On August 18, 1939, Huelyn Duvall was born in rural Garner, Parker County, Texas. As a growing boy, Huelyn was only interested in sports. Because he had to wait a while before being accepted into the school's sports team, Huelyn looked for something to bridge the time. Like many of his contemporaries, he started listening to music, specifically country. When he was confronted with rhythm & blues for the first time on the radio and a little later the same radio also brought him into contact with rockabilly and rock 'n' roll, it changed his life. From then on, Huelyn shifted his interest from sports to music. While at school in 1956, he befriended guitarist Lonnie Thompson, with whom he soon formed a band. They recruited Lonnie's twin brother Johnnie on rhythm guitar and vocals and Ralph Clark on bass and became Huelyn Duvall and The Troublesome Three. In 1957 they joined forces with Danny Wolfe who ran a gardening company. As their manager, Danny arranged their first recording session. Danny was about ten years older than the guys, wrote songs and recorded them in his own recording studio. Wolfe teamed up with songwriter and producer Major Bill Smith and together they formed the Twinkle label, for which Duvall would later also record. Huelyn made his first recording in 1957. His second session took place at the Gold Star Recording Studios in Hollywood, where he could count on the instrumental group The Champs as studio musicians. After his marriage in 1961, Huelyn moved to Houston, Texas for nine years where he became vice president of Brazos Valley Computer Center. However, the blood ran deep and in 1985 he performed in the Netherlands during the Rockhouse Rock 'n' Roll Meeting. This was followed by shows throughout Europe. In 2002, Duvall recorded the album 'She's My Baby' with Wildfire Willie and The Ramblers. A year later he went back into the studio, this time with the reunited The Troublesome Three. Appropriately, the album was titled 'The Reunion'. Huelyn recorded the album 'Ramblin' + Boppin'' again with Wildfire Willie and The Ramblers in 2003 in Sweden for Rhythm Bomb Records. Five years later he returned to Sweden to record the album 'Get Carried Away' with the same band for Goofin' Records.
This compilation starts with 'Teen Queen', which immediately puts Huelyn's powerful voice in the spotlight. On this song, just like on other tracks, you can hear the sublime Grady Martin on guitar. It is certain that Huelyn could rock, but he also shines in the slower 'Little Boy Blue'. He shows once again that ballads suit him just as much as uptempo songs in 'Tear Stained Letters' and 'Across The Aisle'.
Together with the inimitable The Jordanaires he also performs a fantastic 'Boom Boom Baby'.
In addition to the songs from the fifties, this compilation also contains the recordings that Duvall made in Germany in 2014 with The Lightning Recordings Boys, better known as Cherry Casino and The Gamblers, and in Sweden with Wildfire Willie and The Ramblers. You also get the remake of 'Pucker Paint' made in 2017 with Berlin's Long John and The Ballroom Kings. And it soon turns out that although time may have had a little bit of a grip on Huelyn's voice, this certainly does not detract from his rock quality. Just listen to 'Stina Lee', after which Huelyn's voice sounds even more mature in 'Dizzy', 'Blue Eyed Sally', 'High-Class Baby' and certainly on 'Daddy's Little Baby'.
We end with a live recording from 1957 of '(Let Me Be Your) Teddy Bear'.
Huelyn Duvall passed away on May 15, 2019 at the age of 79 in Colleyville, Tarrant County, Texas.
'You Knock Me Out' is an album that showcases both rock 'n' roll and ballads at top levels. If you are unfamiliar with the work of Huelyn Duvall, this compilation will certainly open your ears to the remarkable rock 'n' roller that was Huelyn Duvall.

​Li’l Ronnie And The Grand Dukes are one of the hottest swing en jump bands how create a sound that find a mixture between the fifties R&B, West Coast, Chicago Blues and vintage rock-’n-roll. Ronnie are looking forward to play on the Europian Bluesfestivals. Who will bring these partyband to Belgium ? Li’l Ronnie And The Grand Dukes are the real deal 

