Al Michaels, or Alan O’Donnell as his identity card states, is not only a singer but also active on the double bass. He is known to many for his involvement with The Empires and Sickville, but now he is starting his solo career as Al Michaels. He does this with the EP ‘This Boy Ain’t So Bad’, on which he presents 4 songs of his own making. The repertoire of the Inteli-Gents, of which he is still a member, contains covers in the genres rock-‘n-roll, doo-wop, swing, jazz and vocal harmony songs. Certainly very nice, but Al wanted more. He dreamed of recording in a different style and thus making his dream come true. After he had finished the 4 songs on this EP, he contacted the German-based Brisk Records, owned by Ray Collins, known as bandleader of the Ray Collins Hot Club named after him. Michaels had known the guests of this band for some time and after he had recorded the 4 songs, the label decided to release them as an EP. Al provides the vocals and also plays the double bass. As a drummer, he called upon Mick Colley, who recorded with The Empires and is also part of the Inteli-Gents. He borrowed guitarist Jim Knowler from the Keytones and Swing Noir. With this EP, Michaels not only profiles himself as a talented songwriter, but he also paid the necessary attention to the sound. For example, this record should be played at 33 1/3 rpm, which, given the length of the songs, benefits the sound. Musically, Al sought his inspiration in rock-‘n-roll, while social realism influenced him for the lyrics. Al starts off right away with the title track, a rock-‘n-roll song of size, in which he profiles himself as a unique singer. A feather in his cap certainly also goes to Jim Knowler, who shows a more than fine example on the six strings. And pay special attention to the surprising and brilliant ending of the song. With successor ‘Mister Lonely’ we move towards rockabilly and there too Michaels does not tread any beaten paths, but again surprising song twists come to the surface. The second side opens with ‘Spirit Of You’ that shows a good dose of rocking swing with subtly dosed jazz and this song also takes unexpected wonderfully idiosyncratic directions. Al concludes with the cheerful ‘Fine Time To Come’.
If rock-‘n-roll were to see the light of day for the first time today, Al Michaels would stand head and shoulders above his colleagues. Original songs, very melodic, surprising twists, a wonderful voice and excellent accompaniment are the tools that Al expertly uses.
At the Rockabilly Rave that takes place from 27 to 31 March you can see Al Michaels live at work. Al plans to make more recordings in the near future, as well as to release a video clip.
In the meantime we enjoy ‘This Boy Ain’t So Bad’. By the way, we would rather end with ‘This Boy Is Damn Awesome’. Highly recommended!

Elvis would have turned 90 this year. This inspired the German Bear Family Records to release the fourth volume in the series ‘The Elvis Presley Connection’. The first volume in this series focused on the 1950s, the second covered the late 1950s up to and including 1962 and the third contained the period 1963-1966. The fourth volume puts the period 1967-1969 in the spotlight. In the 1960s, Elvis mainly concentrated on his film career in Hollywood, but he reclaims his place on stage in 1968 with the grandiose ‘Comeback Special’. This volume also contains 28 impressive tracks. Both original songs that Elvis covered, as well as covers of original Elvis songs. That Presley had a nose for great songs is beyond dispute. In addition, he was also extremely creative in the period 1967-1969 and recorded many timeless hits. Think of ‘Guitar Man’, ‘Big Boss Man’, ‘Hi-Heel Sneakers’, ‘U.S. Male’, ‘In The Ghetto’ or ‘Suspicious Minds’, of which you get all the original versions here. A fun fact is the following. ‘Guitar Man’ is here in the original version by Jerry Reed, although Bob Luman’s version inspired Presley more. On the version that Elvis recorded, Jerry Reed played lead guitar. Incidentally, he also did that on Presley’s version of Jimmy Reed’s ‘Big Boss Man’. That song is also here in the faster version by Charlie Rich, clearly the version that inspired Elvis. Jerry Reed was a great source of inspiration for Presley, because ‘U.S. Male’ was also written by him. A classic within rhythm & blues is Tommy Tucker’s ‘Hi-Heel Sneakers’. In addition to Elvis, José Feliciano, Jerry Lee Lewis and Jeff Beck also covered the song. In 1967 Elvis recorded the magnificent ‘You Don’t Know Me’, a song performed here by Ray Charles. Elvis’ musical interests were very broad. He also covered ‘You’ll Never Walk Alone’, now the theme song of Liverpool’s Football Club, here in the version of crooner Andy Williams. This song is also performed by the formidable Conway Twitty. The version of ‘A Little Less Conversation’ by Mac Davis, who wrote the song together with Billy Strange, also sounds wonderful. As is known, Elvis was a fan of gospel, including the song ‘Saved’, which he performed in a medley on the ‘Comeback Special’. The original version by LaVern Baker graces this compilation. Presley often preferred to record songs that had made a great impression on him, rather than using the new songs that were presented to him. For example, he often sang ‘Tiger Man (King Of The Jungle)’ live in a medley with ‘Mystery Train’. ‘Tiger Man (King Of The Jungle’ is the original version by Rufus Thomas who recorded it in 1953 in Sam Phillips’ Sun studios. You experience a touch of country in ‘Long Black Limousine’ by Vern Stovall. It was Elvis’ first song that he recorded in the American Sound Studio in Memphis in 1969. Bobby Bare’s version, which you can also hear here, sounds ‘country to the top’ and has more connection with Elvis’ version. Ned Miller scored worldwide with ‘From A Jack To A King’. Elvis previously sang the song with a gospel slant, which made Miller decide that Presley’s version was better than his own. ‘In The Ghetto’ was one of the many monster hits for Elvis. Here you hear the version by Mac Davis who was also a co-writer, although it must be said that Elvis added more empathy to the song. ‘Suspicious Minds’ is a composition by Mark James, who also recorded the song as a single. James’ producer Chips Moman and also owner of the aforementioned American Sound Studio, offered the song to Presley after James’ single flopped. Not surprising when you hear his version. James clearly lacked a connection with the song. Before Presley made the second take of Johnny Tillotson’s ‘It Keeps Right On A-Hurtin’’, he jokingly sang ‘Only The Lonely’ by Roy Orbison. When Elvis was asked why he didn’t record an Orbison song, he replied that Roy’s songs couldn’t be sung better.
A rarity on this album is certainly the Elvis-inspired Vince Chu from Singapore, with his version of Carl Perkins’ ‘Blue Suede Shoes’.
In the 38-page booklet, you get, in addition to rare photos and illustrations, extensive information about the recorded tracks and the artists. The King was inspired by rhythm & blues, soul, country, rock-‘n-roll, gospel and pop and he always managed to make those songs immortal thanks to his beautiful voice and empathy. Great album!

