Love album dedicated to grandmother Netty (and also her personal experiences).
Brigitte Purdy is a upcoming star with phenomenal vocal skills on soulful blues rock compositions. Great album!  

With this first volume, the Atomicat label launches a new series—one that focuses on the commercial rock 'n' roll that captivated teenagers in the mid-1950s. It is hardly surprising then, that many well-known names appear in this series. To achieve commercial success, top-notch studio musicians were usually hired, especially for recordings made by major labels. However, smaller labels also tried to cash in on the rock 'n' roll craze. Their recordings were often just as professional as those from the major labels, though limited budgets—and the resulting lack of optimal promotion—sometimes kept their success in check.
It is wonderful to see recordings from both major and smaller labels sitting side-by-side so brilliantly in this series. "It’s a rockin’ party, and you’re invited" proclaims the cover, and that is certainly true. The 30 tracks will undoubtedly give you that party feeling. The opening track, ‘Broken Heart’ by the Moonlighters, will get your stiff muscles moving right away. The song also features some impressive, razor-sharp guitar work. It is immediately followed by the delightful ‘Buzz Buzz A Diddle It’ by Freddy Cannon—a song also popularized by the English rockabilly band Matchbox.
Artists influenced one another, perhaps even more so in the past than today. This is certainly true for Tiny Morrie on ‘Bump-Ity Bump’, a track with a sound remarkably similar to Buddy Holly's. That Holly-esque sound also features in Bob Ackoff’ s "Come Dance With Me."
As previously mentioned, not all artists could count on solid promotion. Liberty Records really should have promoted Latino rocker Bob Orrison and his track ‘Sarah Lee’ more heavily. An interesting side note is that the guitar work was performed by Eddie Cochran.
‘You Made A Hit’ is well-known in the rockabilly version by Ray Smith. Here, however, we hear a slower version by Joe Fuller that leans more towards rhythm and blues.
As previously mentioned, record labels pulled out all the stops in pursuit of success. This was certainly the case for Jackie Burns’ ‘Hey Then, There Now’. The song was co-written by Jack Hammer, and the studio musicians involved also worked with Ritchie Valens.
The Crickets continued performing even after Buddy Holly’s death. Here we hear them with ‘Baby My Heart’. Perhaps not immediately recognizable—though no less catchy—is ‘Sad As I Can Be’ by Angie & The Monoco’s, a track featuring a sublime, raw saxophone solo.
Songs often end up gathering dust, frequently undeservedly so. This was the fate of ‘Johnny Valentine’ by Andy Anderson & The Rolling Stones (no, not those Rolling Stones!). Both Delta and Sun Records recorded the song at one point but never released it. Felsted Records did eventually released it with a new arrangement that incorporates elements of country & western. Listen for yourself and decide whether Delta and Sun missed out on a serious hit.
One version of a song that was new to me is Ricky Nelson’s take on ‘My Babe’. While ‘My Babe’ is best known through the version by blues legend Little Walter, Nelson breathes new life into the track, with the guitar brilliantly stepping in to fill the role usually played by the blues harmonica. A great track is undoubtedly the instrumental ‘No Stoppin’ This Boppin’ by The Tune Rockers, featuring formidable saxophone work by Dick Lawrence.
Andy Martin’s ‘Record Hop Tonight’ sounds cheerful, poppy, and full of rock energy. The song also appeared in the 1957 film ‘Jamboree’, which showcased a host of artists, including a very young Frankie Avalon, backed by Rocco and The Saints. To bring things full circle: Andy Martin was the lead singer for Rocco and The Saints, while Frankie Avalon played the trumpet in the band.
Eddie Holland would go on to achieve his greatest success at Motown. Here we hear him on ‘Little Miss Ruby’, a track he recorded for Mercury in 1958.
The Jaye Sisters deliver a delightful dose of girl-group rock ‘n’ roll with ‘Sure Fire Love’, featuring truly fantastic vocal harmonies.
There are also wonderful recordings by the likes of Clyde McPhatter, Alis Lesley, Ronnie Self, and Brook Benton.
This first volume concludes with the romantic ‘Everybody’s Somebody’s Fool’ by The Heartbeats.
With this opening volume of the ‘Old School Rock ‘n’ Roll’ series, the stage is set for a thoroughly enjoyable new collection. We are already looking forward to the next volumes.

British-flavoured blues. So play it loud!

For all of us a beautiful introduction of Sephardic music from the Middle Ages

Extra-ordinary Mongolian traditional music with Western influences.  Deep sounds and emotions to share!