​On volume 42 of the 'That'll Flat...Git it!' series you could already get acquainted with the first volume filled with the rock 'n' roll and rockabilly of the King Label. A label that, as we already established on the first volume, has produced quite a few big names. Because of the many hits these artists have achieved, it is only natural that some of them are also present on this second volume about King's legacy. Charlie Feathers, Mac Curtis, Moon Mullican, among others, return, in addition to lesser-known and sometimes completely unknown artists. The 31 tracks on this compilation once again show that the musical legacy Syd Nathan left behind should not be underestimated. Authentically rocking, Boyd Bennett and His Rockets kick off with 'Move'. Arthur ‘Big Boy’ Crudup's ‘That's All Right’ awakened the artist in Elvis Presley. In turn, Presley's version caused Mac Curtis to leave country music behind and turn to rockabilly. Mac comes three times on this collector. Elvis also had a major influence on Ronnie Speeks. This is clearly expressed in 'What Is Your Technique'. You can also hear Elvis in 'Run Fool Run' by organist Bobby Cash, who gives a nice solo on the organ. The Humphries family was active in the jazz scene. Teddy Humphries took a different course. With success if you listen to 'Guitar Pickin' Fool'. Rusty York certainly also deserves a mention for his 'Goodnight Cincinnati, Good Morning Tennessee', a handsome train rocker. On the first volume in this miniseries, Delbert Barker starred with 'No Good - Robin Hood'. Here you get the equally formidable 'Jug Band Jump' from that same session. Nice vocal backings give Al Henderson's 'All Star Boy' some extra shine. An 'earcatcher' is also the 'Mercy, Mercy, Percy' by Joe Penny interwoven with some blues. Superb number! A touch of rhythm & blues contains Ray Starr's 'Donna Lou'. Lack of enthusiasm is not Booker Lee Jr.’s kind. Just listen to 'Rockin' Blues'. You will undoubtedly notice that Ronnie Molleen was addicted to the work of Little Richard in his 'Rockyn' Up'. A mix of styles can be found in Zeb Turner's 'Jersey Rock', in which the sax provides a jazzy touch and the steel guitar gives the song a country feel.
Volumes 42 and 44 in the 'That'll Flat...Git it!, Vol.44' give a nice picture of all the fine work released by King in the second half of the fifties and early sixties. With both volumes you get no less than 61 rockabilly and rock 'n' roll toppers. 

​In 1938, Gary Williams was born in Spokane, Washington in the Pacific Northwest region. As a child he became fascinated by the music of Jimmie Rodgers, the 'Blue Yodeler'. By the age of 16, he was already playing the guitar quite well and appeared on TV shows on local channel KXOI. At that age, he also attended the second edition of the ‘Jimmie Rodgers Memorial Celebration’ in Meridan, Mississippi. At that memorial he would later perform himself together with the then unknown Elvis Presley. In 1957 Gary Williams made his first recording for Verve with the single ‘Travelin' Blues Boy / I'm Gonna Return’, which included Merle Travis on guitar. Both songs are on this album and you also get the 1960 version of 'Travelin' Blues Boy'. In 1957 the Verve label also released the successful album 'Teen Time', which also featured Ricky Nelson. This gave Gary's career such a boost that he was touring practically constantly until the summer of 1960. He also got his nickname 'Travelin' Blues Boy' from that. During his musical career that spanned more than four decades, Gary wrote more than 600 songs in genres such as country, folk and rockabilly. He recorded with no less than 14 record labels and his songs were covered by Webb Pierce, Freddy Hart and Bobby Wayne, among others. In the late 1960s, he left rockabilly, country and folk behind and recorded Christian-inspired music and gospels. On this compilation you get 34 tracks that are among the very best recordings of Williams. Tracks he recorded between 1957 and 1966, his most creative period. These songs ended up on Verve, Panorama, Manito, WA, Connie Sue and Gary's own label Empire. From his LP 'Gary Williams', released in 1960, this compilation contains 7 excellent songs, including 'Walla Walla State Prison', a fantastic rockabilly song. But there is more to enjoy. So we start with 'Travellin' Blues Boy', which immediately puts the qualities of Williams' songwriter talent in the spotlight. After this, you immediately get a taste of his versatility with the folksy 'Manhunt'. And also 'In This Prison Cell', 'Dueling Green' and 'Buckskin' fit in that genre.
Country forms the basis for, among others, 'Heart Break Special', 'The Great Northwest', 'Fields Of Rolling Green', 'Big City Blues', 'Branded An Outlaw', 'You And Your True Love', while 'Such A Good Good Girl' leans towards good pop.
‘Alaska’ has an accompaniment reminiscent of that other great artist, Johnny Cash, after which ‘Step Into My Heart’, ‘Rule Number One’ and ‘Country Jail Blues’ are examples of what an emotional ballad should sound like.
Gary Williams had all the qualities an artist needs to make it. Songwriting talent, a beautiful voice and providing the songs with arrangements that are not only excellent but also timeless, Gary possessed it all. The formidable accompaniment of excellent musicians completes the picture.
Just before Gary Williams passed away on November 23, 2018, well-known country and rockabilly artist Deke Dickerson interviewed him. Deke was also the person to write the very extensive and well-documented liner notes.
It's just a shame Gary Williams couldn't step out of the shadows of the big names of his time. If one thing is certain after listening to this compilation, it is that Gary Williams should have been among the legendary artists of his time.
'The Travelin' Blues Boy' is definitely worth buying!