Columbia and Epic Records, which operated under its wings, had many talented artists under contract. The archives of both labels are therefore almost inexhaustible when it comes to the magnificent rock-‘n-roll and rockabilly that they recorded. It is therefore not surprising that volume 49 in the ‘That’ll Flat… Git It!’ series pays attention to these record companies for the fourth time.
It is also not surprising that this volume is bursting with well-known names. For example, you will find no less than two tracks by Carl Perkins here, namely ‘Pop, Let Me Have The Car’ and ‘Jive After Five’. Johnny Horton also makes himself heard twice. He is there with ‘Ole Slew-Foot’ and ‘I Don’t Like I Did’. Other well-known people come along with, among others, The Collins Kids with the unissued ‘The Cuckoo Rock’, Rose Maddox with the nicely rocking ‘Hey Little Dreamboat’, Ronnie Self and Link Wray. Link made a splash with his wonderfully distorted guitar in many cool instrumentals. Here he gets behind the microphone for the nicely tempo-changing 'Mary Ann'. Fortunately, he doesn't leave his guitar in the case here either.
The album starts off very promisingly with 'Run'em Off' by Billy Brown. Perhaps not so well-known at first, but he was the one who recorded the 'He'll Have To Go' made famous by Jim Reeves for the very first time. There is also Bill Craddock with the incredibly clever and catchy 'Lulu Lee', including a breathtaking sax solo.
The artists under contract with Columbia were even allowed to occasionally colour outside the lines of their familiar genre. In this way, a number of artists who were known under the 'country' label were also able to show their rockabilly side. This certainly applies to ‘Little’ Jimmy Dickens who sublimely mixes country with rockabilly in ‘Salty Boogie’ and ‘Country Ways And City Ideas’ with a cool fiddle solo. Billy Walker also scored several times for Columbia with country songs. He also rocks country-style here on ‘Whirlpool’. Country is also the undertone of Onie Wheeler’s ‘Onie’s Bop’. Someone who also got that chance was Johnny Bond. In addition to being a guitarist, songwriter, author, radio figure, actor in Western films, he was also a not bad singer, as you can hear here on ‘All I Can Do Is Cry’. A touch of country also adorns ‘I’m Lookin’ For A Musterd Patch’ by ​​Jimmy Murphy, provided with a wonderful harmonica.
Traditionally, you will also find a number of rather rare, discoverable recordings here. Sublime rockabilly also comes from The Tunesmiths with ‘Oh Stop!’ and also note the excellent steel guitar and fiddle. Impressive is the blues shuffle-modeled ‘Who’s Been Here’ by Commonwealth Jones, with excellent work on the six strings. Charlie Adams also graces this compilation with ‘Black Land Blues’, Lefty Frizzel’s younger brother David Frizzell with ‘Tag Along’ and Jim Burgett with the slower ‘The Living Dead’.
Volume 49 concludes with Wally Hughes and the train song ‘Bye Bye Baby (Movin’ Down The Line).
This album also comes with a beautifully produced 34-page booklet with all the information about the artists and the tracks.
For excellent rockabilly and rock-‘n-roll, people often only look at the recordings of Sam Phillips’ Sun Studios. But admit that they didn’t have to give in to Sun at Columbia.

Lovesick is an Italian based band formed of Paolo Roberto Pianezza, Francesca Alinovi and Alessandro Cosentino. They are all multi-instrumentalists, whose influences are deeply rooted in the American Country, rock'n'roll and western swing music of the 40s and 50s. In some songs The Mavericks are never far away. What a wonderful voice Pianezza has! And then that tight and cool rhythm section. 'Remember My Name' is a brilliant release... 

In ‘The California Acetates And More’ series, this edition about Terry Fell is the third release. Jimmie Dolan and Billy Barton were previously featured in this series.
This box about Terry Fell also contains 3 CDs with a total of 94 songs and covers Fell’s career that ran from 1945 to 1963. Added are a number of Fell’s compositions that were recorded by fellow artists for the Lode Records label, which Fell owned. On this 3-part box, which focuses on Fell’s uptempo songs, you get no less than 21 acetate recordings, two of which are by Sammy Masters, which belonged to Fell’s record label.
Terry Fell was born on May 13, 1921 on a farm in Dora, Alabama. According to himself, he started playing guitar and harmonica at the age of 14 or 15 and played along with local musicians for fun. His musical interest was mainly sharpened by the broadcasts around The Grand Ole Opry and more specifically by The Delmore Brothers. A nice anecdote is that, at the age of 17, he decided to cycle to California, but he soon realized that the distance was too far. Fell sold his bike and together with a friend he went to California. His family joined him there around 1938-1939. Terry did volunteer work there and developed his musical talent by working with Merle Lindsay's Oklahoma Night Riders and shortly after with Billy Hughes and The Pals of The Pecos. His collaboration with Everette Ishmael 'Billy' Hughes also put Terry on the road as a songwriter. Between October 1945 and June 1946, Fell recorded three releases on the Memo Record label. He then signed with the Fargo Record label in 1946, where he recorded with His Red River Rangers. When listening to the recordings on this release, it is immediately noticeable that these last recordings are completely different and more refined in terms of arrangements. You can hear that especially on ‘You Don’t Want Me Any More’, which Terry recorded for Fargo in 1946.
In mid-1946, Fell signed for Courtney Records, where he recorded under his own name, as well as working with Lucky White and Dude Ranch Playboys, Douglas Venable and His Bar X Ranch Hands, and his most active participation with Leodie Jackson and His Western Swingsters. You will find songs from the latter on the first CD, including the sublime instrumental ‘Steeling The Blues’. Both on these tracks and on, among others, the instrumental ‘Texas A La Mode’ recorded for Courtney that Terry recorded with His Seven Southerners, you can hear that Terry evolved enormously musically. In 1947 Fell moved to the 4 Star Record label for a short period, where he recorded a new version of the Memo-released ‘I’ve Done All I Know To Do’. You can hear all this and much more on the first CD, which ends with 10 acetate recordings, and from which you can conclude that Terry had grown enormously as an artist in just a few years. Also note the good sound quality that could be achieved from the ‘acetates’.
 
With the second CD we find Terry’s recordings for the Gilt-Edge label, which after a short existence would merge into 4 Star Records. He recorded two sublime boogies for Gilt-Edge, namely the instrumental ‘Fireball Boogie’ and the sung ‘I Can Hear You Clucking’. With ‘Hillbilly Impersonations / Smoking Cornsilks’ Terry’s collaboration with Gilt-Edge ended in 1953. In late 1953, early 1954 he found a home with RCA's "X", for which he made five releases. His first recording for that label also gave him his first hit, namely 'Don't Drop It', which rose to fourth place in the charts. From the first notes you can hear that the song has commercial potential. Not surprisingly, it would be covered by Tommy Sands, Red Sovine, Betty Amos, Wilbert Harrison and Jerry Lee Lewis. Strangely, however, the b-side 'Truck Driving Man' did not make the charts. It was still a wonderful and now legendary country rocker, with a catchy harmonica. The song would be covered more than 90 times. Well-known covers are certainly those by The Green River Boys with Glen Campbell, Bill Woods, Buck Owens and His Buckaroos and Rick Nelson. Bill Woods' version can be found on the third CD. Also worth mentioning is ‘Mississippi River Shuffle’ that Terry recorded for “X” and where you can hear that rock-‘n-roll is starting to germinate. The second CD ends with 8 acetate recordings, including demo versions of ‘Smokin’ Cornsilks’, ‘Don’t Drop It’ and ‘Truck Driving Man’.
 
But Fell’s collaboration with “X” also failed. The label broke off the collaboration 4 months after Fell’s 34th birthday, after which he switched to the big RCA Victor. There he recorded a remake of his Gilt-Edge recording ‘I Can Hear You Clucking’. With the recording of ‘Wham! Bam! Hot Ziggity Zam / Consolation Prize’ on February 10, 1956, his collaboration with RCA Victor ended, which also brings us to the third CD.
 
In 1958, Terry took matters into his own hands and founded Lode Records and Lode Publishing, which he ran from his home address. He made magnificent recordings there with his most creative artist Sammy Masters and Fell himself did it under his pseudonym Johnny Valentine in the poppy ‘Angel On A Cloud’ and ‘Sandy’. That the appreciation between Terry and Sammy was mutual, Sammy proved by recording his ‘Hootnanny Hill’ and ‘Jenny Come Down’ as acetates for Fell. However, these numbers were never released commercially and you hear them here for the first time. Formidable rockabilly that flowed from Fell's pen can be heard here on Curtis Gordon's ‘Play The Music Louder’. Eddie Cochran is also present with ‘Never’, a composition by Fell, often wrongly attributed to Merle Travis and the also by Fell’s hand ‘Craddle Baby’
Fell rocked under his own name in ‘Y’All Be Good Now’. Lode Records recorded cool songs, such as the instrumental rocking ‘Grounded Wasp’ by Bob Morris and Gary Links ‘Her Skirt Was Just Too Tight’.
 
