name L.J. Thomas and his Louisiana Playboys. This record was recorded at Sam Phillips’ Sun Studios. In 1952, this single moved via Sam Phillips to Chess Records. As you can hear on this album, the rocking rhythm & blues instrumental ‘Sam’s Drag’ carries that typical Sun Studios sound. The flipside, the slower bluesy ‘Baby Take A Chance On Me’, betrays the aforementioned influence of T-Bone Walker.
Lafayette Thomas was a busy bee. In the fifties and sixties, he could be heard on more than a hundred records. He was most present on the recordings of Jimmy McCracklin & his Blues Blasters. Early 1951, Thomas even joined McCracklin’s Blues Blasters, where he replaced guitarist Robert Kelton. Both Lafayette and Robert can be heard on McCracklin’s ‘Rockin’ All Day’. Incidentally, you get a few more recordings of Jimmy McCracklin. Thomas would continue to record and perform with McCracklin. In addition, Lafayette was also present on great recordings of Jimmy Wilson, Roy Hawkins, Willie B. Huff and James Reed. This compilation contains versions of both James Reed and Jimmy Wilson of the classic ‘Tin Pan Alley’. The ‘Instrumental Jump (aka Whats Up!) that ended up on this album was released twice. First in 1953 on the Big Town label by Jimmie Wilson (alternately listed as Jimmie and Jimmy) & his All Stars. A second time the song was featured as a b-side on a Modern single by Johnny Todd. As Jerry Thomas, Lafayette solo released sublime songs such as ‘Lost Mind (aka Standing In The Back Door Crying)’ and ‘Don’t Have To Worry (aka Jumpin’ In The Heart Of Town)’.
This album also contains the monumental and original version of ‘Strangest Blues’ by Jimmy Wilson and His Band. In addition to Lafayette on guitar, you can hear Wild Willie Moore on tenor sax, bassist Johnny Heartsman and an unknown drummer. Class acts of the purest kind!
When listening to this compilation, the drive and craftsmanship of Lafayette Thomas immediately stand out. He had the talent and the gift to lift every recording to a higher level. No wonder he was heard on more than a hundred records during the fifties and sixties. Thomas was a guitarist who gave the records of his masters an extra shine with his playing. He even succeeds on Bob Geddins Cavaliers’ version of ‘Ghost Riders In The Sky’ and certainly on the well-known ‘Nobody’s Business’ and on the slow blues, including gospel choir ‘I’m A Stranger Here’. Lafayette performs creatively and modestly on ‘Operator 209’ by Willie B. Huff. Creativity was always held in high regard by Thomas. All tracks on this album bear witness to this. Listen carefully to the guitar solo on ‘Lemon Squeezer’ by Jimmy Wilson and his All Stars and the slow blues ‘Things Ain’t What They Used To Be’ by James Reed.
We conclude with Johnny Parker & His Orchestra in ‘What You Did To Me’. As mentioned before, Lafayette Thomas could be heard on countless recordings. The 28 tracks on this album make you long for more. It is therefore good news that volume 2 about Thomas will be released in November. That album highlights the period 1955-1962. Undoubtedly something to look forward to. But first and foremost, enjoy volume 1. Enjoy this great guitar player!

Poetic album from Ann O’aro, born on the island of Réunion.  Emotionally charged but softly performed. 

The album radiates energy and creativity, and the band knows like no other how to combine their musical influences into a contemporary sound. With its mix of exciting energy, some depth and diversity, this album is a must for anyone who loves modern blues rock, funk and some soul. The band King Of The World is not just Nederblues... this is so much more!

Creative experimentation with deep feelings in musical performance.  Very recommended!