Clifford Antone had it right: “THE BLUES IS SO BIG that no one person could ever learn it in a lifetime.” So, when Antone’s called upon their family of blues legends to put together a four-disc set to commemorate the 50th Anniversary of Antone’s Nightclub, Antone’s: 50 Years of the Blues boxed set (New West Records, 2025) – of course they came up with more blues than they could possibly fit into one glorious collection. It soon became clear that this embarrassment of blues riches was the start of their next project. Antone’s 50th Presents Chicago Bound: Honoring Muddy, Cliff & Blue (Blues Till 2 Recording Co. / Select-O-Hits) caps the club’s 50th anniversary celebration while pointing toward its future.  Established in 1975 by the late Clifford Antone, Antone’s is an iconic blues venue located in downtown Austin. Over the past 51 years, Antone’s has brought Austin a variety of blues musicians from across the country including B.B. King, Muddy Waters, Jimmy Reed, Ray Charles and James Brown, and helped develop local talent like Stevie Ray Vaughan, The Fabulous Thunderbirds, Bob Schneider, Gary Clark Jr. and countless others. In 2015, the historic brand was restored and a new team brought the iconic venue back to the downtown Austin landscape with a renewed focus on once again making Antone’s the “Home of the Blues.”

The musical career of German artist Mathias Arnold now spans three decades.
In 1997, he joined the band The Thunderbirds—later known as the Moonlight Classics—as a singer and rhythm guitarist.
By 2004, he was ready for a solo project, seeking a catchy stage name and so Mathias transformed into Ray Allen. He formed his band, The Hi-Fi’s, and in late 2006 recorded his debut album, ‘Ray Allen with The Hi-Fi’s’, at Berlin’s Lightning Recorders Studio (part of Rhythm Bomb Records). Ralph Braband, CEO of Rhythm Bomb Records, was impressed by Allen’s debut and signed him to the label.
The 30 tracks on this album encompass the recordings Ray Allen made for Rhythm Bomb Records. The first two rocking original tracks, ’Careless Mama’ and ‘Please Leave Me Alone’, appeared on his debut album and clearly demonstrated that Rhythm Bomb Records had signed a talented rock 'n' roller.
The collection includes no fewer than 13 songs never before released on CD. One such track is ‘I Got The Bug’, which did not make the original album. Ray recorded his second album, titled ‘Ray Allen & The Blue Rhythms’, with the band The Blue Rhythms. It featured his version of The Moonlighters' ‘Broken Heart’ as well as the self-penned ‘You’re Mine Tonight’. By the time his third album ‘Hurry Up’, was released, Ray was already an established figure in the rock 'n' roll world.
The subsequent albums he recorded for Rhythm Bomb Records featured impressive original compositions alongside covers to which Allen brought his own personal touch. This compilation features 30 magnificent songs drawn from recordings spanning twenty years, fully showcasing Ray’s talent. He can rock with the best of them, yet he also shines when shifting down a gear, as heard on tracks like ‘Oh How Sweet’, ‘Look For Me’, and ‘Blues Please Let Me Be’. ‘Hot Rod’ meanwhile, is an outstanding, guitar-driven instrumental.
This compilation demonstrates Ray Allen’s talent not only as a performer but also as a songwriter. Furthermore, he surrounded himself with superb musicians, and last but not least, these tracks sound as if they were recorded in the late fifties or early sixties. Moreover, time has not diminished these songs, they remain incredibly danceable, energetic, and fresh. And that’s for sure!

Never heard such an excellent combination between music and topic.  A masterpiece!

Outstanding original mix of folk and electro tunes. Dance in trance!

One More For Me, named for our recording process, was recorded live in the studio, in Luxembourg between tour gigs.  We performed a couple full takes of dteach track, settling on versions we thought best; often we'd do one more take in an effort to somehow improve on a great performance, just for our own satisfaction.  Along with new songs, this album reaches far back into my catalogue, 15 years in two cases, but is wholly contemporary in its articulation.  I count myself lucky to have stood onstage with artists like John Primer, Lurrie Bell, Jimmy Johnson, Nick Moss, Andrew Duncanson, Barrelhouse Chuck, and Carl Weathersby.  In equal measure, I've drawn invaluable immediate influence from Lil' Ed, Joel Paterson, Oscar Wilson, Billy Flynn, and Glenn Davis.  Each of these tracks holds something special for me, not the least of which is collaborating with bassist/harmonica ace Renaud Lesire and drummer Tom Lehnert, whose love and knowledge of the music continually inspires me both to revisit my roots and push forward into something new.