Volume 42 in the Bear Family series 'That'll Flat...Git It!' is the first of two CDs to feature the King label. Syd Nathan founded the label in 1943. King soon established a unique place in the post-war music industry, bringing successful rhythm & blues and country & western to market. When rockabilly broke through in the mid-1950s, King immediately jumped on the bandwagon. It absorbed so much successful rock 'n' roll and rockabilly, making the genre as important as rhythm & blues and country & western. It is therefore logical that all this beauty had to be spread over two CDs. The artists initially came from Ohio, Kentucky and Indiana with names such as the now legendary Charlie Feathers, Trini Lopez, Bruce Channel, Rusty York, Wes Voight, Fuller Tood, Moon Mullican and Dave Dudley. A lot of well-known names can already be found on this first volume.
For example, Charlie Feathers is present twice. A first time with 'One Hand Loose' and then with 'Nobody's Woman'. Mac Curtis is even featured three times. We immediately start rocking hard with 'Clock Tickin' Rhythm' by Cecil McNabb Jr.. Perhaps less known, but certainly not less good was Donnie White. He convinces without a doubt with the handsome 'Your Kind Of Lovin'. Another classic is 'Jungle Rock' by Hank Mizell. If the song did not do so well at first, that would change when collectors threw themselves into it in the sixties and seventies and 'Jungle Rock' even ended up in the charts. Someone who later also managed to gain worldwide fame is Trini Lopez. Here you get the famous 'Rock On'. Later he comes back with 'Yes You Do'. You can find some country in Bob Newman's 'Haulin' Freight'. When an artist was successful, labels looked for someone of equal value. The King label found Boyd Bennett and His Rockets in response to Bill Haley and His Comets. Not a bad choice when you hear 'You Upset Me Baby' and 'Put The Chain On The Door'. Joe Penny could also rock contagiously in his 'Bip A Little, Bop A Lot'. Hardrock Gunter certainly had a very own style. Just listen to the sublime 'I'll Give 'Em Rhythm'. Rocking no-nonsense is Ken McDonald's talent in 'Good, Good, Good'. Mac Curtis’ ‘Don't You Love Me’ contains some blues influences. The Voight family had some members who achieved success in the entertainment business. Jon Voight became a well-known movie actor who appeared in ‘Midnight Cowboy' and ‘Coming Home'. His younger brother Wes sought it in rock 'n' roll, as you can hear in 'Midnight Blues' that he recorded together with The Town Three for the DeLuxe label in 1958. Bruce Channel also gained international fame. A few years before this would happen, he recorded 'Slow Down Baby'. In quiet beauty, Luke McDaniel closes this first volume on King's legacy with 'One More Heart'.
That'll Flat...Git It!, Vol. 42' tastes like more releases from the King Label. We are curiously looking forward to volume 2.

​The second artist who can count on a '10 inch vinyl Rhythm Bomb Records 20th Anniversary Edition' release is Ruby Ann. This Portuguese artist performed in the clubs as an upcoming talent. After that, she stayed under the radar. She went out into the world and tried to survive singing on small stages. She already had talent then, but it was until she recorded the album 'Mama's Back' together with Cherry Casino and his musicians in 2010 and 2011 that the general public could enjoy it. Fortunately, due to the 20th anniversary of the Rhythm Bomb Records label, this album is once again getting the necessary attention. Because that's what Ruby Ann deserves. However, you can hardly put them in one musical box, because she is too versatile for that. She immediately shows that on 'Call His Name', with which she kicks off. A rhythm & blues class of stature and pay particular attention to that powerful voice. Rockabilly-wise she continues with 'No I Won't Cry', including beautiful guitar work. The raw undertone in her voice in 'Mad Mama' brings out the 'real rockin' chick' in her. With a voice drenched in echo, she later rocks herself with verve through 'Your Mama's Here'.
Side 2 starts with 'Baby Don't Care' that certainly exudes the Sun atmosphere and once again shows that Ruby Ann breathes pure rock and roll. Rockabilly then comes once again to the surface in "I'll Never Get Rich". For a moment she slows down a little bit in the somewhat poppy sounding 'I've Heard That Line Before', but on closing track 'Many Tears Ago' she pulls out all the stops again.
More than 10 years after its release, ‘Mama’s Back’ still has the power of rock 'n' roll and rockabilly.