Terry Fell was not a real rock-‘n-roll artist. He did get involved in rock-‘n-roll indirectly because he added his country boogie to rock-‘n-roll. You can convince yourself of that on the third CD, where he managed to secure a place within rock-‘n-roll.
This release ends with ‘That’s What I Like’. Incidentally, it is the version he performed during his only known TV appearance, which was recorded on November 5, 1955 during the Ozark Jubilee and where he was introduced by Red Foley.
Fell moved to Nashville, Tennessee in 1962 after having lived in Downey, California for 26 years. In Nashville, he rarely appeared in public due to throat problems. He did work there as a songwriter until his retirement. Terry Fell passed away at the age of 85 on April 4, 2007. It goes without saying, but with this release in ‘The California Acetates And More’ Atomicat has hit the jackpot yet again. Three stunning CDs full of discoveries, supplemented with a 16-page beautifully designed booklet by reissue producer Mark Armstrong, in which you can find all the information about Terry Fell. The way in which the label puts well-known and lesser-known artists in the spotlight is unique. Without a skilled and talented team, series like this would not be possible. We would therefore like to mention the clever design by artist Urban Zotel, Heiko Schulz of Black Shack Recordings responsible for the good sound result of the acetates and The Studio That Time Forgot in El Paso Texas for mastering the albums. They did an excellent job, so that we can enjoy these 94 gems. What a great series!

It has been since 2020 that female rock 'n' roll artists were able to show their talents via volume 5 in the 'Rock 'n Roll Kittens' series. Fortunately, there is now a sequel with volume 6 in this series with 'Hot Licks' as the title. What can you expect? Well, that is no less than 25 of the hottest rock 'n' roll, which the 'chicks' recorded between 1956 and 1963. Authentically rocking, Karen Wells immediately flies in with full conviction as 'The Wine Maker's Daughter' with 'Never Gonna Let Him Go'. She is followed by Betty McQuade who had Wanda Jackson in mind for the interpretation of 'Tongue Tied'. That 'Johnny B. Goode' also remains upright in a female version is shown by JoAnn Campbell. And also pay attention to that nice guitar solo. In the middle of the previous century it was not unusual for the artists on the A side of a single to differ from the B side. This also happened with the instrumental ‘Hot Licks’ by The Rendell’s. On the flipside was ‘Oh It Hurts’ by the female group The Karol’s. A song that can also be found on this compilation. It was not only teenagers and twens who recorded great rock’n’roll songs. Annisteen Allen was already 37 years old when she recorded ‘Rough Lover’. It is therefore completely normal that the song sounds more mature due to its somewhat bluesy slant.
Rick Nelson is no stranger. You do not hear him vocally here, but he and his band do provide the accompaniment on ‘Kiss Me Baby’ by Laura Lee Perkins.
‘Mother-In-Law’ was a big hit for Ernie K. Doe. ‘Son-In-Law’, a female adapted version, is provided here by Louise Brown. Nice, certainly because of the prominent presence of the piano and the excellent bass solo, is ‘You’ll Need My Help’ by Betty Jo.
For a headstrong lady, you should go to Charline Arthur. She didn’t like how the recording should sound according to her producer. She only wanted to record the way she wanted. I am sure she did the same for ‘Hello Baby’, given the unusual and minimal arrangement.
Girl groups, although they were still politely called ‘trio, sisters or twins’ in the fifties, are the Jaye Sisters. Sandy Schneider and the sisters Jean and June Hendon were the members. ‘G 3’ also contains wonderful harmonies as we are used to from such groups. More of this genre are also presented by The School Belles with ‘Waitin’ For My Date’, Austin Sisters in ‘It Happened At The Hop’, ‘Go On Baby, Cry On’ by Myra Sisters, the duo Tracey Twins with ‘Don’t Mean Maybe Baby’, The Joytones in ‘Gee What A Boy!’ and The Chantels in ‘Never Let Go’. The same goes for ‘Boys Guess Things Happen That Way’ by Apaapa Sisters. More in the direction of country, including fiddle, The Nettles Sisters did it in ‘Real Gone Jive’.
A contemporary recording is coming with Barbara Portland and the swinging ‘Gonna Tear Your Playhouse Down’. Barbara recorded the song this year in the Lightning Recorders Studio in Berlin, but the recording was not released before. Unbelievable, because it is a great version.
You can’t think of a more appropriate song than ‘That’s It’ as a closing track. The person responsible for this song is Babette Bain, who also played in many films as an actress. There is a lot to discover on this album. Songs that have remained unknown until now, but are now finally reaching the general public through series like this. I am now more convinced than ever that there are still many beautiful things that have not reached our ears.

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.

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.

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 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.

Bear Family Records’ ‘On The Dancefloor With’ honors one of the most successful American female singers of her time with the latest release around Connie Francis. With a number of songs, such as ‘Stupid Cupid’, ‘Lipstick On Your Collar’, the co-written ‘Vacation’, ‘Everybody’s Somebody’s Fool’ and the LaVern Baker cover ‘Tweedle Dee’, Connie also became known in Europe. But apart from these nice and strong songs, she had more up her sleeve. Connie could namely bring various musical genres very convincingly. Her emotional empathy in her songs was without a doubt her strong point. Whether she had to sing a tearjerker or a raw rock-‘n-roll song, she always managed to send the song to a high level. The fact that she got the music from home will certainly have contributed to that. Her father played the concertina and sent Connie to music school for accordion lessons when she was barely three years old. Through talent shows on television she slowly but surely ended up in the music business, with the known result.
For ‘On The Dancefloor With Connie Francis’, compiler Nico Feuerbach chose, in addition to the previously mentioned songs, also the effervescent rockers and ‘dancefloor killers’ from Connie’s career. In total you get no less than 32 sublime tracks.
With opener ‘If My Pillow Could Talk’ you immediately hear Connie’s vocal qualities and empathy. That song is followed by the well-known ‘Stupid Cupid’ with none other than Neil Sedaka, who was also a co-author, on the piano. As a co-author Neil would also provide her with ‘Fallin’’ and ‘Baby Roo’.
Connie could also count on enormously talented songwriters and leading orchestras. For example, this compilation contains ‘The Tiger And The Mouse’ by Doc Pomus and Mort Shuman. She comes across as a light jazzy rocker in ‘Ol’ Man Mose’ by co-writer Louis Armstrong and in ‘Send For My Baby’. Eddie Curtis also wrote a number of beautiful songs that suit Connie, such as ‘Gonna Git That Man’, ‘Johnny Darlin’’ and ‘Telephone Lover’. For a while Connie had a relationship with Bobby Darin, until her father did everything he could to drive the two apart. Bobby did co-write Francis’ smooth-sounding ‘Come On Jerry (Timber)’. Don Covay, who later became known as a soul artist, co-wrote the handsome rocking ‘Mr. Twister’ together with John Berry and Mark Lewis. John D. Loudermilk was responsible for ‘Hollywood’ and ‘He’s Just A Scientist’. The well-known composer Irving Berlin gave Connie the crooner song ‘The Song Is Ended (But The Melody Lingers On). That Connie could interpret various musical styles without any problems is evident from the Latin-like ‘Torero’ and ‘Malaguena’. But she also had talent as a songwriter. You can enjoy that during ‘Plenty Good Lovin’’. The album ends appropriately with ‘Goody Goodbye’. This compilation makes it clear once again that Connie Francis is a great singer, who recorded songs that are still impressive today.