Performing as Big Harp George, former law professor George Bisharat has reached his eighth album. George is nopt only a master of the chromatic harmonica but also an exceptionally talented songwriter.
He kicks off with the swinging instrumental ‘Come Out Swinging’, followed by the delightful ‘Supplement Life’, which features surprising tempo changes.
He returns to instrumental territory later with the bluesy ‘Sun Drifting’, while ‘Last Trip To Itaipu’ is a Latin-inspired instrumental. On the track ‘Mista Boins!’—also an instrumental—George engages in a musical duel with organist Chris Burns.
Across these 16 original tracks, Big Harp George explores a variety of musical genres; ‘Struck Out Again’, for instance, is a gem of a slow blues song.
A standout in terms of originality is the Eastern-sounding ‘I Will Find You’, where George once again demonstrates his ability to handle any style on the chromatic harmonica.
He takes a stand on ‘Rusty Spoon’ (dedicated to political prisoners), the shuffle ‘Death Rattle Of The Republic’, and ‘One Day’—a song about the day, justice will finally be served.
Kid Andersen handles guitar duties on all 16 tracks. His wife, Lisa Leuschner Andersen, provides backing vocals on the Dixieland-infused ‘Be Adorable’ and shines alongside George in the duet ‘Do You Remember?’. The album is further elevated by a superb horn section.
‘No Shortcuts’ is well worth discovering!

​Astonishing psychedelic and emotional songs. A sublime blend of (psych) rock and tradition. Love it!

With 'Used Parts', Halford reveals a deeper inclination towards soul, while simultaneously remaining firmly rooted in Americana, blues, and rock. Central to the album is the title track, a poignant meditation on self-healing. Instead of focusing on the idea of reinvention, Halford explores something more earthly: the reality of rebuilding a life with what remains. Highly recommended! 

 In the ‘Rocks’ series, Bear Family Records has already profiled a large number of legendary artists. One artist who was still missing and who certainly deserved to be featured was Ray Campi. Well, now he receives a well-deserved release featuring no less than 34 tracks.
You can safely label Ray Campi the ‘King of Rockabilly’. Born on April 20, 1934, he made his first recordings in the fifties. This compilation also starts with that, bringing together his songs up to 1990. Campi did not need those major chart successes to make himself immortal. His impressive performances, his raw energy, and his lively and danceable songs took care of that. In short, Ray Campi can be described in one word as ‘authentic’.
The tracks on this compilation include his explosive fifties recordings, songs from the Rollin’ Rock period of the seventies, as well as previously unreleased live recordings.
To make a living, Ray worked as an English teacher for many years. Although his career began as early as the 1950s, he garnered his greatest fame in the 1970s when the rockabilly revival took off. The person who helped him with this was the Italian emigrant and great music lover Ronny Weiser, whom Campi met while working as a teacher in Los Angeles. Rockabilly was Weiser’s great love, which is why he had just founded the legendary and independent record label Rollin’ Rock Records. Weiser listened to Campi’s recordings from the 1950s and immediately fell for Ray’s wild and energetic style. From then on, Ray recorded for Weiser’s label. These recordings usually took place in Ronny’s living room with equipment stripped down to the essentials, resulting in a lo-fi, energetic, and raw sound. You can witness this on this compilation, which, in addition to Campi’s classics, also contains a number of previously unreleased live recordings, such as ‘I’m Comin’ Home’, ‘Honky Tonk Man’, ‘Pan American Boogie’, ‘Born To Rock’, and two live recordings of his classic ‘Caterpillar’, of which you also get the single version. Furthermore, ‘Rockabilly Man’, ‘How Low Can You Feel’, and ‘Play It Cool’ naturally have a rightful place on this album. Another one that certainly could not be missing is ‘Rockin' At The Ritz’, a song Ray recorded in 1977 that certainly boosted his status during the rockabilly revival.
Ray Campi had the gift of putting his own spin on other people’s work as well. He demonstrates this convincingly in his version of ‘Long Tall Sally’. Also briljants is his tribute to the Big Bopper, namely the predominantly spoken ‘The Man I Met’. Ray Campi was not only a formidable performer, but as a songwriter he was also on par with the very greatest. It is therefore not surprising that energy and dynamism reign supreme on these 34 tracks.
In the luxurious 38-page booklet, you get the story of Campi and a number of sublime black-and-white and color photos.
‘Ray Campi Rocks’ is a release that is indispensable for rockabilly fans.