​Few artists in the genres of rockabilly and rock 'n' roll could score more than locally in the 1950s, the heyday of both genres. Legends such as Elvis Presley, Carl Perkins, Gene Vincent and Eddie Cochran succeeded. This also applied to Sanford Clark who immortalized his name in rock 'n' roll history with 'The Fool' in 1956. The song also landed him a contract with Dot Records, which made him one of the most successful rockers of his time. Later Clark also made recordings for Ramco, Warner Bros, Project and Trey, among others. 'The Fool' was produced by Lee Hazlewood, who also immediately profiled himself as a producer. It is not surprising that 'The Fool' became a national hit, because the song typifies Clark in a strikingly personal way, which differs from the average rock and roll artists. In 1966 he recorded 'The Fool' again, in an adapted version for the time, for the Ramco label. Of course both versions found their way to this compilation, as well as 'Lonesome For A Letter' the flip side of the original single released in 1956. Song that winks at Elvis. But Sanford had much more to offer. This is immediately apparent from the first track 'Ooo Baby', which he plays as an experienced rocker. And also note the great work of lead guitarist Al Casey. In addition to Sanford's formidable performances, the same Casey shines on every song. 'Modern Romance', 'Usta Be My Baby', 'Love Charms' and 'Lou Be Doo' are just a few of the many gems on this album. Also noteworthy is the then unreleased 'Cross-Eyed Alley Cat'. Unbelievable, because the song is a blast of a rock song. Another great track is the pre-Dean Martin version of the Hazlewood composed 'Houston'. A rarity is also the presence of the two versions of 'A Cheat'. In addition to the original version, you also get the version with 'snare drum overdub'. Clark's blues side floats again in Hazlewood's 'Just Bluesin', as well as in 'It Hurts Me Too'. You can hear that he also had country in his genes on 'Black Jack County Chain'. Humorous sounds more like '(They Call Me) Country'. In addition, you will also find rare recordings that Sanford made for Project, Trey and Warner Bros. Sanford Clark passed away on July 4, 2021 due to Covid. He was 85 years old.
That he can be counted among the historical heroes of rock 'n' roll is clear from this compilation. His masterful voice, the beautiful choice of songs, the extremely competent studio musicians and especially the presence of producer Lee Hazlewood are an undeniable part of this. In addition, there is a 36-page booklet, in which, in addition to beautiful photos, you can learn everything about the person Sanford Clark and the tracks. Super release!

​John Lindberg Trio is a Swedish band led by guitarist John Lindberg. On bass and backing vocals he is assisted by Nathanael Marcusson and behind the drums is Olle Tjern. On the Swedish Enviken label, owned by Patrik Staffansson, they release their new album 'Are You For Real?'. An album consisting of 14 tracks, to which 5 more songs from EPs and singles are added and which mainly contains own work. The John Lindberg Trio stands for solid, oversized rock, which is also the case on this album. On a solid foundation laid by Nathanael and Joakim, John showcases his fine guitar skills. Incessantly he shakes one riff after the other from his snare board and solos that it is a delight. In addition, he also has the talent to pen catchy songs, such as 'Bad Loving' and 'Get It On!' which definitely have hit potential. The trio slows down a bit with the beautiful 'Back At It', but with 'Bluebird' the gentlemen are back at cruising speed. A hell of a song is certainly the rousing 'Crying, Lying, Denying', while 'Wishbone' and 'Not Like The Other Guys' contain a wonderful rockabilly feel. Giving your own interpretation to classics is no problem for Lindberg. He does that excellently with Charlie Rich's 'Goodbye Mary Ann', which Stefan Nykvist provides with a nice piano tune. The gentlemen do that again in Chuck Berry's 'Promised Land'. Closing is done with a completely own version of Little Richards 'Keep A Knockin'' where Lindberg's guitar takes over Penniman's piano part.
With 'Are You For Real?' the John Lindberg Trio proves that they are ready to make it international. Something this band certainly deserves.

With volume 41 in the 'That'll Flat...Git It!' series we dive into the archives of the labels Dot and their daughter label Hamilton. The Dot label was also known for their pop covers of rhythm & blues hits from the fifties, but also recorded a lot of good rock 'n' roll and rockabilly. From that offer, compiler Nico Feuerbach selected 37 tracks for this compilation. A number of well-known names such as Leroy Van Dyke, Sanford Clark, Jimmy Newman and Robin Luke can be found here. But also a number of artists who could not generate general fame are discussed.
Rock 'n' roll with both country and blues influences or rousing rockabilly, you will find it all on this album.
And in the 34-page beautifully illustrated booklet you get all the information about the artists and their songs.
The fact that there is still a lot of interesting rock 'n' roll and rockabilly to listen to is certainly a reason to get this album.

