Introspection of an emotianal singer-songwriter using some classic instruments and synths, but in a modern electro pop jacket.

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!

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!

This Czech singer will be absolutely not alone on her concerts.  She is very inventive in her compositions and fascinates from start to finish.

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

Fischer-Z frontman John Watts bridged the gap between pop and rock in 2017 with the great album 'Building Bridges'. But he also referred that title to his socially and politically oriented texts. And John remains faithful to that item on his new long player 'Triptych', the successor to 'Til The Ocean Overflow' from 2021. Wats went to the Studio Vega in Carpenras, France, and recorded twelve original songs. Songs that are full of political, social and personal developments. Many tracks were previously on his 'Triptych EP 1' and 'EP 2'. 

Some time ago you got the review of 'PJ Proby Presley Style', which you can re-read here. That album contained demos that were presented to Presley and from which the King could make his choice. But Proby was not the only one who made demos with a complete band for Elvis. Someone who also did that was the singer/songwriter Randy Starr, born in 1930. Around the mid-1950s, Randy wrote songs that were recorded by Jackie Wilson, Connie Francis and The Kingston Trio, among others. In 1957 Randy himself scored as a performer with the poppy 'After School'. However, he would achieve his greatest successes as a songwriter. Between 1963 and 1968, Starr wrote and produced roughly 70 songs, 35 of which you will hear on this album. Starr himself can be heard on 14 tracks and Kenny Karen is responsible for 13. Malcolm Dodds and Jerry Keller are the performing artists for the remaining songs. The demos Randy made for Elvis were extremely professional. Demos of which Presley personally selected no fewer than 12 for the soundtrack of his films. This first volume is part of a mini series consisting of 2 CDs, which will contain a total of 70 songs. On this first volume you get 6 songs that Presley used in his films. These are 'Kissin' Cousins' from the film of the same name, 'The Yellow Rose Of Texas' from 'Viva Las Vegas', 'Look Out, Broadway' from 'Frankie and Johnny', 'Datin'' from 'Paradise, Hawaiian Style' , 'Adam and Evil' from 'Spinout' and 'The Girl I Never Loved' from 'Clambake'.
From the first track it becomes clear that Randy Starr was able to empathize very well with Presley's taste and also did not lose sight of the commercial character. It should also be noted that these are songs that are similar to his films in terms of creating atmosphere. It is therefore no wonder that Elvis chose 12 of Starr's compositions for the soundtrack of his films.
An additional plus is that the Presley fan can listen to the songs here first-hand, just as the King was presented with them. Moreover, Randy Starr also gets the attention he deserves. It is also nice that you can compare these demos with the recordings from the films. This way you can follow the evolution of a song from the songwriter's table to the recording in the studio.
Of the 35 demo recordings, only one was released. The other songs are now appearing on CD or vinyl for the first time.
For the liner notes, Bear Family Records could count on the recently deceased Trevor Simpson, who was in close contact with Randy Starr for years and also interviewed him several times. In addition, the 34-page booklet contains historical photos of both the artists on this album and Presley.
We are already looking forward to 'Randy Starr Presley Style, Lost Elvis Songwriter Demos, Vol. 2'.