Kirri Valvekens is a man of many musical facets. He has been touring for over 15 years with Kirri’s Travelin’ Kitchen Jam, his singer-songwriter project, sometimes with a full band, sometimes solo or as a duo. You recognize his raw and dark vocal sound immediately, and that voice served him extremely well on ‘Diamond On The Rocks’, his tribute to Neil Diamond, alongside Bob Dylan, one of his great role models.
The lyrics of Kirri’s songs always have something to say. He sets those lyrics to beautiful melodies that always carry influences of rock, blues, or country somewhere within them. In short, roots music like only Kirri can make, and which is embraced by many.
Between his various projects, Kirri still finds the time to compose new songs, 12 of which found their way onto this album. These songs saw the light of day between 2021 and 2026 and convincingly showcase Kirri’s craftsmanship. The album is largely acoustic, and Valvekens returns entirely to his roots in opener ‘A Song Or Two’, armed only with his voice, guitar, and harmonica. But it doesn't stop there, as the singer-songwriter gradually surrounds himself with fantastic musicians, such as guitarists David Piedfort, Stef Paglia, Luc Canters, and Rocco Di Turi, saxophonist Hugo Boogaerts, Niels Verheest on piano and Hammond organ, and singer Arturo Belinni. He provides vocal support on ‘Most Common Way (Non Sono Come Gli Altri)’, a track that you also get in the English version as the closing piece.
The album is bathed in a calm atmosphere, immediately drawing the listener into Kirri's story. The tempo is picked up once, namely in the somewhat bluegrass-infused ‘Staring At The Sunrise’, where Kirri demonstrates that he can hold his own on bass and banjo as well. After ‘One/1’ and ‘Little Somethings’, ‘Lalala… And Other Stories’ is Kirri’s third album of original work. An album that is more than worth discovering!

Trucks often provided inspiration for songs in the country genre. To such an extent, in fact, that it became a genre in its own right within country music. The lives of the muscular men who devoured miles with their behemoths as if it were nothing were often romanticized. The sense of freedom, the craving for adventure, and the grabbing of a quick bite along desolate roads often stood in stark contrast to what the truckers actually experienced. Being away from home for days at a time, the pressure and stress of delivering their cargo on time—which caused many a trucker to seek solace in pills—dealing with technical problems, the laws of the road that made things difficult, and commenting on all of this with like-minded souls via CB radio. Only in his cab was the trucker a man who found a solution to every difficulty encountered on the road. He was, in fact, the cowboy of the 20th century.
In the post-war period, industry boomed. Everything had to happen fast so that the mass production machine could keep running, with the result that truckers came under immense pressure. It will therefore come as no surprise that all of this is reflected in the rocking, swinging, and energetic truck songs. Among the 33 tracks that Bear Family Records brought together on this first volume, we find both country icons and lesser-known artists.
The album starts immediately with a cult classic and also the title track of this compilation, in which Billy Strange hits full speed. Fiddle and engine sounds form the intro to the follow-up, the country-rocking ‘Truck Drivin’ Man’ by Bill Woods.
The truck songs can be found in various genres. For a fine rockabilly song, you can turn to Herb Duncan and his ‘Double Clutching Diesel Man’, as well as Lonnie Lillie and ‘Truck Driver’s Special’. Fragments of hillbilly, on the other hand, charm ‘Truck Stop Grill’ by Arthur Smith and His Cracker-Jacks.
Famous country artist Red Sovine is featured with two songs, rocking out with ’10 Days Out – 2 Days In’ and ‘Truck Drivin’ Son-Of-A-Gun’. Another well-known artist is Idaho Red, here with the swinging ‘Wade Ray’. Red Foley and Ernest Tubb join forces during ‘It’s The Mileage That’s Slowin’ Us Down’. Another famous artist is Red Simpson, here in ‘A Tombstone Every Mile’.
Rock and roll, in turn, forms the basis for ‘Truck Driver’s Dream’ by Ray Salter & The Twin City Playboys, as well as for ‘Devil On Death Highway’ by Ken McWilliams and The Twi-Lighters and ‘Mister Big’ by Sandy Scott. Rocking is also a hit, by the way, with ‘Truck Driver’s Rock’ by Virgil Vickers and His Kentucky Play Boys, set on the rails by a wailing harmonica.
Spoken songs are an inseparable part of the genre. These essentially reflect the truckers' communication via CB radio. You get three of them on this compilation. The first is ‘That’s Truck Drivin’’ by Slim Jacobs, followed by Jimmy Logsdon reciting his ‘Gear Jammer’ over a bluesy groove. A third ‘spoken song’ comes with Coleman Wilson’s ‘A Green Truck Driver’s Experience With Radar’.
Speedy West presents a cool instrumental piece with the steel guitar in the foreground with ‘Truck Drivers Ride’. Swinging and rocking, Link Davis closes the lineup with ‘Trucker From Tennessee’.
The first volume of ‘Diesel Smoke and Dangerous Curves’ contains 33 great tracks that introduce you to the culture of the American truck driver through various genres.
In the 38-page booklet, Bill Dahl provides you with all the info about the tracks and the performing artists.
The first volume of ‘Diesel Smoke and Dangerous Curves’ already makes us look forward to the second volume with anticipation. Highly recommended!