Rob Heron & The Tea Pad Orchestra is a band that is hard to pigeonhole. The band is influenced by rockabilly, blues, country, swing and soul, but the way they turn these styles into a ‘melting pot’ is quite unique. With ‘Feet First’ the gentlemen are already on their sixth album. This album was recorded in two days at the Lightning Recorders studios in Berlin. Studios that are known for authentic analogue recordings. ‘Feet First’ was recorded without overdubs and is therefore the capturing of a musical moment. In short, authenticity is the key here! In addition to Rob Heron (vocals, rhythm guitar), the band consists of Tom Cronin (baritone guitar, mandolin, harmonica and backing vocals), Ben Powling (tenor sax, clarinet and backing vocals), Adam Richards (upright and electric bass and backing vocals) and Paul Archibald (drums and percussion). Of the 14 tracks, 13 flowed from Heron's pen and one, namely 'Happy Hour' is a song by Arnold Lasseur. The songs meander between rock-'n-roll, blues, country and folk and everything in between. The arrangements are however so unpredictable, which reveals an original and unique sound. A sound that has its origins in the clubs, dance halls and theatres of the middle of the previous century, but which is given a contemporary but above all idiosyncratic look by Heron and his companions, which gives each song a life of its own. For example, 'Six Month Sleeper' evokes a somewhat Vaudeville atmosphere, while 'Three Button Suit' clearly refers to authentic country. Swinging is 'I Blinked And It Was Over', which can boast a nice part of harmonica. A touch of folk later adorns 'Hungry For Your Love'. A song that also contains a nice change of tempo, after which we waltz through 'Another Night In The Doghouse'. ‘Every Day Is Misery’, which comes later, is built on solid rock-‘n-roll foundations.
Rob Heron is not only a talented songwriter who does not shy away from humor in his lyrics, but also a passionate performer. An album to cherish!

Recently you already received the reviews of the fourth volumes in the series ‘Stroll-A-Rama’ and ‘Jive-A-Rama’ on this site and now it is the turn of ‘Bop-A-Rama’. Here too the Atomicat label serves you 30 boppin’ tracks. 28 of them date from the golden period 1953-1963, supplemented with 2 tracks from the Rhythm Bomb Records archives. Brace yourself for energetic rockabilly, rhythmic country rockers and tight blues. Tony and Jackie Lamie with The Swing Kings may surprisingly give the starting shot with ‘Sunset Blues’, a song that has rockabilly, country and blues in it. The next one to be discussed is a well-known one, namely Moon Mullican. The fiddle breathes both hillbilly and country in ‘Jenny Lee’. Among the accompanists we find guitarists Hank Garland and Grady Martin. Martin returns later for brilliant guitar work on the bopping ‘Be Bop Baby’ by Autry Inman. Grady was a much sought-after studio musician, because he also provides a sublime sound on the six strings on Johnny Bond’s country-like ‘All I Can Do’. Clever guitar work also adorns ‘You Can Have My Love’ by Judy Capps and Pat Kingary. A cool rock-‘n-roll song comes with ‘It Ain’t Right’ by Gordon Terry, who brings in wonderful backing vocals with The Jordanaires. Mojo Buford became known as a harmonica player in Muddy Waters’ band. Here you can hear him at work on the blues harp in the instrumental ‘Can’t Sit Down’ by the Voodoo Men. Buford also has a link with the next number, the well-known ‘Hold Me In Your Arms’ by that other blues harper James Cotton. When Cotton left Muddy Waters’ band in 1967, Buford returned to replace him. Cotton leaves the harmonica in the box here and concentrates on the vocals. Also note the beautiful guitar of Pat Hare. Henry Wilson with The Bluenotes present a top rockabilly number in ‘Are You Ready’. Curley Jim was originally a country singer. That rock-‘n-roll is also in his genes, he proves with The Billey Rocks on ‘Rock And Roll Itch’. Sonny Hall also provides more rousing rock with ‘My Big Fat Baby’, as does Ricky and The Stompers with ‘The Wild One’. Rock-‘n-roll in its purest form comes later with Billy Smith and ‘Tell Me Baby’. Guitarist Joe Maphis was Larry Collins mentor and Joe can also be heard here. Larry formed The Collins Kids together with his sister Lorrie. Youthful rock of the highest order is the result here and can be heard on ‘Hoy Hoy’. ‘Great old school country’ is next with ‘Wishin’ I Was Kissin’ You’ by Leon Merritt. Vocalist and drummer Willie Nix worked with blues legends like Earl Hooker, Walter Horton and Joe Hill Louis. Of course his ‘Just Can’t Stay’ can also be classified as blues. More blues follows immediately afterwards with grandmaster Lightnin’ Slim in ‘Have Your Way’. On the harmonica you hear super face slider Lazy Lester. You certainly know the country blues ‘Step It Up And Go’ from Sonny Terry & Brownie McGhee. In a completely different arrangement, with beautiful backing vocals by The Jack Halloran Singers, Mac Wiseman presents the song here. The Netherlands also made itself heard through Peter Koelewijn in the golden years of rock-‘n-roll, and….. in Dutch. No ‘Kom Van Dat Dak Af’ here, but the equal ‘De Hele Stad Is Gek En Dol’. A beautiful steel guitar characterizes the mix of hillbilly and country in ‘Baby I’ll Soon Be Gone’ by Lattie Moore. Unfortunately unknown to many!
Tracks 29 and 30 are reserved for the songs from the archives of Rhythm Bomb Records. First up, the British Rhythm River Trio may perform with the seventh take of ‘I Can’t Go’. A song that can be heard here for the first time. The Australian Chrome Daddies may close with ‘It Must Be Something’. The released version can be found on their album ‘Gear Up Daddy’.
Frontman of the Daddies is Doug Wilshire. On the previously reviewed fourth volume of ‘Jive-A-Rama’ you can hear him under his own name in ‘Five Star Boogie’.
It is clear that the Atomicat team does not ‘take any chances’ when compiling albums. These series never disappoint, but……….. they do leave you wanting more!

Recently you could read the review of the fourth volume in the ‘Stroll-A-Rama’ series on this site, but the series ‘Jive-A-Rama’ and ‘Bop-A-Rama’ also got a fourth volume. The review of the new ‘Bop-A-Rama’ release will be available soon, but first let’s treat our ears to the 30 tracks on ‘Jive-A-Rama’. It immediately becomes a big jive party with Eddie Cochran and the incredibly handsome ‘Sweetie Pie’. If Eddie hadn’t passed away so early, he would undoubtedly have provided many more musical surprises. Listen carefully to his guitar playing on this recording and you will know. You will also get more formidable guitar work on the next track, namely ‘I Must Be In Love’ by Johnny Parker. Bob Gallion was originally a country artist. He also took those influences with him for ‘My Square Dancin’ Mama (She’s Done Learned To Rock And Roll)’ with excellent fiddle and steel guitar. Eddie Cochran also returns on Johnny Burnette’s ‘Me And The Bear’. Together with the other legend Joe Maphis he provides sublime work on the six strings. A duet always radiates a certain atmosphere. Especially when the voices match super. That is the case with Chuck and Betty on ‘Come Back Little Girl’. The 10 inch album ‘Follow The Leader’ by Lillian Briggs was a superior release. The rocking title track can also be found on this compilation. Some artists make one single and then disappear from the musical scene. Bobby Baron was one of those who only recorded ‘Silly Milly’. Incomprehensible, because the song had everything to score. In addition to being co-owner of the MCI label, Connie Conway was also a producer. You hear him under his own name, supported by doo-wop backing vocals on ‘Baby’s Comin’ Home’ and Connie returns as a producer on Jimmy Dell’s ‘The Message’. The accompaniment features studio guitarist Al Casey, who worked with Duane Eddy, among others. Pure doo-wop comes later with the vocal group Otis Williams and His Charms in the uptempo ‘Little Turtle Dove’, in It’s Good To Me (You Don’t Know And I Don’t Know) by The Ospreys and during ‘Friction’ by The Five Stars. A cracker is certainly ‘Little Ole You’ by country artist Wayne Walker, who subtly lets country shine through. The music business sometimes acts strangely. For example, the DOT label was not interested in the gem ‘Here I Come’ by Jimmy Dee and The Offbeats. You can hear from the first notes that they were wrong. For an authentic song drenched in echo, you can go to ‘I’m Gone’ by Vic Gallon. The guitarist on duty was Dennis Coffey, who later joined The Royaltones. ‘Ooby Dooby’ and ‘Four Winds’ are classics. The first one comes in a New Zealand version by The Schneider Sisters and ‘Four Winds’ comes with Bobby Charles. ‘What’s The Word Thunderbird’ can also be counted among the classics. The popular cheap wine is sung by the duo Bobby and Buddy. An instrumental guitar song could not be missed. That is filled in by Johnny and The Cyclones with ‘Twisted Fender’. Exciting and tearing sax rather define ‘Rock A Little Bit’ by Vi-Kings with Nils King. ‘I’m A Fool That’s Why’ by Charlie Gracie contains many ingredients of Presley’s songs. It’s up to you to discover them!
After the 28 tracks recorded between 1956 and 1963, you get 2 more songs from the rich Rhythm Bomb archive. The first track comes from Jason Lee Wilson with ‘Henry The Hammer’. It is the previously unreleased ‘take 7’, of which the released version can be found on the album ‘High Country’. The second song is ‘take 6’ of ‘Five Star Boogie’ by Australian Doug Wilshire. On the album ‘Cuz Of You!’ you will find the released version.
‘Killers And No Fillers’ is still the motto of the Atomicat label. Do we need to add anything to that? I don’t think so!