​The 'Rocks' series spotlights musical greats in rock 'n' roll and rockabilly. Previously there have been compilations around Link Wray, Bo Diddley, Sonny Burgess, Billy Lee Riley, Scotty McKay, Ritchie Valens and Narvel Felts. Rightly so, the German Bear Family is now dedicating a publication to Charlie Feathers. Charlie was not an average performer. If many of his colleagues followed the rockabilly path that had been mapped out for them, Charlie deviated from it. For more than 4 decades he made his own version of the rockabilly that prevailed in the fifties. He mixed the genre with some country and bluesy feel, and added an unprecedented dose of rhythm. You get a nice example of his addition of country on 'Rain', 'When You Decide' and his version of 'Frankie And Johnny'. You can hear the bluesy feel in 'Can't Hardly Stand It', as well as in take 1 of 'Bottle To The Baby'. Feathers may have had a short musical career in the fifties, but he did record with iconic labels such as Sun, Flip, Meteor and King. When rockabilly was undergoing a revival in the late 1960s and early 1970s, Charlie made some recordings for the Barrelhouse Records label. Most of the recordings on this album date from the 50s and 60s. Of course you can find his classics like 'Get With It', 'One Hand Loose' and 'Tear It Up' on this album. But also recordings from the seventies such as 'That Certain Female' or the recordings he made even later adorn this compilation.
As a bonus you get the rare 'Adamsville', song that describes a bank robbery in Adamsville, by Bill Privett, on which Charlie Feathers was the guitarist.
True to tradition, this issue features highly detailed liner notes from Martin Hawkins, roots music expert and author of the book Sun Records – The Brief History of the Legendary Record Label.
The 31 tracks perfectly showcase Charlie Feathers' musical abilities. His music has such a high quality character that it still effortlessly appeals today.

​Rockin' Rollin' USA, Visit 01, Canada, Shhhhhhh Blast Off' is the first release in the new series from Pan American Recordings. The 28 tracks on this album include songs released on major and local labels between 1955 and 1963. Local labels such as Aragon, Apex Français, Barry, Quality and Rodeo may be less known or perhaps not known at all, but they certainly recorded songs that are more than worth listening to. Every state had a local hero. Some stayed that way, but others left their hometowns and moved on. In this series, compiler Mark Armstrong also pays attention to their musical journey. But before we start our journey through the American states, we first focus on Canada. This first volume features records that were produced in Canada as well as those that were imported there.
What can you expect? That's pretty simple. Vocal and instrumental rock 'n' roll, rockabilly and country at the highest level.
Give that volume knob a good turn to the right, because this new series is the umpteenth direct hit. Unbelievable that there are still so many really great songs, of which we didn't even suspect the existence. Thanks to compiler Mark Armstrong for drawing our attention to this and just as much thanks goes to Henrique San who makes the editions visually attractive with his matching artwork.

​'Audrey', named after the Billy Lehman song of the same name, is already the fifth volume in 'The Rockin' Spot' series. A series that conjures up expertly selected rock 'n' roll, rockabilly and rhythm & blues on your plate. Volume 5 again contains 28 songs, which probably won't tell you much or even nothing at first sight. Until you listen…..and then you know. Buddy Covelle immediately blows your socks off with 'Lorraine' doused in a nice vintage clean sounding guitar. Rocking 'Little Richard style' we continue the chosen path with 'Uncle John' by Wild Child Gipson. And so it goes on......! With ‘Mercy, Mr. Percy 'rhythm & blues singer Varetta Dillard scored a hit. Her 'Promise Mr. Thomas' is also a blast of a rhythm & blues. Vocal group The Valiants, on the other hand, is wildly enthusiastic about 'Frieda, Frieda' and musically express it that way. Saxophonist Preston Love could be heard with his orchestra on many well-known Motown recordings from the 1960s. Here his orchestra backs Beverly Wright on the rhythm & blues 'Kissin' Boogie' while Preston plays a beautiful sax solo. You can enjoy great rockabilly via Jack Scott's 'Geraldine'. An instrumental that also lays down a hypnotic groove is 'Fling' by The Phaetons. Rhythm & blues, rock 'n' roll, rockabilly and beautiful vocal work follow each other in rapid succession.
A fun fact is that Mark Robinson, the performer of 'Pretty Jane' is none other than Lee Hazlewood. On that song you can also hear another legend, namely Duane Eddy on the guitar.
In short, with 'Audrey' the Atomicat label continues the successful series 'The Rockin' Spot'.

The next release that will be discussed in the 'Destination' series, has as its subject a destination where you do not want to end up, namely the prison or 'jail'. In American roots music, such as country, hillbilly and rock 'n' roll, there are many songs that can be placed in this context. In addition to life behind bars, these songs can also deal with gruesome crimes, escapes or remorseful confessions. Examples of this can be found galore on this compilation.
A mix of well-known and lesser-known artists provide formidable thematic country, rock 'n' roll and rockabilly. It's best to stay out of prison, but this album is definitely a winner.