Contemporary and traditional beautiful integrated with an outstanding performance of the whole band. Is it desert blues, or raï or rock, or folk? A little bit of everything, and always compelling.

Who doesn't dream of sun-drenched beaches, swaying palm trees, the sea glistening blue in the sunlight, and a romantic sunset? Well, to give those dreams a boost, Bear Family Records takes you to the Aloha State of Hawaii and its hula culture.
The quintessential rhythm & blues vocal group from the fifties and early sixties, The Drifters, are sure to whet your appetite with ‘My Islands In The Sun’.
The 33 tracks embrace the most diverse roots genres. Country artist Hank Snow presents a rocking, country-infused number in ‘Hula Rock’. And here, too, the lap steel guitar is not to be missed. Hank manages to mix the emerging rock ‘n’ roll with his love for the Hawaiian sound in a sublime way. Jimmy Newman repeats this a little later with ‘Bop-A-Hula’. For a dose of romance, you can then turn to Marty Robbins and his ‘Moonland’. Another delightful rocker comes along with ‘Let’s Go To Hawaii’ by The Revieras; pay special attention to the wonderful garage-rocking organ.
The Platters are synonymous with high-quality harmonies. That is no different here in the swinging ‘Hula Hop’. Another legend is Mr. White Christmas, Bing Crosby. He delivers a sweet-sounding ‘Blue Hawaii’. In 1958, Skeets Mc Donald recorded ‘Hawaiian Sea Breeze’. On guitar, you hear none other than Joe Maphis. Rocker from the very beginning, Bill Haley, delivers ‘Me Rock-A-Hula’, together with his inseparable Comets in his familiar style.
Someone who delivers a cool, rocking ‘Hula Bop’ is Smokey Joe Baugh, who has a nice, gritty edge to his voice.
Elmore James was a master of the slide guitar. He employs it here for the instrumental ‘Hawaiian Boogie No.1’, after which a jungle drum sets ‘Hawaiian War Chant’ by The Playboys on track. Jon & The Nightriders present another nice instrumental, surf-linked piece with ‘Rumble At Waikiki’.
Fans of The Grateful Dead will likely know Bill Browning. After all, their favorite band recorded Browning’s ‘Dark Hollow’. Incidentally, the song was also recorded by a number of other artists. Bill is present here rocking with ‘Hula-Rock’.
You get more country-influenced Hawaiian music from Jim Blakley in ‘Island Paradise’. In addition to vocals, Jim also plays the steel guitar. With Chet Atkins as producer and Grady Martin as guitarist, Hank Locklin recorded the rocking ‘Blue Grass Skirt’, which is infused with Hawaii.
Carl Mann scored an immense hit with his rockabilly version of ‘Mona Lisa’, and ‘Island Of Love’ also falls within that genre.
Randy Star provided Elvis with a number of song demos that he thought might be suitable tracks for Presley. He did the same with the song ‘Polynesian Paradise’, which could have been the title of Presley’s next film in 1966. However, the title of that film became ‘Paradise, Hawaiian Style’. Star once again had Jerry Keller record ‘Polynesian Paradise’ as well as ‘Datin’’. The first song didn’t make it into the film, but you can find it on this compilation, and for ‘Datin’’, you can turn to the soundtrack of ‘Paradise, Hawaiian Style’, where Elvis sings the song in a duet with Donna Butterworth.
Eartha Kitt was an actress, singer, and TV personality. Her most famous song is the somewhat mischievous ‘Santa Baby’. She is featured here with ‘Honolulu Rock And Roll’, a great, swinging rock-and-roll song. Chuck Berry could rock like the best. In the instrumental ‘Blues For Hawaiians’, he takes things a bit easier. Delightfully bluesy!
The German Paul Kuhn provides the humorous touch with ‘There Is No Beer On Hawaii’, a translation of his schlager ‘Es Gibt Kein Bier Auf Hawaii’.
We say goodbye in style with ‘Aloha Oe (Hawaiian Farewell Song)’ by Webley Edwards and Al Kealoha Perry.
‘Destination Hawaii’ is more than a collection of brilliant tracks. The songs sharpen your wanderlust, your craving for adventure, your enjoyment of the tropical South Seas atmosphere, the hula parties, and breathtaking romantic sunsets.
Well, you no longer need to travel for any of this, because with this compilation, the ultimate vacation paradise creates unforgettable memories right in your own home.

