The name Jerry Byrd may not immediately sound familiar to you, but there is still a good chance that you have recordings on which he played as a studio musician in your record collection. Especially if Hank Williams' version of 'Lovesick Blues' is in your collection, because Jerry played on it.
Byrd was born on March 9, 1920 in Lima, Ohio. He mastered the 7-string Rickenbacker steel guitar at an early age and, as it turned out, became extremely adept at it. At the age of 15 he was already a professional musician. In 1947 he became a musician with the Grant Ole Opry. There his playing stood out among the headliners. In 1958 he traded his 7 string Rickenbacker for an 80 Rickenbacker. What is often not known is that Jerry also played bass and could often be heard singing harmoniously. He appeared on steel guitar on the Bobby Lord Show and also played rhythm guitar behind other steel guitarists. In 2001 he retired from the music scene. Jerry Byrd passed away on April 11, 2005 at the age of 85.
This compilation contains 32 tracks, 11 of which Jerry recorded under his own name. He contributed to the other 21 songs as a studio musician. You can immediately hear that Jerry is a master on the steel guitar in opener 'Rockin' Chair Money' by Red Foley. This is even better reflected in the songs that Jerry recorded under his own name. This happens for the first time in 'Steelin' The Blues' on which Rex Allen takes care of the vocals. When it becomes completely instrumental, such as in 'Texas Playboy Rag', Byrd's playing really shines. He repeats this again on the other instrumental tracks, such as 'Byrd's Expedition', 'Limehouse Blues', 'Kohalo March' songs on which Chet Atkins contributes the guitar part, 'This 'n' That', the sublime and fast 'Steel Guitar Rag' , 'Georgia Steel Guitar', 'Wang Wang Blues', 'Byrd's Boogie' and 'Turner's Turnpike'.
Jerry not only collaborated with Hank Williams on 'Lovesick Blues', but also on 'I'm A Long Gone Daddy' and 'Rootie Tootie', heard here. Just like he did with Hank, Jerry, as a studio musician, puts himself completely at the service of the artist to be accompanied. On none of the tracks where he was hired does he try to outdo the artist. A beautiful property! A great example of this is the country blues 'Surrounded By Water And Bars' by Jimmy Work and His Tennessee Border Boys, where Jerry gives the song a serious boost.
Without a doubt, Jerry Byrd elevated many country recordings to a higher level in the forties, fifties and sixties. Convince yourself of his immense talent on this beautiful compilation. Highly recommended!

​Despite the fact that record companies led to believe that music should be classified in specific genres, in practice things turned out completely differently. The different genres not only influenced each other, but also the artists. The entanglement between rhythm & blues and country & western is therefore formidably addressed in the series that was appropriately titled 'Rhythm & Western'. 'You Are My Sunshine', volume 9 again, just like his 8 previous volumes, gives a good example of the cross-fertilization between rhythm & blues and country & western. We get a nice example of this right away with opener 'Hillbilly Blues', a song that Pee Wee Crayton recorded. Crayton is immediately followed by Piano Red, who puts Hank Williams' 'Hey Good Lookin' in a very special, but very well-fitting suit. Extremely well done! The tempo and the piano clearly give the song something extra. Later, Fats Domino also tackles a Williams classic. He transforms 'You Win Again' into a stunning New Orleans rhythm & blues. More work from Hank is coming with Nat King Cole and 'Your Cheatin' Heart'. Even gospel matches dribs and drabs with the aforementioned genres. Little Willie John shows this in 'Don't Be Ashamed To Call My Name', a song from 1958. Damita Jo also delivers an extraordinary performance. Her version of Loretta Lynn's ‘I Walked Away From The Wreck’ is a great example of the connection between rhythm & blues, country & western and even soul. We know '(Now And Then There's) A Fool Such As I' in Presley's version. Elvis achieved the most success with it, although Hank Snow already scored a hit with it in 1953. A very special version with formidable harmony vocals is presented here by The Robins, who remind me a bit of The Platters. King Curtis is the perfect artist for an impressive sax instrumental. Here he gives a very personal twist to Pee Wee King's 'The Tennessee Waltz'. Who is still doing very well is Solomon Burke with 'Just Out Of Reach', on which the country & western is in the spotlights. Wonderful country also sounds classy Brook Benton in 'Come On, Be Nice'. Eddie Lang provides rocking rhythm & blues a little later with 'She's Mine All Mine'. Giving an old gospel song a country & western touch is no problem for The Original Gospel Harmonettes. In 'Everyday Will Be Sunday (By and By)’ they show how you have to do that. A style that you immediately recognize is the one by Lee Dorsey. He is present with his version of Jimmie Davis' ‘You Are My Sunshine’. A voice that you can immediately point to at home is that of Jackie Wilson in the uptempo 'Why Can't You Be Mine'. We close with the oldest song on the compilation. That's the 1929 recorded ‘Kunjine Baby’ by The Black Hillbillies, being Tampa Red and Georgia Tom. A very pleasant song where Georgia vocally imitates a horn part.
The ninth volume in the 'Rhythm & Western' series again offers many discoveries and cover versions that you are most likely hearing here for the first time. Definitely an unmissable volume!