​Following the success of 'Rock 'n' Roll Songs Of Happiness', the Atomicat label launches a new series entitled 'Rockabilly Love'. The first volume 'Servant Of Love', contains 30 tracks in the genres of rock 'n' roll and rockabilly, which also have ‘love’ as their subject. The recordings span six years, namely from 1956 to 1962 and have bop, jive and stroll rhythms. True to tradition, a number of unknown artists also make an appearance on this compilation. Artists whose songs you probably didn't know, but who definitely need to be heard.
'Servant Of Love', the first volume in the 'Rockabilly Love' series raises high expectations for what's to come. You won't find anywhere else better than the unadulterated rock 'n' roll and rockabilly that you get here.

​The Atomicat label recently started a new series with 'Jungle-A-Rama' and a new series will soon see the light of day, but that will have to wait a while. The existing series are also very popular and it is therefore logical that new volumes are coming onto the market. You could already read the reviews of the third volumes of 'Bop-A-Rama' and 'Stroll-A-Rama' here. Now it's the turn to 'Jive-A-Rama'. True to tradition, this compilation again contains 30 songs released between 1953 and 1962. With 'Just To Hold My Hand' a beautiful rhythm & blues from 1955 by Paul Perryman we are ready for more than an hour of steamy music. Vocal delights, rocking rhythm & blues, rock 'n' roll and rockabilly follow in a lightning fast way.
It needs no further explanation. You can also summarize this volume in four words, namely NOT TO BE MISSED!

​Unfortunately, Ronnie Hawkins showed up a little late on the rockabilly scene. After all, when he got a recording contract in 1959, the heyday of pure rockabilly was already more or less in the past. The moment it came to Hawkins's turn, the charts were stormed by good-looking teen idols. As a result, his star did not rise like that of Elvis or Jerry Lee Lewis. Nevertheless, Ronnie was bursting with talent. Twice he managed to score for the Roulette label. A first time with Chuck Berry's 'Forty Days' and a second time with Young Jessie's 'Mary Lou'.
Hawkins started his musical career in the mid-1950s in Arkansas. But a few years later, it was Canada where he achieved his greatest success. In addition, The Hawks contain the seeds for the later The Band.
It is therefore commendable that Bear Family Records honors singer and pianist Ronnie Hawkins, the last true rock 'n' roller, with this limited edition.
The 10'' inch vinyl contains 12 songs, including Ronnie's hits 'Forty Days' and 'Mary Lou', supplemented with original work and beautiful covers of, among others, 'My Gal Is Red Hot', 'Honey Don't' and 'Bo Diddley '. Not only did Ronnie have the 'real voice' for rockabilly, but the incendiary guitar parts and Levon Helm’s tight drumming could have made Hawkins as great as the legends had he been given the chance sooner. Ronnie died on May 29, 2022.
Together with the 10” vinyl, this release contains a bonus CD with no less than 32 songs. These include the tracks from the 10' vinyl as well as cover versions of these songs. Plus, you get a formidable 11-page colorful booklet with liner notes by Bill Dahl. The beautiful, often never seen photos were provided by Canadian music historian and DJ Dave Booth. And if all this is not enough, a postcard with the photo of the cover is attached.
‘Red Hot Rockin'’ by Ronnie Hawkins and The Hawks is an unmissable release. Highly recommended!

​With 'Patiently', his first album for the German Bear Family label, American rockabilly artist Marcel Riesco immediately delivered one that hits like a bomb. In other words, an album of such a high level that you don't get sent every now and then. Marcel has all the assets you could wish for as an artist. He is a brilliant guitarist, has a more than formidable voice and writes songs that grab you immediately and never let go. The recording took place at the famous Jack Clement's Cowboy Arms Studio in Nashville. Clement is best known as a producer at Sam Phillips' Sun Studio. This immediately guarantees a superior, pure fifties rock 'n' roll sound, to which Riesco adds a pinch of sixties honky-tonk. Marcel learned to sing with the songs of Roy Orbison, whom he also sees as his example. Coincidentally, Riesco's voice is also reminiscent of the young Orbison's, which in no way means that he copies Roy, quite the contrary. Riesco does his own thing with it. His songs are perfect for that. Rock 'n' roll, rockabilly and even a touch of country thrive on his voice.
The 10” vinyl contains 10 tracks, of which 7 are originals and 3 are covers. On the enclosed CD and digital platforms you get 9 originals and 5 covers. It is clear that Riesco is not easily satisfied with his compositions. He pays a lot of attention to both the melody and the arrangements. Everything is right down to the last detail. As he himself indicates, he must have a real click with the covers. He proves that in Orbison's 'You've Got Love', which he puts in a more rocking look.
He and his band of top musicians from the Nashville scene recorded 12 songs live in 2 days. Marcel Riesco feels like no other contemporary artist how fifties rock 'n' roll, rockabilly and country should sound. That his songs come straight from his heart is certainly part of that.
'Patiently' is an absolute must for fans of contemporary fifties genres and don't say afterwards that we didn't warn you! You can't get any purer than this!