The series 'Stroll-A-Rama', which started in 2020, is now being enriched with a fourth volume. Compiler Mark Armstrong has once again collected 30 tracks that form the ideal soundtrack for the 'slow rocking stroll dance' from the fifties. Not that it is strictly necessary to push all the furniture aside and overload the perhaps stiff muscles. After all, the 30 tracks are also extremely enjoyable without the accompanying 'moves'. However, if you believe that exercise would have a positive effect, then you will immediately get your money's worth with 'Baby Workout' by Leroy Jones. Jones is followed by Don Dowing, the brother of the well-known pianist and singer Big Al Downing. Don delivers a magnificent rocking rhythm & blues with 'Have You Seen My Baby'. Before he achieved success as Delbert McClinton, he recorded 'The Cat' as Mac Clinton, accompanied by The Straitjackets in 1962. Number that is set to rocking tracks with a great intro on the blues harp. You get more harmonica on the bluesy ‘Steppin’ High’ by Little Luther, as well as on ‘I’m Tired Waitin’ Baby’ by Lightnin’ Slim, where the Mississippi saxophone is played by none other than blues legend Lazy Lester. You undoubtedly know ‘Sick And Tired’ in the version by Fats Domino. Here you get the song by Elton Anderson and it can easily compete with the one by Domino. You also know ‘Kansas City’ by the same Fats. The song appears here in the New Zealand version by Eddie Howell together with The Bob Paris Combo. Be sure to pay attention to the creative guitar work. Also great is ‘I Just Can’t Wait’ by Skip Robinson and His Imperials. Song where the keyboard part is clearly modeled on that of Booker T & The M.G.’s. Fans of instrumental stroll will enjoy the sublime horn section of ‘The Big Bad Train’ by Lee Castle and Jimmy Dorsey’s Orchestra and the guitar-dominated ‘Driftin’’ by Terry Lee and The Poor Boys. A very special instrumental comes from Georgie Young and The Rockin’ Bocs with ‘The Sneak’. Classy Lloyd Price needs no further introduction. High-quality songs were synonymous with him. Such as ‘Who Coulda’ Told You (They Lied)’, which will appeal to both fans of rhythm & blues and rock-‘n-roll. You can expect nice doo-wop on ‘Roadhouse Rock’ by Arbis Hanyel, just like on the formidable ‘Happy Go Lucky Baby’ by the vocal group The Ravens featuring Jimmy Ricks, as well as on ‘Crazy, Crazy, Crazy’ by The Flamingos. Very occasionally, a recording on a small label would attract the attention of a major. This honor fell to Frankie Loren who recorded ‘Hey Little Girl’ for the Porter label at the age of 18. The somewhat poppy rock-‘n-roll number was picked up by Mercury Records and could therefore count on better distribution. A nice fusion of rhythm & blues with a dash of jazz characterizes ‘Hey, Mr. Warden’ by Danny Cobb. Although ‘C’Mon Baby (What’s Your Name)’ is a wonderful rockabilly track, Jimmy Williams remained relatively unknown as a singer. As a composer he scored with Clyde McPhatter’s hit ‘A Lover’s Question’. With ‘I’m Checkin’ Up’ Tender Slim, also known as Fender Guitar Slim, serves up a great blues number.
28 tracks date from the fifties and early sixties. The other two are previously unreleased tracks. The first, Glen Glenn’s ‘Kitty Cat’, comes from The Shadowmen. The released version can be found on their album ‘True Love Highway’. The second previously unreleased track is the ‘dubbed alternate take’ of ‘Your Mamas Here’ by Portuguese Ruby Ann. The released version is on her album ‘Mama’s Back’. Whether you like rocking rhythm & blues, rock-‘n-roll, rockabilly or doo-wop, volume 4 in the ‘Stroll-A-Rama’ will not leave you out in the cold. Enjoy!

After the release of volume 5 'Fatty Patty' in 2021, it became quiet around the 'Rock And Roll Floozy' series for a while. That silence is now broken because with 'Pauline' the series continues on the successful path it has taken. That still means rockabilly and rock-'n-roll that are not always well-known, but more than worth listening to. Let yourself be carried away by the jive, stroll and bop rhythms. Getting into the right mood right away is easy. Pat Kelly and The Shamrocks ensure that with 'Hey Doll Baby', a song from 1958. Lonnie Mullins was an American country artist. You can clearly hear that country was the breeding ground for the rockabilly song 'It Was You'. In addition to country, Phil Sullivan also had some folk in his genes. He shows that both genres match perfectly in 'You Get A Thrill'. Beautiful harmonies, somewhat like The Everly Brothers, are served by Marcus Brothers with 'Little Girl In Pigtails'. Later, Bob and Denny, The Dennis Brothers, also appear in that genre with ‘Hush Hush Little Baby’. A big name is certainly Johnny Rivers, whose album ‘Johnny Rivers At The Whiskey A-Go-Go’ has become a classic. Here he signs present with the rocking ‘Baby, Come Back’ recorded in 1958. At Sam Phillips’ Sun label, Ernie Barton could be deployed in many areas, including as a producer, songwriter and artist. However, he did not become successful with it, although his ‘Stairway To Nowhere’ is a song that is certainly worth mentioning. Fans of instrumental rockers will get their money’s worth with ‘Big Wheel’ by The Royaltones. Nice alternation between sax and guitar, by the way. The title track ‘Pauline’ comes with Bobby Doyle. It is his most famous song, but Bobby became even more famous through his collaboration with the young Kenny Rogers and later briefly with Blood, Sweat and Tears. The nice clean sounding ‘If You Don’t Like It, Don’t Knock It’ by Kimo Lee is also great. ‘Shirley Lee’ was Bobby Lee Trammell’s most and best rocking song. It goes without saying that it belongs on this compilation. Rockabilly in its purest form, you get with ‘Little Forty Ford’ by the Oregon rockabilly artist Leon Smith. Despite the cool songs, Ronnie Self’s solo career did not reap the deserved success. You can hear that he recorded good songs during ‘Big Town’. Guitarist Al Casey worked as a studio musician with a number of big names. He proves that he could also score under his own name with ‘If I Told You’. The Nashville rocker Jimmy Isle recorded his best rocker in 1958 for Roulette with ‘Goin’ Wild’. The song flowed from the pen of Jimmy’s brother Ronnie. The spoken narrative ‘Cruisin’ Central’ by Faron Warner is also great. ‘Apron Strings’ was covered by Cliff Richard as a flipside of his single with ‘Living Doll’ as A side. Here you get the original version of Billy The Kid, after which Sonny Lowery waves goodbye to the album with ‘Goodbye Baby Goodbye’.
Having to wait three years for a sequel in the ‘Rock and Roll Floozy’ series was rewarded 100%. After all, you rarely come across such formidable rockabilly and rock-‘n-roll served on a platter. Magnificent volume!