Meadowlake is a dream pop band from Groningen, Holland. And there is a new work with ‘Where The Mountain Meets The Sea’, the third release that was created in collaboration with Buck Meek, guitarist of Big Thief. The tracks were recorded in one-take and live in Buck’s brand new home studio in Topanga, Los Angeles. After two weeks, the album was finished by engineer Philip Weinrobe in New York City. The album is a reflection of the musical journey. This is an artistic and inspiring environment to create new music. From a five-piece band to a trio, so it is logical that the sound has also been modified, from dream pop to shoegaze folk rock. Highly recommended! 

Johnny Burnette's brother Dorsey was a versatile artist. In Johnny's rock-'n-roll trio, Dorsey was the man of the scorching 'slapping bass'. He also scored as a solo artist, but together with Johnny he certainly made it as a songwriter for Ricky Nelson, among others. Dorsey was also a well-known producer. In that role he was responsible for Stevie Wonder, then still Little Stevie Wonder's session for Tamla.
At the age of 6, Dorsey got his first guitar, on which he practiced like a maniac. Dorsey was quite temperamental, which caused him to get involved in fights several times. As a youngster he dreamed of a career as a boxer. Together with Johnny he visited the local boxing clubs, although it soon became apparent that this would not be his career.
There are many great releases about Dorsey's successful early years in the Bear Family catalogue. A catalogue that was not yet complete, however, because the wonderful recordings that Dorsey made between 1962 and 1965 were missing. That shortcoming is now being remedied by this double CD, with recordings he made for Sinatra's Reprise label and on Motown's not-so-long-existing sublabel Mel-o-dy. These are supplemented with singles that Dorsey recorded in the same period for Lama and Imperial. All this fills the first CD. The second disc is even more impressive. Here, Dorsey Burnette's musical legacy is thoroughly explored. It contains 20 previously unheard impressive original recordings, including songs that Dorsey wrote together with Joe Osborn, bassist with the Wrecking Crew.
Both CDs give a good picture of Dorsey's passion for rock-'n-roll, country, soul and pop.
This double album immediately impresses with 'Back To Nature', which shows that Dorsey effortlessly combines rock-'n-roll, country and pop in one song, and he does so even more often. The high level that this song reaches is effortlessly maintained throughout both CDs, making it difficult to pick out highlights, because each song is a highlight in itself. Not only are these all enormously strong compositions. They are also performed by an artist with a beautiful, impressive voice, who also has a great deal of empathy. Moreover, both CDs are bathed in a sublime sound. Pure class!
The 45 tracks in total captivate from start to finish and show a wealth of impressive recordings that Dorsey made between 1962 and 1965. ‘The Complete Reprise and Motown Recordings plus … (1962-1965)’ is without a doubt the link that was missing in Dorsey’s musical legacy until now.
In the illustrated, extensive and well-founded booklet you will find a detailed biography by Bill Dahl, as well as a discography by Nico Feuerbach.
But………be quick because this edition is limited. It was only released in 1000 numbered copies worldwide. Fans know what to do. An indispensable release that will complete your Dorsey Burnette recordings without a doubt. A more than absolute recommendation!

The Italian harmonica player Egidio Juke Ingala has been a fixture in the blues world for over 30 years. His love for ‘old school’ Chicago blues and West Coast Blues has filled many albums and international stages. With ‘Keep On Dreamin’’ Egidio has now released a new album on the Rhythm Bomb Records label. Musically he is supported by The Jacknives. They consist of guitarist Marco Gisfredi, bassist Max Pitardi and drummer Enrico Soverini. As a guest musician Egidio managed to get none other than the phenomenal guitarist Alex Schultz. Schultz can be heard on no less than 3 of the 13 songs and he also wrote the liner notes.
What is immediately noticeable is that the way the album is mixed gives you the feeling of being present at a live club concert of the band. The involvement is therefore immediately spot on. Shuffle-wise, Egidio and his mates start with ‘Put It On’, which is followed by Snooky Pryor’s ‘Boogie Twist’ on which Ingala can extensively display his talent on the blues harp. With ‘So Deep’, a wonderful up-tempo blues song, Egidio and The Jacknives show that composing is also flawless. They repeat this in ‘I Don’t Mind’ and the rocking rhythm & blues title track. They slow down a bit with ‘I’m Going Home’ by Prince Conley. For a real slow blues, you can go to ‘I Don’t Want No One (To Take Me Away From You)’. Furthermore, Ingala presents formidable versions of ‘You’re An Old Lady’ by Sonny Boy Williamson I, as well as the slow blues ‘Blues Stay Away’ and the instrumental ‘Juicy Harmonica’, two songs originally by George Harmonica Smith. The album closes with ‘Whirlaway’, an instrumental by Allen Toussaint. ‘Keep On Dreamin’’ is an album that shows that Egidio Juke Ingala belongs to the top of contemporary practitioners of the harmonica, who also knows how to make the authentic blues shine with heart and soul. Highly recommended!