It is widely known that Ike Turner had a nose for discovering talent. Long before he became world-famous with Tina, Ike was already no stranger to the world of rhythm & blues. Countless artists were given the opportunity through Ike to make themselves heard musically by the outside world and to establish themselves. In addition, with his band The Kings Of Rhythm, he supported the recordings of many of his discoveries.
One of those discoveries was Billy Gayles, whom he also accompanied with his band. Gayles should not be underestimated. Although he did not always receive the attention he deserved—unjustly, by the way—he helped lay the foundation for rock and roll. This is abundantly evident from the 12 recordings written by Ike that Bear Family Records brought together on this album.
Gayles was born on October 19, 1931, in Sikeston, Missouri, and passed away on April 8, 1993. As a teenager, he became captivated by blues and jazz, and learned to play the drums. In that capacity, he played alongside greats such as Robert Nighthawk and Earl Hooker. In 1954, Gayles debuted with ‘Night Howler’, written by Ike Turner, which he recorded for Flair Records. Additionally, you get the songs that Billy released from 1956 onwards for Federal Records, still accompanied by Ike Turner’s King Of Rhythm. By that time, Billy had already joined The Kings Of Rhythm as a singer.
Opener ‘Just One More Time’ immediately indicates that Gayles and Ike Turner are more than a perfect match. Billy’s powerful vocal work benefits from Ike’s renownedly strong guitar playing. Guitar playing that is repeatedly characterized by the use of the whammy bar, which was revolutionary for that period. Ike creatively kicks off ‘Do Right Baby’, after which Billy, with his formidable and immensely powerful voice, sends the song to immense heights. If you are not yet convinced of Gayles’ powerful voice, just listen to the bluesy ‘I’m Hurting’, which bursts with intensity and dynamics. You can also feast on Ike’s guitar in the intro to ‘Willie King Peg Leg Woman’.
The first side of this album closes with the compelling, soulful ‘If I Never Had Known You’, delivered emotionally and heartbreakingly by Gayles, who once again pulls out all the stops vocally. He does the same in ‘I’m Tore Up’, which opens the second side.
And pay special attention to ‘Take Your Fine Frame Home’, which leans very close to rock and roll. Simply brilliant! With ‘Dreaming Of You’, the second side of this album also features a more than excellent soul song.
The album concludes with Gayles’ debut ‘Night Howler’.
Billy Gayles can certainly be regarded as one of the pioneers of rock and roll. After all, all tracks are situated in the period when rhythm & blues evolved into the new genre of rock 'n' roll. His powerful voice capable of handling a wide range, his empathy with the song, and Ike's high-quality compositions make this album a bullseye.
This tribute to Billy Gailes, released on 10-inch vinyl, is therefore a must-have for lovers of steaming rhythm & blues as well as impressive rock 'n' roll. A compliment certainly also goes to the downright fantastic, lively sound, which gives no indication whatsoever that these tracks were recorded in the middle of the last century. True to tradition, you receive a beautifully produced 10-page booklet.
Because this album is being released in a limited edition of only 500 copies worldwide, acting fast is more important than ever. After all, let's be honest, would you want to miss out on this superb album?

A long way to the top, finally reached!  Stone-cold certainty recommended!

Passion and raw emotion in the vocals are the key elements of the band. Compositions with a twist makes it gorgeous.

Energetic bluesrock with an emotional acoustic ending. Convincingly!

Eleven artists whose careers started in the basement of this legendary bluesclub pay tribute to Theresa’s Lounge.  Don’t forget it!

It’s a masterclass in the way jazz can slowly move and hold of you.

​Good musicianship is not enough to make a difference in the music world. What a pitty!