As we are used to from the ‘Atomicat Rockers’ series, all these volumes guarantee excellent ‘old school’ rhythm & blues. This line is of course continued on the sixth volume ‘The Juke Box Man’. The title track comes from Mel Tills, originally a country artist and those influences are also in the song, which makes a nice link with rockabilly. But before Mel gets his turn, there is more to enjoy. For example with Cecil Bowman and The Arrows who start off rockabilly-style with ‘Blues Around My Door’ that also winks at country because of the steel guitar. Rockabilly in its purest form can be found in ‘Shake It Up Baby’ by Frankie Dee and The Carter Rays, including a nice clean guitar solo. ‘Chug-A-Lug’ by Bobby Doyle and The Ideals and ‘Sleep Rock-A-Roll Rock-A-Baby’ by Alvis Wayne sound just as pure and clean. Jimmie and The Night Hoppers provide a ‘top-notch’ instrumental song driven by handclaps and sax in ‘Cruisin’’. We know ‘Book Of Love’ from The Monotones, who released the song in 1958. Here you get the version by The Blazers, a cover group that recorded the song that same year. John Fred and His Playboys scored a world hit with ‘Judy In Disguise’ in 1967. ‘Shirley’ here is at least as good, but did not bring John Fred the same success. It is not immediately clear how often ‘Whole Lot Of Shakin’ Going On’ has been covered. One cover is better than the other. The cover that is certainly one of the better ones is this one by The Centurys. Excellent vocal performances and great guitar parts characterize this version. Carl McVoy, present here with the formidably rocking ‘Little John’s Gone’, was none other than Jerry Lee Lewis’ nephew. It sounds like he listened very carefully to his cousin's songs. Jeff Barry may not have been into rock-'n-roll, but he still managed to deliver a great rocker with 'Hip Couple'. The twist gained popularity through Chubby Checker. Here Chubby shows his rock side with 'Schooldays, Oh, Schooldays', including a cool sax solo. The sound of The Coasters can clearly be heard in 'Don't Wake Up The Kids' by Otis Williams and His Charms. You wouldn't immediately say it, but Bobby Pedrick Jr. was only 12 years old when he recorded the great rocker 'White Bucks And Saddle Shoes' in 1958. Joey Michaels, misspelled as Joey Micheals by the label, can also rock really well. On his 'Sixteen Cats' it would be Bill Haley and His Comets. That could very well be the case, from the sound of it. A cracker of a recording! Lucky Millinder's orchestra always offers sublime songs. That is no different on 'Goody Good Love'. Number that also has beautiful vocal harmonies. Eddie Gaines clearly found inspiration for his ‘Be-Bop Battlin’ Ball’ in ‘Shake, Rattle and Roll’.
Compiler Mark Armstrong has once again brought together 28 sublime songs from the fifties and early sixties. Rock-‘n-roll, rockabilly and authentic rhythm & blues at the highest level. Give that volume knob a good turn to the right, throw all the brakes loose and enjoy this sixth volume in the ‘Atomicat Rockers’ series. You won’t regret it!

For this new 'On The Dancefloor With', Bear Family Records rightly focuses on Jack Hammer. Jack Hammer was not only a talented rock 'n' roll artist in 1956, but he also composed the vast majority of his songs. Gradually the music evolved and so did Jack. The twist was coming and Hammer was there too, just like later with the emerging soul. He proved that he already had the necessary skills as a composer by writing the hit 'Great Balls Of Fire' together with Otis Blackwell. It wasn't until he moved to Europe in the early sixties that Jack started scoring hits. The Belgian Ronnex label signed him, so that the new dance 'The Wiggle', created from Jack's mind, received the necessary airplay in Belgium and became a hit. In Europe he managed to build an impressive career and was even crowned as the 'European king of twist'. He performed in America, England, France, Germany and of course in Belgium. In Belgium in 1962 he even recorded a currently hard to find song with the then young Jo Leemans, the celebrated singer, actress and TV personality. That was the wonderful 'Twist Talk' and can also be found on this compilation, just like the live recordings Jack made with the combo of Paul Würges and the orchestra of Max Greger, with whom he recorded 'Die Schöne Lola', a translation of 'Be-Bop-A-Lula' in the studios of the German television channel ZDF. Jack Hammer could also be humorous. This is evidenced by the previously unreleased 'Earth Cousins', which he recorded together with Tony Middleton, member of the doo-wop group The Five Willows. Song in which fragments of the current hits can be heard, including 'Great Balls Of Fire'.
The 32 tracks paint a beautiful picture of the talent and impressive career of Jack Hammer, from his musical start as a rock 'n' roll artist to his later soul singer.
In addition to beautiful and rare photos and illustrations, the 36-page booklet contains a detailed biography, as well as a carefully compiled discography.
Jack Hammer died in Oakland, California on April 8, 2016 at the age of 90.

In the series 'Gonna Shake This Shack Tonight', Bear Family Records dedicates its next release to Bob Wills. Bob Wills was rightly given the title of 'King of Western Swing'. The label's careful selection includes Bob's recordings for Vocalion/Columbia and Kapp, Master, MGM and the Liberty labels in the period 1939 - 1963. Wills usually stuck to his pure Western Swing, but hillbilly boogies and rockabilly also grace this compilation. In addition to being the inventor of the Western Swing genre for his fans, Bob Wills was also the best fiddler and arranger. He also introduced the beat to the country genre. That made him the best 'dance band' in the South West at the time. This is not an exaggeration, because it is difficult to sit still while listening to this compilation. Naturally you will find classics such as the blues, 'Keep Knocking But You Can't Come In', which Bob initially played with his legendary partner Milton Brown in the Fort Worth Doughboys, 'Don't Be Afraid Of Your Age' and the influential mainly instrumental 'Twin Guitar Special' here. More mainly instrumental work comes later with 'Texas Drummer Boy'.
What is immediately noticeable when listening to this album is the intense enthusiasm that Bob put into his band The Texas Playboys, which ensured that the merging of ingredients from the various styles of American roots music went smoothly. The vocal work is also positive. Such as in 'Nothin' But The Best For My Baby', in which the lead vocals encounter vocal opposition. This also repeats itself in other songs with different vocalists. Wills clearly continues the bluesy tour in 'Trouble, Trouble Blues' in which the fiddle further enhances the blues feeling. Rockabilly then surfaces in 'So Let's Rock'.
As is a tradition at Bear Family Records, this album also contains a beautiful 34-page booklet compiled by Roland Heinrich Rumtreiber, containing not only a detailed biography, rare photos and illustrations, but also all information regarding the tracks.
For fans of Western Swing at first hand, with formidable fiddle and steel guitar parts, this edition is a simply a 'must have'.

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.