On September 12, 1959, ABC TV launched the show 'Boy Meets Girls' in England. The show was the successor to the legendary pop TV series 'Oh Boy!'. The latter took place in a more hectic style, while the new 'Boy Meets Girls' was more sedate. When 'Boy Meets Girls' disappeared from the screen in March 1960, a number of great stars had delivered fantastic performances in it. Eddie Cochran, Gene Vincent, Ronnie Hawkins and Billy Fury, among others, were regularly present. In a tragic coincidence, Eddie Cochran died in a car accident six weeks after the series ended. Series producer Jack Good, planned to rebroadcast Cochran's appearances on the show as a tribute. Unfortunately, he had to find that ABC TV had deleted all recordings.
Later, sound engineer Ron Parker discovered that ABC TV did make audio recordings of Eddie Cochran and Gene Vincent, which had been preserved. In 2013, Rockstar Records released a CD with the recordings discovered by Parker.
The MC of 'Boy Meets Girls' was none other than Marty Wilde. Naturally, he was regularly featured as an artist himself. In addition to the previously mentioned artists, Johnny Cash, Johnny Gentle, Lyn Cornell and The Vernons Girls were also present. A nice anecdote is that after his performances in the show in May 1960, Johnny Gentle took Liverpool's The Silver Beatles with him as backing for a tour of Scotland. Gentle could not  have foreseen at that moment what these boys would do in the near future. But there's more... you'll also hear how Johnny Cash performed during his first TV appearance, where he was accompanied by Joe Brown and The Firing Squad. You will also hear performances from Little Tony, who has been labeled as the 'Italian Elvis, Billy Fury, Michael Cox, Adam Faith, Jess Conrad and many others. The total of 128 tracks cover a broad musical spectrum from rock 'n' roll to pop, both vocally and instrumentally. Sporadically you also hear the enthusiasm of the audience. Let us make it clear that this is not disruptive at all, but rather provides added value.
Moreover, if you consider that these live recordings were made over 60 years ago, you can say that the sound is very good.
Meanwhile, we are in 2024 and Rockstar Records is celebrating its 50th anniversary. A milestone in the label's history that the Rockstar crew does not want to let pass by. The label will celebrate this anniversary with impressive releases throughout the year, which they are already doing with this three-part CD box 'Mighty Good'. The 3 CDs contain recordings that have not been heard since the broadcasts in 1959 and 1960. These are certainly impressive historical recordings. What is also very nice are the announcements and the short conversations that Marty Wilde had with some of those artists. And as if this were not enough, this box comes with a booklet of no less than 64 pages, where you can follow the developments of the TV show through detailed data from various TV episodes. A booklet that also contains beautiful photos and illustrations of the artists participating in the shows. If you know that the scripts of the TV broadcasts suffered the same fate as the TV recordings, then Rockstar Records has achieved a real feat with the release of this box. Even if you only buy one album at the moment, let it be 'Mighty Good'. You won’t regret it!

Fascinating varied musical event with a literary approach.  

​Oriane Lacaille, compositrice et chanteuse d’origine réunionnaise, publie un premier album. Avec la douceur de comptines ou l’ardeur de la transe, elle chante ses joies et ses colères en français et en créole. 

​‘Fever’, first recorded in 1956 by Little Willie John, was covered by Peggy Lee 2 years later and immediately brought her international fame. The song is also featured twice on this compilation. A first time you get the recording from 1958 and a second version is a rare live recording from 1961 made during a concert in New York City. Peggy Lee was one of the greatest voices of her period. Her versatility is formidable on this compilation released by Bear Family in the series 'The Velvet Lounge'. The recordings were made in the period 1948 - 1962 and show Lee in genres such as swinging rhythm & blues, rock 'n' roll, light jazz and pop in both uptempo and ballad forms. Peggy Lee was also accompanied by highly professional orchestras, such as those of Dave Barbour, Gordon Jenkins, Nelson Riddle, Jack Marshall, Ralph Carmichael, Joe Hamell, Quincy Jones and Louis Prima. The 30 carefully selected songs are an anthology from the American Songbook. Songs like 'Alright, Okay, You Win', 'Lover', 'Heart (Corazon)', 'Jump For Joy' and 'Kansas City' speak for themselves. By the way, Lee knows how to leave her mark on all tracks. Even the often covered '(Ghost) Riders In The Sky (A Cowboy Legend)' is given extra shine by Peggy. Handsome is definitely an early version of 'Everybody Loves Somebody'. Peggy Lee already recorded it in 1948. Later in 1964, the song would give Dean a mega hit. The songs by Ray Charles that Peggy Lee covered also bear witness to a rare beauty. That applies to 'Hallelujah, I Love Him So' and certainly to the live performed 'I Got A Man (I Got A Woman)'. She presents a nice example of a compelling ballad with 'Uninvited Dream'. Cliff Richard recorded the ballad ‘I'm Lookin' Out The Window’ in 1962. The original version belongs to Peggy Lee, who recorded it for Capitol in 1959. Along with the aforementioned live versions of 'Fever' and 'I Got A Man (I Got A Woman)', the album closes with 'Yes, Indeed'.
Peggy Lee passed away on January 21, 2002 at the age of 81. The 38-page booklet contains Peggy Lee's biography as well as all the info about the tracks.
This compilation puts the impressive versatility of the legendary Peggy Lee in the spotlights in a fantastic way on the basis of 30 tracks. Recommended!