​Sun, sea and beach immediately evoke a holiday atmosphere. Due to the pandemic measures, beach visits have not been taken for granted in recent years. Fortunately, there are now fewer restrictions and sunny weather lures us again en masse to water and sand. If you also want the right music to accompany you, then the compilation 'Destination Beach' released by Bear Family is the perfect soundtrack. Thirty tracks recorded in the late fifties and early sixties will undoubtedly put you in the right mood. Well-known and lesser-known songs and artists serve up brilliant rock 'n' roll, rockabilly, doo-wop and instrumental work.
However, don't be misled by the title 'Destination Beach', because even for those who opt for a 'staycation', these 30 songs are guaranteed to bring the holiday feeling to your home.

​The releases in this series jumped from volume 38 to volume 40. The label sure have had an acceptable reason for this. Fortunately, the missing volume 39 has now appeared, so that the space between editions 38 and 40 has been nicely filled again. Volume 39 focuses on a major label, namely United Artist Records. The label was created in the mid-1950s because the Hollywood film studios United Artists wanted a record label to release the soundtracks of their films. Since 1957, the label has also recorded rock and roll and rockabilly. For many artists in these genres, United Artists Records was a springboard to other labels. Often they only made one or two singles and then moved to other companies.  Al Casey, George Jones and Delbert McClinton were a few who began their musical careers with the Hollywood record label.
This release links these well-known names to lesser-known artists, who are certainly equal. In addition to rock 'n' roll and rockabilly, some songs also contain a good dose of rhythm & blues, which makes the whole thing even more attractive. Volume 39 again contains a nice mix of vocal and instrumental songs. The fact that we're dealing with a major label here is also reflected in the clever arrangements and the attention and care that went into the recordings.

​Can you convincingly bring rock 'n' roll and rockabilly in the French language? Is it possible to stylishly fill the void left by Johnny Hallyday's passing? You may doubt this, but I don't. After listening to 'Rock Rebel' I don't doubt it at all. Céré, or in full Didier Céré, the old rocker from the south of France, blows everyone's socks off with this album and leaves many young musicians far behind, without mercy. Among the list of guest musicians, several well-known names immediately catch the eye. For example, we hear Buddy Whittington on guitar on 5 songs, Nico Wayne Toussaint puts the harmonica to his lips on 4 tracks, Redd Volkaert is guitarist on no less than 7 songs, Floyd Domino crawls behind the piano on 1 track and Red Young is also on 1 song behind the Hammond B. Add to that a horn section and you know that you will be presented with high-quality work here. Céré himself takes care of the vocals and he also plays the acoustic guitar. He starts with the title track, in the language of Molière, in which he immediately pushes the rock-'n-roll accelerator down considerably, including an inspiring sax solo. Successor 'VTwin Boogie' is bursting with originality. A wonderful rockabilly song, given a country touch by the pedal steel, and a blues feel by the harmonica of Nico Wayne Toussaint. For the first time, Céré exchanges the French language for the English language in the rock 'n' roll boogie 'Reeferbilly Boogie'. ‘You Keep On Knocking But You Can't Come In’ is a Little Richard classic. However, it pales in comparison to Céré's version 'Tu Peux Frapper'. What a number! Excellent vocals, heavenly soloing horns and sublime guitar work. One hell of an instrumental boogie is 'Lalla's Boogie', a song written by Cére in collaboration with Whittington, Volkaert, Domino and trumpeter Pascal Drapeau. The song is characterized by a balanced collaboration between piano, horns and guitar. For 'Salut Charly' he goes back to Hallyday and Céré releases the accelerator and measures the song in a country jacket. Céré knows his classics. He knows how to integrate that into his own songs. The 'Daytona Beach', written together with guitarist Jean-Pierre Medou, including harmonica and slide work that appeals to the imagination, floats on the well-known Diddley beat.
Johnny Hallyday has already proven that rocking in French is possible. It is true that there is still room for more, Céré shows how to do this perfectly on 'Rock Rebel', with a nice mix of own songs and covers. Recommended!