The Ford Motor Company was founded on June 16, 1903 by Henry Ford. That same year, Ford achieved its first success with the production of the 'Model A'. A model that was extremely popular in the late 1940s as a basis for designing and building Hot Rods. After the end of the Second World War, the 'T model' (1910-1920), the 'As model' (1928-1931) and the 'Bs model' (1932-1934) were extremely popular among Hot Rod enthusiasts. In the fifties it were the rockers who organized races for it. In the more luxurious segment of the car industry, Ford scored with the Lincoln, named after President Abraham Lincoln. However, not all models that Ford launched were successful. The 1949 to 1951 Fords were labeled as 'shoe box cars' and the Ford Edsel, named after Henry's son, was a commercial flop. The reasons for the lack of success were the appearance, the economic recession, the price problem and the numerous production problems, such as defective welds, leaking trunks and problems with the power steering.
Ford later expanded its branches worldwide, which gave the brand a lot of name recognition. Over the years, Ford allo bought Volvo, Land Rover, Jaguar and Aston Martin.
Reasons enough to put Ford in the spotlight on its 121st anniversary with 30 songs by well-known and lesser-known artists. The songs may have the name 'Ford' in the lyrics or the bands may have chosen a Ford model as the name.
'Start the engine and let's go'! Who immediately sounds through the speakers is Curtis Gordon, who delivers a hell of a rockabilly song with 'Draggin''. Curtis is followed by class act Gene Vincent who talks about his 'Pink Thunderbird', 'with a red fur seat'. Eddie Cochran also honored Ford with 'Pink Peg Slacks' and in 'Somethin' Else'.
More famous people arrive with Janis Martin. She transformed Buck Griffin's 'Let's Elope Baby' into a real rock 'n' roller. 'She had a high speed motor in a 44 coupe', impressed the rocking 'Hot Rod Baby' Rocky Davis. Lefty Nicks gives his 'Model A-Ford Blues' an authentic country blues jacket. The T-model inspired Rosco Gordon for his 'T-Model Boogie'. Willie Love was more in the mood for a stronger engine. He chose 'V8 Ford', a song that exudes a slow blues atmosphere. A beautiful piece of blues harp is cleverly contained in 'Mercury Boogie' by K.C Douglas Trio.
Betty Rogers presents a wonderful cover version of Hank Williams' 'Hey Good Lookin''. Buddy Knox also opted for a cover. He took Chuck Berry's 'Maybellene' and gave it a great rockabilly twist.
For beautiful doo-wop you can go to The Fairlanes and 'Johnny Rhythm'. The Fairlanes later appear together with lead singer Charles Perrywell in 'Come Along With Me', which has a Chuck Berry edge. You get Chuck Berry himself in 'Jaguar and Thunderbird'.
More doo-wop comes with the band that chose a Ford model as the group name, namely The Edsels. They go up-tempo in 'Shake Sherry Shake'. The Lincolns also chose their group name in the same way. They are present with the also uptempo 'Pleasin' You - Pleases Me'.
There is also beautiful harmony singing with the vocal women's group The Delicates in 'Black And White Thunderbird'. Another vocal group The Paramounts chose the same model with 'Thunderbird Baby'. You can certainly rock on the sax-driven instrumental 'What's The Word' by The Thunder Rocks. Another nice instrumental serves up Sunset Dragster's Orchestra. You can hear what a Thunderbird should sound like in their 'Boss T Bird'.
The album ends with 'Arkie Meets The Judge' by Arkie Shibley and The Mountain Dew Boys, set to a hillbilly instrumental background.
'121 Years Of The Ford Car' is not only a beautiful ode to a car brand that made mobility possible for the general public, but also offers a collection of sublime songs in genres such as blues, rock 'n' roll, rockabilly and hillbilly. This album is definitely recommended on a long car trip, or at home in your familiar surroundings. The choice is yours!

In 2018, this trio surprised us with their album 'Boogie In The Shack'. Although we could expect quality, we could deduce from the line-up. After all, the members were no strangers to the rock 'n' roll scene. First there was the energetic Jake Calypso, also known from the band with His Red Hot, The Corals, Mystery Train and Hot Chickens. There was also Helen Shadow, who we remembered from The Blue Ridge Rockets, The Johnson Family, The Queen Bs and The Shooting Stars. And finally there was Ricky Lee Brawn, who earned his nods with The Stargazers, The Big Six, The Space Cadets and Johnny Back And The Moonshine Boozers. Now, roughly 6 years later, the trio is still there and they have come up with 'Generation Rock n' Roll', released as a Rhythm Bomb Records 20th Anniversary Edition. Jake is still the bass, harmonica and guitar man. Traditionally, Helen Shadow is busy on the six strings and Ricky Lee Brawn flogs the drum heads. All three are responsible for the vocal parts.
The album has 13 tracks, the majority of which came from the pens of Jake and Helen. The trio immediately takes off with 'Back In Black', a Calypso composition. Their craftsmanship is immediately reflected in a rock-solid song with a sublime guitar part. Helen Shadow immediately signs for successor 'Chickies', which is also bursting at the seams with energy and can boast of Jake's pumping bass. Things get even wilder in 'Miss Pussy', which gets started with a quirky intro. With the instrumental 'Timeless', which sounds somewhat spacious, the gass pedal is given some rest. Not for long, however, because with the title track, which nods to psychobilly, it becomes 'pedal to the metal' again. A great authentic rock song is without a doubt 'Don't Know Where I'm Goin'', a composition by Helen. A super beautiful track is also the quieter, country-influenced 'I'll Be Just Fine'. 'Party Doll Got Married' makes the thoughts wander to that guy from Lubbock Texas, called Buddy Holly. In French, Jake's native language, the album ends rockingly with 'A Plein Coeur'.
With 'Generation Rock n' Roll' by The Nut Jumpers it's party time, although sometimes a break at the bar is necessary. A hell of an album!

The band Max Merritt and The Meteors may not immediately bring back memories for you. That is the case in New Zealand. After all, in the period 1959 - 1963 they were the hottest rock 'n' roll band that introduced the new music genre there, as well as in Australia. Moreover, they were involved in the rock 'n' roll scene for a long time.
Maxwell James Merritt was born on April 30, 1941 in Christchurch, New Zealand. Already at the age of 12 he took guitar lessons for fun. At the age of 15, he left school and went to work in his father's construction company. At that age, Max also fell under the spell of the emerging energetic rock 'n' roll and the construction company no longer interested him. He used his wages to buy his first electric guitar and made it a point to make a living as a celebrated rock 'n' roll artist. In the first version of The Meteors, Max perfected his performance. From 1955, American soldiers were stationed in Christchurch. A year later, Max Merritt and The Meteors were often guests at the American base, where they played the American hits of the time for the staff. In 1959, Max and his colleagues signed a contract with His Master's Voice. That same year they also made their first recording with 'Get A Haircut / Dixieland Rock'. An original recording linked to a cover that Elvis sang in the film 'King Creole'. The same pattern was followed for the second recording. The original rocker 'Kiss Curl' was given the cover 'You Made Me Love You' as a b side. The line-up of The Meteors underwent quite a few changes and studio musicians were also hired in addition to The Meteors for the recording of the long player 'C'mon Let's Go'. In early 1962 the band moved to Australia. There they recorded two singles for His Master's Voice with cover versions of songs by Gene Vincent, Eddie Cochran and the British group Dave Sampson and The Hunters. After His Master's Voice terminated the contract, the band signed with the New Zealand Zodiac and Viking labels. The first punk bands emerged in the mid-1970s and although Max then found refuge on the Arista label, further success failed. Nevertheless, his songs 'Slippin' Away' and 'Hey, Western Union Man' did hit the Australian charts. At the end of the decade, Merritt moved to Los Angeles. During the last seven years of his life, he was affected by a rare autoimmune disease that produces antibodies that attack the lungs and kidneys. Max Merritt died on September 24, 2020 in the middle of the corona period, so no funeral ceremony could take place. That same year he was inducted into the New Zealand Music Hall Of Fame.
On 'Get A Haircut' the Rockstar label puts Max Merritt and The Meteors in the spotlight on the basis of 24 tracks. The tracks contain 22 recordings that Max Merritt made together with The Meteors. He recorded the other 2 songs as a solo artist. All songs were recorded between 1959 and 1963. The tracks come from the 45 tours and the LP 'C'mon Let's Go' and contain both original songs and cover versions. It quickly becomes clear that Max Merritt and The Meteors had the fiery rock 'n' roll in temp. The origineels 'Get A Haircut' and 'Kiss Curl' should certainly not turn a blind eye to American rock 'n' roll. Merritt sings convincingly and The Meteors lay an extremely tight musical foundation. In addition, 'Weekend' is a beautiful song, in which the more acoustic side of Max is discussed.
Merritt's craftsmanship comes to the surface very impressively in the traditional 'I'll Take You Home Again Kathleen', a folk song that he transforms with verve into a full-fledged rock 'n' roll song. Superior!
The fact that Max could also relate perfectly to covers is evident in, among others, 'Sea Cruise', the Elvis-known slow 'I Was The One', 'Tennessee Waltz', Ray Charles' soulful rhythm & blues 'Hallelujah I Love Her So' and Cochran's ‘C'mon Everybody’. The 'Teen Beat' borrowed from Sandy Nelson and the original 'Soft Surfie', a beautiful surf song, provide nice instrumentals. As a solo artist we hear Max in the guitar-driven instrumental 'The Slow One' and the equally instrumental rocking 'Cossack', with which the album also ends.
'Get A Haircut' by Max Merritt and The Meteors is a more than formidable album and definitely worth discovering.