The Hoodoo Tones are three musicians from France, with rock-‘n-roll blood flowing freely through their veins. That did not come at a later age, because as children Kevin Bolle, Pierre Poiré and Michel dreamed of a guitar, a double bass and a drum kit respectively. Their ambition was to stand on stage and entertain the audience. Not only did the trio succeed in that, they were also regularly found in the recording studio. They spent time there again now, resulting in the album ‘Rock At All Costs’, their fifth by now, which contains 11 original songs. With ‘Rock At All Costs’ these guys also want to honour the period when they as kids still dreamed of a musical career, which can be found both in the songs and in the cover. Incidentally, that cover contains simple drawings that visualise the tracks.
What is immediately noticeable with the opener and title track is that the trio still approaches rock-‘n-roll in a completely unique way and that makes us happy. Falling into the trap of copying the genre is once again completely out of the question here. Both in terms of melodies and accompaniment, The Hoodoo Tones set their noses in their own familiar direction. This results in new, refreshing melodies that give rock-‘n-roll a new life, so to speak. The tight rhythm section is the foundation for the creative guitar work and Kevin’s unique vocals, which allow all 11 songs to shine. For example, ‘Lies In The Air’ and ‘Jealous Of The Nerds’ shine on penetrating and nervous guitar parts. A very creative song, in which the band leaves the brakes untouched, is ‘Pygmalion Boogie’. A hell of a song! Uniqueness can also be found in abundance in ‘Song For The Kids’, which is embellished with a spontaneous choir. Despite their own interpretation of the genre, The Hoodoo Tones also show respect for authentic rock-‘n-roll. This is evidenced by the closing track ‘Until The Knell’.
After their 2022 album ‘Three Steps To Evil’, The Hoodoo Tones prove once again with ‘Rock At All Costs’ that they stand head and shoulders above many bands with their original approach to rock-‘n-roll. ‘Rock At All Costs’ is an album that gives you a good feeling.

The new album, packed with eleven original songs (one co-written with Ronnie’s friend Big Head Todd Mohr), also includes an emotional recorded message to Ronnie from his father, the world-famous Chicago bluesman, Alligator recording artist Lonnie Brooks. The album was produced by the storied Jim Gaines (who has produced Santana, Stevie Ray Vaughan, Luther Allison, Albert Collins, Lonnie Brooks and many more). Jim and Ronnie have known each other for years, because Jim produced Lonnie’s last Alligator release, Roadhouse Rules, back in 1996, when Ronnie was still playing second guitar in Lonnie’s band. ‘Blues In My DNA’ is the fifth album of Ronnie’s career. After he formed his first band back in the 1990s, he decided to create his own label, Watchdog Records. He released three solo albums over the next eight years. On all three releases, Ronnie worked with the famed Jellybean Johnson (Prince, The Time). In 2018, he released Times Have Changed on the Provogue label, produced by acclaimed drummer/producer Steve Jordan (Rolling Stones, Robert Cray). All these albums were full of excellent performances, but none received all of the distribution, promotion and marketing they deserved.