​With rockabilly and rock 'n' roll from the archives of M-G-M Records and sub-labels Club and Metro, we are already at volume 40 in the 'That'll Flat…Git it!' series. M-G-M Records was founded in 1946 by the production company Metro Goldwyn Mayer for the purpose of releasing soundtracks. The label soon took a broader view, dating a wide variety of music genres to the catalog. In the mid-1950s, when rock 'n' roll and rockabilly exploded, it was logical that M-G-M set its sights on that too. It is therefore also logical that a large number of artists could grow into international celebrities. This volume focuses on these names. Well-known artists such as Conway Twitty, Johnny Rivers, Buck Griffin, Marvin Rainwater and Andy Starr are paired with lesser known, but no lesser talents such as Gary Walker, Randy Atcher, Kenny Lee Martin, Rita Faye, Bob Riley and Ronnie Isle. The result are 32 tracks most from the fifties and a few from the early sixties that relive the heyday of rockabilly and rock 'n' roll in detail. Expect danceable, excellent guitars, whether or not supplemented with beautiful harmony vocals, provided rocking tracks, in a great sound.
Just to mention that there are no overlaps with volume 7 in this series, which also featured rockabilly and rock 'n' roll from the M-G-M treasury. And as befits the series, you will again receive a 36-page booklet, in which Bill Dahl provides you with all the info about artists and tracks. More than worth buying!

​When you're talking about recordings that formed the basis of blues, rhythm & blues, rock 'n' roll and rockabilly, it is difficult to ignore the Sun studios. Sun founder Sam Phillips (05.01.1923 – 30.07.2003) was a man with a vision for his time, who knew which direction he wanted to take with the Sun label. Always looking for a new sound, he was not only the discoverer of Elvis, but also a number of other artists would later make a name for themselves. On January 3, 1950, he opened his Memphis Recording Service at 706 Union Avenue in Memphis Tennessee. The Sun Record Company saw the light in February 1952, now 70 years ago. So for Atomicat and KokoMojo the ideal moment to release two volumes of '70 Years Of The Sun Sound'. A second volume throws the spotlight on the R&B Performers, but that's for later. First we focus on the first volume, which puts the Rockers in the spotlight. Mark Armstrong selected 30 tracks, which were released at 45 or 78 rpm or as an album track. You get these recordings in a chronological order from 1954 to 1963, so that you can follow the evolution of the sound and style that Sam had in mind.
And when we go over the track list, we notice that Sam had a nose for talent. Names such as Hardrock Gunter, Charlie Feathers, Barbara Pittman, Hayden Thompson, Carl Mann, Jerry Lee Lewis, Jean Chapel, Carl Perkins and Charlie Rich seeded their musical career at Sun.
Also worth exploring is the collaboration between the Sun artists in terms of song delivery, as well as support as studio musicians.
There is this and much more to discover in this beautiful collection of Sun Rockers.
On July 1, 1969, Sam sold his Sun to Shelby Singleton for $1 million.
This album shows what a great legacy Sam Phillips left behind. If Sam hadn't been so visionary, the musical landscape would have looked a lot poorer then and even now.

​'Atomicat Rockers' is the latest series to be launched by the label Atomicat. Over 5 volumes we are treated to the rocking and rolling songs that accompanied the often wild life of the youngsters in the fifties.
The first part is titled 'Rock-A-Beatin' Boogie' and judging by the cover it was also heavy in the middle of the last century. Composer Mark Armstrong collected 28 songs for this collection that reflect the atmosphere of that time. Rock 'n' roll and rocking rhythm & blues recorded between the early 1950s and early 1960s.
With this new series, Atomicat has once again hit the bull's eye. Incidentally, the first part immerses you in a beautiful sound quality, in the songs that gave color to the lives of young people in the fifties. With 4 issues to go, we can already close with 'an unmissable series'.

​With volume 38 in the 'That'll Flat…Git it!' series we dive into the archives of the Liberty label and its sub-label Freedom.
The independent Liberty Records started in 1955 on the American West Coast and was originally specialized in film music. A year after its founding, legendary pianist and film music composer Henry Mancini signed on and stayed there until 1958. Although Liberty specialized in film music, the label later cataloged other genres, including rock 'n' roll and rockabilly. The 37 tracks on this compilation give a good idea of this. Eddie Cochran was certainly the most famous and successful artist at Liberty. In addition to Cochran, Johnny Burnette and Bobby Vee also signed to the label in 1960.
In short, in addition to well-known work, there is again a lot to discover on this compilation that can certainly be on the same level as the high flyers. And of course you get extensive info about the tracks through Bill Dahl's liner notes.

​With 'Fatty Patty', the subtitle of this volume, this miniseries also ends. A series that introduced us to lesser known and often obscure artists within rock 'n' roll and rockabilly. Songs in styles like jive, stroll and bop that not only score high quality, but can also get any party going effortlessly. This album also lives up to those expectations. During 28 tracks you will once again be amazed by the number of songs that, despite their quality, could not reach the general public when they were released. Songs that didn't make it at the time, but which can now happily be enjoyed with great sound quality. Beautiful series! Keep up the good work compiler Marcus Juárez!