'School Is In' is the first volume in the two-part series 'School House Rock'. The school was part of the daily lives of the teenagers who embraced the new genres of rock 'n' roll and rockabilly. In addition to attending classes and the associated tests, many romances also developed at school. Romances where joy and sadness were often close together. It is therefore self-evident that all these items provided a lot of inspiration for the artists who had often only just left their school years few behind them. On the first volume 'School Is In' you get 34 tracks that focus on school and everything related to it. You are undoubtedly familiar with some of these recordings, such as Chuck Berry's 'School Day (Ring! Ring! Goes The Bell)' and Jerry Lee Lewis' 'High School Confidential'. These can also be found on this album. Others may sound less familiar or even unknown to you, so time to discover them. The words 'Little School Girl' will often appear in the titles and lyrics. This happens for the first time with Wilbert Harrison, who gives his 'Little School Girl' a poppy exotic atmosphere. Mastering the alphabet in a rocking way, then 'A.B.C. Rock' by Bill Haley and His Comets has come to the right place. And also pay attention to Billy Williamson's beautiful vocals. Dorsey and Johnny Burnette wrote Ricky Nelson's 'Waitin' In School', here in Frankie Lymon's version. The title track 'School Is In' comes from the young Gary (U.S.) Bonds, who would later achieve great acclaim. The song has a lot of rhythm & blues in its genes, although the teenagers of the time would not have been able to identify with the lyrics. The Delacardos deliver an excellent slow doo-wop song with 'Letter To A School Girl'. Later, The Delacardos would later focus more on the soul repertoire. Uptempo doo-wop follows later with '(I Wanna) Dance With The Teacher' by The Olympics. The “5” Roayles give you more goosebumps-inducing harmonies with 'School Girl'. They are followed in the same genre by 'High School Affair' by The Five Chums. And The Falcons also provide beautiful vocal performances in 'The Teacher', just like The Winstons in 'School Girl'. Don Willis provides exciting rockabilly drenched in echo in 'Boppin' High School Baby'. Chubby Checker would later have a world hit with 'Let's Twist Again'. Here you get Chubby with the formidable, somewhat hilarious sounding 'The Class'. The Shades are completely unknown. Incomprehensible because 'School Bus' is a pearl of 'teenager garage rock'. The pop-infused 'School Bus Love Affair' by Wynn Stewart certainly sounds impressive. Duets only occur sporadically in rock 'n' roll. Don and Bob demonstrate that it can be done successfully in 'Good Morning, Little School Girl', as well as The Kalin Twins with 'School Bell Dream'. For major tearjerkers, skip to 'High School Dance' by the emotional Larry Williams and 'Yearbook' by John D. Loudermilk. Larry Birdsong also scores well with the rocking rhythm & blues 'Little School Girl'.
Furthermore, excellent rocking work from Gene Summers, Bird Rollins, Billy Harian, Joey Dee and The Starliters, Sonny James, Doug Connell, Benny Joy, Conway Twitty, Ronnie Allen, Frankie Avalon and closing act Jimmy Case.
'School House Rock, Vol. 1, School Is In!' is the soundtrack of the young people who were still considered teenagers in the fifties. A soundtrack that still sounds energetic and fresh more than half a century later. So we will be curiously looking forward to the second volume. This first volume is highly recommended.

You recently could read the review of volume 43 in the 'That'll Flat...Git It! series, and now volume 45 is in our playback device. I already hear you asking... and where is volume 44? Well, that volume was already released in August 2023 and you can reread its review here. Okay, but now back to volume 45 which focuses on Imperial Records releases. The label had country, rockabilly and New Orleans rhythm & blues in its catalog. A catalog that was also supplemented with subgenres. The label produced many well-known artists. Just think of Ricky Nelson, The Burnette Brothers, Merle Kilgore, Lew Williams, Laura Lee Perkins, Dennis Herrold, Jackie Walker and Bob Luman. Other names that would later come into the spotlight are the then young Freddy Fender and Roy Brown, who later made a name for himself as a blues shouter. These buzzing names are joined by lesser-known and obscure artists. Tommy Lomonte kicks off. Together with the famous Dave Bartholomew he wrote the super rocker 'Yeah, Yeah, Yeah'. Tommy is followed by Ricky Nelson with 'Shirley Lee'. Nelson returns twice more with 'One Of These Mornings' and 'Milk Cow Blues'. Another great one within the genre was Bob Luman. He appears four times, including the often covered 'Red Cadillac And A Black Moustache', which Bob was the first artist to record. In 'Blue Days, Black Nights' he shows his country side a luttele more. Merle Kilgore was also one of the showpieces of the Imperial label. He is included on this compilation with three songs. The somewhat slow 'Start All Over Again' is intriguing. In addition to being a performing artist, Kilgore has also written many hits, such as 'Ring Of Fire' by Johnny Cash, with June Carter as co-writer. A strong hillbilly undertone characterizes Gene Henslee's 'Rockin' Baby' and 'Diggin' 'n' Datin''. With a very raw voice, Laura Lee Perkins works her way through 'Kiss Me Baby'. Remarkable is certainly 'So Shy' by The Leen Teens. Song that floats on a nice clean guitar sound. Voice drenched in echo and rock 'n' roll and rockabilly go together perfectly more than once. A good example of this is 'Get Off My Back' by Jay Blue. A highlight is certainly Ronnie Smith's 'Long Time No Love', which features a cool piano. Song written by Roy Orbison. Roy Brown showcases a relaxed blues atmosphere in 'Slow Down Little Eva'. Dorsey and Johnny Burnette composed 'Yes, I'm Gonna Love You', which you get here in Sonny Anderson's version. For a formidable instrumental guitar rocker you can go to The Sidewinders and their 'Sidewinder'. Long before he made a name for himself as a country artist in the seventies, Freddy Fender was active as a rocker. You can witness this during the slow rocking 'Mean Woman'.
This compilation once again makes it clear that Imperial took many well-known artists under its wing. A lot of attention was also paid to the recordings. Excellent compositions, clever arrangements and beautiful vocal performances completed the picture. All things you would expect from a well-known record label.