​The tried-and-true cliché "not to be taken for granted" seems to have been invented for Daan Stuyven. His work defies conventions and ticks multiple boxes. His ‘Housewife’ is a benchmark in Belgian dance history, he evoked Johnny Cash with 'Icon', provided soundtracks for various films, composed a blazing indictment of right-wing political parties with 'Landmijn', et cetera. In April 2023, he surprised and baffled all by covering 'Intro' by Metejoor as a spoken word parlando for TV show 'Liefde voor muziek'. On paper it sounded like a recipe for disaster, but in Daan's hands it became an instant classic.
 
New album 'The Ride' is vintage Daan. In 'High' one can recognize the click track from 'Da da da' by the German Trio. The Casio VL-1 drum computer is one of Daan's favorite working instruments, which he buys at flea markets. 'Morning Sun' resembles a slowed-down 'I Want to Break Free' by Queen, although that was anything but the songwriter's intention. 'The Dancer' is described by the maestro as 'the evil beastie, an annoying song,' but it's refreshingly cool. The absolute highlight of ‘The Ride’ however, is the opening track of the B-side, ‘16 Men’. In the song, Daan apologizes to women for not being able to be everything. He very generously replaces himself with sixteen other men. The song's close harmony is reminiscent of The Temptations’ or The Four Tops’ best work. An incredibly catchy, danceable song that will haunt your head for weeks to come. Today alone, I sang it out loud four times.
 
'The Ride' lives up to its title. It's quite the ride. Great record

Sherri Anne lets the band speak with messages and eclectic compositions from folk, reggae, blues to rock. Fine album with a few superb songs.

​New Flemish songs from the talented Eva De Roovere, songwriter-singer-producer.  Once again very atmospheric and cheerful popsongs.

​Melancholic ambient popsongs that can’t confirm the expectations. Except the single ‘Highly Overrated’ which convinced me of the band’s potential.

Tender and powerful psychedelic songs, with a lot of emotion.  Definitely one of the best albums of the year.  Just love it, John!

​Wonderful journey into the musical intelligence of singer-songwriter Allan Thomas.  Poetic and spellbounding. Very Recommended!

​After the previously released first volume, 'Rockin' Rollin' Covers' now also gets a sequel. Again you get 30 songs, most of which you definitely know in the original version. Some of these tracks have been covered countless times, while you rarely find a cover version of other songs. In short, enough reasons to go on a voyage of discovery.
It is a fact that only the very best covers were selected. 'Rockin' Rollin' Covers, Vol. 2' is highly recommended.

​The third album of Blue and Broke will entertain you from start to finish, and beyond.  Made with love and skills, surprises included.  Night Shadows grows with time!

​Adam Douglas loves the soul expression with (jazz)horns and a background choir.  His way to find the better angel in himself.  A positive vibration flows into the listener.

​Usually hits are original songs by the respective performing artist (s). Usually, but not always. Sometimes they revert to already existing songs, which could not generate hit status in the original performance. Provided that the arrangement was modified, another performer could score with it. Sometimes you still recognize the original number, but very often you don't know about the original either. The Jasmine label dug into the past of a few hits and came to surprising conclusions.
This album contains no less than 33 songs in their original version. Original versions that are usually not inferior to the hit versions.

​Enjoy the catchy popsongs from Aiala.  She’s not Amy Winehouse but definitely more creative.  Love her music!  She has it all!

Travelling gives inspiration with ups and downs, a smile and a tear.  Strong contemporary popsongs with good vibes.  

​With his recordings Jimmie Rodgers, not to be confused with the country artist of the same name, managed to hit the American and English charts more than twenty times between 1957 and 1962. Although he was previously portrated as a folk or pop artist, he was still allowed to assume the status of a teen idol. The teenagers saw in him more of a rock and roll artist. That is certainly not surprising, because a number of his songs flirt with rock and roll and have a groove that the young folks of the time certainly found a connection with. In addition, his sweet pop songs will certainly have contributed to this.This compilation contains Rodgers recordings made for the labels Roulette and Dot and in addition to his hits you also get some rare recordings.

​When releasing a single, a record company naturally chooses to put that song on the A side that contains the most hit potential and will therefore generate generous income. Usually that is the case and the B side is filled with a discard. And yet, if you listen to this compilation, there are quite a few singles with hits on both sides.
The Jasmine label bundles on this compilation 32 of those B sides of hit singles that came out from the mid-1950s to the early 1960s. As it concerns hit singles, this album contains only well-known artists, who stormed the charts with pop, rock and roll and instrumental songs. Nice compilation!