In the previously published volumes in the 'Rhythm & Western' series, we were already introduced to black artists who found their inspiration in the country & western, which until then belonged more to white artists. That trend also continues in volume 6 'I'm Moving On'. Country & Western, rhythm & blues, blues and gospel in 28 tracks by well-known and lesser-known black artists. The names known to the general public are certainly Little Richard, Lazy Lester, Clyde McPhatter, Lloyd Price, Ivory Joe Hunter, The Platters, Sam Cooke and Blind Willie McTell. But just as well let yourself be surprised by the artists that may not be so well known to you. You won't regret it!
With this compilation, compiler Little Victor aka 'The Mojo Man' has once again delivered a direct hit. Next month, the series will continue with 'Jambalaya', the number seven.

​Fortunately, music does not take skin color into account. While the black population in America still suffered greatly from the prevailing discrimination and struggled for equal rights, black artists were already mixing their rhythm & blues with the white country & western. Like volume 1, the second volume again features 28 black artists who pushed musical boundaries and merged genres.
It is clear that the 'Rhythm & Western' series is the umpteenth series that attaches great importance to quality and is a must have for the true music lover. True to tradition, these, like all other Atomicat editions, also bathe in a beautiful contemporary sound quality.

​Ferlin Husky, born in 1925 and deceased in 2011, had no fewer than 3 musical careers. A first as country-pop performer Ferlin Husky, where he landed in the Country & Western Charts with ‘A Dear John Letter’ together with Jean Shepard. It wasn't the only song with which Ferlin hit the charts. His second and third career were as the more Honky Tonk-leaning Terry Preston and the hillbilly minded Simon Crum. Often his songs, as this compilation shows, were interwoven with parlando pieces, which gave the songs an enormous intimate and intense atmosphere.
Via 31 tracks we get a nice picture of the early recordings and hits of Ferlin Husky, Terry Preston and Simon Crum, three artists in one and the same person.

​Dick Curless scored his greatest successes with ‘truck-driven songs’ such as ‘Drag Em Off The Interstate Sock It To Em J.P. Blues’, ’Travellin’ Man’, ‘Big Wheel Cannonball’, ‘Highway Man’ and ’A Tombstone Every Mile’. However, he started his career as a country artist singing both country and western. Songs that got a special touch due to its warm baritone. And it is precisely these songs that can be found on this Jasmine collector.
‘Don't Fence Me In, The Early Recordings 1956-1960’ is therefore more of an album for ‘die-hard’ Curless fans. They can boost their collection with these 'early recordings'.

​Most likely, the name Cliffie Stone does not immediately evoke any association. And yet this legendary artist on the double bass had an influence that should not be underestimated. Stone was not only a giant on the upright bass, he also earned his spurs behind the microphone. Perhaps most importantly, he was invaluable to Capitol Records as a session musician and arranger.
The emphasis here is on recordings between 1947 and 1958. The first 8 tracks show Cliffie with his own band or solo. The other tracks highlight his collaboration with others. 30 uptempo tracks that all put Cliffie's talent in the spotlights. Hillbilly, country boogie, instrumentals and fragments of rock and roll that have lost nothing of their strength after more than half a century.
This collector of Cliffie Stone’s work for Capitol is an unmissable release. Lovers of the other hillbilly albums released by Atomicat, don’t miss this one!

​Beautiful collector with the hits of the 'singing fisherman' Johnny Horton. Rockabilly, hillbilly, country & western and honky-tonk, you will find it all on this handsome compilation. Recommended!

Unique compilation of the work of one of the most influential guitarists of the 20th century. On the first record there are 34 masterful songs from his solo career, while on the second disc songs are brought together on which Chet Atkins acted as a studio musician or producer. Highly recommended!

Pappy Daily was without doubt the man who created a splendid career for the legendary country singer George Jones. Although Pappy never played an instrument and knew nothing from music, he was a man who recognized a great song. Sleepy LaBeef and The Big Bopper who became great artists and sold a lot of records, made their first appearances with Pappy Daily. This album finally puts the spotlights on a man, who often has been forgotten!